F5 is a creativity festival exploring the intersection of design, art & technology.
F5 brings together the thinkers and doers that are breaking ground and shaping new standards in media and design. It’s an essential meeting point for future-minded individuals with the power to create lasting change.
The two-day festival gathers filmmakers, writers, digital artists, game designers, interactive artists, motionographers, graphic designers, visual effects experts, musicians, industry visionaries and many more.
Cutting-edge 3D printing showcase and conference.
Alongside the incredible showfloor filled with the biggest names and the hottest tech in 3D printing, our New York show will be aimed at (and feature incredible work from) a new generation of designers, creators, makers and artists – in short, it will be a show filled with creative flair.
For education and inspiration, our workshops and seminars rooms will be filled with some of the worlds top 3D printing speakers and our classroom will allow our younger visitors from schools and colleges to understand how this tech is transforming design and manufacture.
3D Printshow New York features will include:
Fashion & Jewellery House
Lab (Your chance to get hands-on experience)
Artist Emil Schult is a painter, poet, and musician best known for his work with electronic music pioneers Kraftwerk. While studying with Dieter Rot, Joseph Beuys and Gerhard Richter at Kunstakademie in Düsseldorf, he was invited to contribute to the band’s visual and musical ideas. This collaboration with founders Ralf Hütter and Florian Schneider led to Schult’s creating lyrics as well as graphic designs for their album covers and creating images of the musical instruments and electronic sounds that were being crafted by the group for performances and recordings.
Schult’s designs include the covers of the albums Ralf & Florian, Autobahn, Radioactivity, Trans Europe Express, and Computer World. He also provided projections of his artwork that are still used in Kraftwerk concerts today.
In 2012, Schult was invited to be an artist in residence at the Institute for Electronic Arts at Alfred (N.Y.) University. Since then, he has been a frequent visitor and lecturer at Alfred while creating new work at the Institute.
This exhibition explores the depth of Schult’s career in visual and sonic art. It includes hand cut prints of early computer chips; Reverse Glass Portraits of electronic music luminaries Robert Moog, John Cage, Clara Rockmore, Oskar Sala, and others; a sound installation based on Charles Burchfield’s work and the concept of synesthesia; and ceramic sound sculptures created in Germany. In the fall of 2014 Schult worked with students at the institute for Electronic Arts to create The Sounds of Charles Burchfield, an examination of the role of synesthesia in the painter’s work. Schult instructed participants to analyze the structural and rhythmic elements of the images and re-create them with his “reverse glass painting” technique. Audio files were then created with Photosounder software to allow viewers to literally “hear” the paintings. The end results will be part of the exhibition in the Budin Gallery.
The Museum of Modern Art presents a retrospective of the multifaceted work of composer, musician, and singer Björk. The exhibition draws from more than 20 years of the artist’s daring and innovative projects and her eight full-length albums to chronicle her career through sound, film, visuals, instruments, objects, and costumes. In the Museum lobby, instruments used on Biophilia (2011)—a gameleste, pipe organ, gravity harp, and Tesla coil—play songs from the album at different points throughout the day. On the second floor, in the Marron Atrium, two spaces have been constructed: one is dedicated to a new sound and video installation, commissioned by The Museum of Modern Art, for “Black Lake,” a song from Björk’s new album Vulnicura (2015); and the second is a cinema room that screens a retrospective in music videos, from Debut (1993) to Biophilia. On the third floor, Songlines presents an interactive, location-based audio experience through Björk’s albums, with a biographical narrative that is both personal and poetic, written by the acclaimed Icelandic writer Sjón, along with many visuals, objects, and costumes, including the robots designed by Chris Cunningham for the “All Is Full of Love” music video, Marjan Pejowski’s Swan Dress (2001), and Iris van Herpen’s Biophilia tour dress (2013), among many others.
From March 5 to 8, Moving Image New York will take over the Waterfront Tunnel on 11th Avenue between 27th and 28th Streets in Chelsea. It will include more than 30 exhibitors from the U.S. and around the world—several from Brazil and a few from Finland—and five works will have their world premieres at the fair.
