Tape Paris by Numen/For Use

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Appreciation towards Numen/For Use for providing the following description:

12个人花了10天时间，利用成千上万条交织的透明胶带在巴黎东京宫的大厅上方拉出一个悬空6米，跨度约50米的半透明迷宫通道。这个张力十足的装置是“Inside”展览其中一项内容，设计师希望在建筑内部植入一个有着光滑内部的有机体，与建筑发生对抗。

Tape Paris is a part of an extensive group exhibition titled “Inside”, which has taken up residence in the Parisian Palais de Tokyo until January 2015.The curatorial concept delves into the murky territory of both physical and psychological interiority, thematising immersion, introspection and probing of the depths of self. The main idea was to transform the whole building into a convulsive mind/body organism whose slippery inner limits a motivated explorer has yet to trace and confront. The stretched biomorphic skin of Tape Paris is marking the entry point to the whole experience, being a literal incarnation of an inner-directed, regressive environment – the sense of descent into the primordial always lingering around its openings.

It took twelve people ten days to wrap-up the concrete pillars in the great entrance hall of Palais de Tokyo into a maze of these accessible translucent passageways, which coil 50 meters through the gallery space and reach the total height of 6 meters.

胶带在空中交织，生成复杂和不定形的表面，其灵感来源于随着舞者而动，记录舞者行为路径的舞带。而当这一概念向建筑学方向发展时，却变成了一维到二维再到多维的进化。如同寄生物存在于建筑中的有机形体装置内部柔软，有弹性，是力的均衡之美的产物。

当你进入，这个从外看相当科幻有机的艺术品便又化为一个建筑空间。

Here is more information form the architect:

Tape

The tendons of multiple layers of conventional transparent adhesive tape are firstly stretched in between a construction. The following continuous wrapping of tendons results in a complex, amorphous surface through the process reminiscent of growing of organic forms.

The idea for the installation originates in a set design concept for a dance performance in which the form evolves from the movement of the dancers between the pillars. The dancers are stretching the tape while they move, so the resulting shape is a (tape) recording of the choreography.

or

The tape concept developed further towards a more sculptural architectonic form. It was practically “found” through the act of chaotic wrapping, where a one-dimensional line (“tape”), slowly turned into two-dimensional plane, which then finally curved into volume.

The installation was envisaged as a site specific, parasitical structure invading an arbitrary location. The straight lines of main trajectories are stretched across a given area and these tendons are then wrapped diagonally with layers of elastic tape, giving shape to a complex organic form through a process similar to the emergence of such structures in nature.

With the further layering of the tape, the figure becomes more and more corporeal as it picks up on the slow increase of the curvature.

The  interior of the structure is supple, elastic, and pliable while the form itself is statically perfect, as it ideally follows the trajectories of forces, being literally defined by them. In the moment when the audience enters the installation, what started off as a sculpture seamlessly morphs into architecture.

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