My name is Ottone, an artist, creative producer, and entrepreneur based in Paris. My journey began 15 years ago at BBDO as a copywriter, but I soon left the industry to embrace freedom, founding my art group 'Varenye organizm.' From 2008 to 2021, my partners and I delved into a peculiar multidisciplinary blend: fashion art, interactive media art, land art, and public art. Then, in 2022, my lifelong exploration pivoted to kinetic micro-architecture and interactive rotating landscapes, focusing on carousels. My passion and superpower lie in creating dynamic, stirring environments.
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Rebirth of the carousels

Carousels are public spaces, interactive sculptures in rotation, observation points akin to horizontal Ferris wheels. They needn't be fast. In the dawn of the 21st century, carousels evolve into slow, smooth, relaxing, perhaps even slightly provocative experiences. They should integrate seamlessly into the modern architectural tapestry, leaving behind the kitschy carnival tents of yore. Uninhibited in design, carousels are entitled to any form imaginable. Two fundamental traits define a carousel: its rotation and its rideability. The specifics of its rotation, the manner of boarding, and the seating arrangement are mere details. A carousel might rotate imperceptibly slow or dizzyingly fast, accelerating or decelerating based on cryptocurrency fluctuations or the pace of ice melt. It can be as comfortable as a chair, resembling a surreal mushroom patch, a modernist pavilion, or frozen lead splashes, or even mimic a fantastical spaceship's cockpit. Once we shed traditional carousel conceptions, we unveil a realm of boundless carouselism. Embrace the abstract, minimalistic, brutal, or parametric city-scale spinners, crafted by contemporary artists.