In addition, one video from the fair will participate in Midnight Moment and have nightly screenings on electronic billboards in Times Square for month of April 2015.
For You Can Call Me F, The Kitchen’s gallery will function as a forensic site in which the artist aligns society’s growing paranoia around contagion and hygiene (both public and private) with the enduring patriarchal fear of feminism and potency of female networks. Anicka Yi’s new works will gather biological information from one hundred women to cultivate the idea of the female figure as a viral pathogen, which undergoes external attempts to be contained and neutralized. Employing the visual language of quarantine tents, which allow limited transparency and access while aiming to protect their fragile ecosystems within, Yi’s humanist approach foregrounds the politics and subjectivities of smell, and its impact on our empathic understanding of each other.
This third iteration of the Triennial is titled “Surround Audience” and will feature fifty-one artists and artist collectives from over twenty-five countries; for many of the participants, this will be their first inclusion in a museum exhibition in the United States.
The exhibition encompasses a variety of artistic practices, including sound, dance, comedy, poetry, installation, sculpture, painting, video, and one online talk show. If there is any aesthetic link between these diverse works it is in their energetic mutability of form. Together, these works speak to a newfound elasticity in our understanding of what mediums constitute contemporary art. Here, paintings evolve out of 3-D models, digital images erupt into sculpture, and sound becomes action. This is a group of works that attests to how form is continuously converted across word, image, and medium.
With Karen Archey; Oron Catts; Melissa Logan (Chicks on Speed); Patricia Maloney; Luke Massella; Aimee Mullins; Keith Murphy; Anicka Yi; and NASA scientist Dr. Josiah P. Zayner
The future is now. To most people recent scientific progress reads like a pulp sci-fi novel: a teenager in the UK has managed to clone himself, human bodies merge with implanted computer chips and the military developed a technology to print organic skin for victims of war.
For decades, artist Lynn Hershman Leeson has followed technological and scientific progress and its effects on our lives. For Sunday Sessions she presents an afternoon with artists, musicians and scientists who have firsthand knowledge of innovations in biomedical engineering to explore what their experiences reveal about our possible futures.
In an era of programmable DNA when human organs can be printed and banked, limbs regenerated and new life forms created daily, who will have the power to make decisions that affect us all? Will wealth alone determine who benefits from biological engineering? What will it mean to be human?
Enhancement or extinction? To Hershman Leeson there is still a choice.
This exhibition takes its title from the Twitter message that British computer scientist Tim Berners-Lee (inventor of the World Wide Web) used to light up the stadium at the 2012 London Olympics opening ceremonies. His buoyant tweet highlighted the way that the Internet—perhaps the most radical social design experiment of the last quarter century—has created limitless possibilities for the discovery, sharing, and expansion of knowledge and information. As we revel in this abundant possibility, we sometimes forget that new technologies are not inherently democratic. Is design in the digital age—so often simply assumed to be for the greater good—truly for everyone? From initial exploratory experiments to complex, and often contested, hybrid digital-analog states, all the way to “universal” designs, This Is for Everyone explores this question with works from MoMA’s collection that celebrate the promise—and occasional flipside—of contemporary design.
Brooklyn-based design studio Stereotank’s design was selected for the 2015 Times Square Valentine Heart. Times Square Alliance partnered with The Architectural League of New York and invited architecture and design firms to submit proposals for a public art installation celebrating Valentine’s Day in Times Square. For the 2015 competition, the distinguished Selection Panel selected Stereotank’s HeartBeat out of seven design proposals.
This engagement sculpture consists of a massive heart glowing to the rhythm of a strong, deep and low frequency heartbeat sound and visitors are encouraged to move around and engage with it by playing various percussion instruments. The audience is invited to come together and creatively play, listen, dance and feel the vibrations of the heart while enjoying the warm pulsating light. The unveiling will include a short speaking program, followed by the opening of the installation.
In the emblematic and relentless atmosphere of Times Square HeartBeat orchestrates multiple rhythms into a unique urban concert.