Ron Arad’s work Drop, 2013, is based on physical experiments that test the behaviour of automobile bodies under compression - in particular the Fiat 500. Arad transcribed his experiments into digital simulations, accumulating a body of work that has led to his major new project In Reverse. In Reverse is on show at Pinacoteca Agnelli inTurin, Italy until March 2014, and was first exhibited at the Design Museum in Holon, Tel Aviv. The exhibition showcases crushed Fiat 500s that resemble cartoonish two dimensional renderings (titled Dry Flowers, 2013); and includes a sculpture created by positioning hundreds of polished stainless steel rods on a metal armature in the shape of a Fiat 500. Each contoured section takes the shape of one of the vehicle’s panels, with parts fitting together to form the car’s body (titled Roddy Giacosa, 2013).The film Drop (available exclusively Sedition) presents the viewer with a game of forms and shadows that illustrates, conceptualises and summarises the various thought processes, experiments and the resulting artworks which today make up In Reverse. As if drawing with shadows and disconnected forms, the spectator is able to follow the compression, expansion and resurrection of the Fiat 500. Drop directly references Dry Flowers as well the Roddy Giacosa, and has literally served as blueprint for a sculpture included in the exhibition In Reverse: a frame of the movie was printed with 3D printing techniques.Arad remains one of the most influential and enigmatic contemporary designers, artists and architects, and his works like the Rover chair or Bookworm bookshelf, to name but a few of his most iconic designs, have brought him international fame and acclaim.Drop is accompanied by the violin composition Twelve Caprices for Viola - Caprice Nine (‘Benjamin’), by Atar Arad.

Matt Pyke’s work Presence 5.1 is part of the Presence series that consists of 24 films created from six separate dance sequences - each with four variations. Pyke was motivated by the desire to illustrate the simultaneous harmony and tension between drawing, architecture, human mobility, CGI and interaction. In order to achieve this, he initiated grand collaborations together with choreographer Benjamin Millepied and his LA Dance Project, architect Irene Shamma, composer Simon Pyke, animator Chris Perry, and programmer Mike Tucker using the latest motion-track technology. With a team of talented professionals, Pyke set out to create the perfect balance between abstraction and figuration through an exploration of form where movement feels alive, and not synthetic.Presence 5.1 is a striking example of how modern technology and innovation can reveal what makes us human in a whole new light. The animation of a dance between two people, completely abstracted into colour and line, is complete because the living form reveals itself within the abstract form, not vice versa. Pyke: “I have long been exploring the delicate balance between figurative and abstract forms. How far can you abstract a human form and still feel a living presence? This strand of anthropomorphism, though hinting at limbs, eyes or movements makes the work come alive.”Matt Pyke lives and works in the UK.

An amazing and beautiful work of video art; mesmerizing.