Posts Tagged ‘virtual

09
Mar
12

Berndnaut Smilde : ‘Nimbus’ Series (Probe – Exhibition)

::

Probe is an exhibition space, with walls no higher then 1,10m and a surface of 6m2. It’s a test lab, an artistic skinner box. Its small and practical dimensions enables artists, to create works on scale, that are unthinkable in real life. The architecture of the space is flexible and wholly subservient to the exhibition: walls can be extended, doors can be removed, a floor made of glass, mirrors or wood, even the lighting situation can be fully controlled. Albeit a physical space, Probe is only accessible on the internet. The registration of the exhibition is the exhibition. Probe’s flexible dimensions proposes questions, as to the nature of space, seeing for example, that Probe can be wholly absorbed by the installation it contains. Exterior or interior, architecture or sculpture become relative notions. Probe can also be used as an exhibition making tool. The height, size and sequence of several works can be researched without having to drill a hole. Sketches used as dummies, scale warps achieved in seconds.

::

Berndnaut is fascinated by anything in between… Corridors and clouds, not yet there
and not yet solid. What if a sculpture were to be nothing but thin air, smoke or scent?
We’d discuss the merits of one cloud over the other or would we just shut up in awe.

::

::
‘Nimbus’ Series
Cloud in room, 2010
Lambda print, 75 x 112 cm
Probe#6, Suze May Sho, Arnhem
::

::
‘Nimbus’ Series
Cloud in room, 2010
Lambda print, 75 x 112 cm
Probe#6, Suze May Sho, Arnhem
::

::
‘Nimbus’ Series
Cloud in room, 2010
Lambda print, 75 x 112 cm
Probe#6, Suze May Sho, Arnhem
::

::
‘Nimbus’ Series
Cloud in room, 2010
Lambda print, 75 x 112 cm
Probe#6, Suze May Sho, Arnhem
::

::
‘Nimbus’ Series
Cloud in room, 2010
Lambda print, 75 x 112 cm
Probe#6, Suze May Sho, Arnhem
::

::
‘Nimbus’ Series
Cloud in room, 2010
Lambda print, 75 x 112 cm
Probe#6, Suze May Sho, Arnhem
::

Interview with Artist

1. How different was it to work in the space of Probe compared to other exhibition spaces?

I usually make a maquette of the space I’m going to work in. A maquette helps me to control and visualize an idea. It provides a clear overview. Probe itself is a model space, and worked for me in the same way: The manner of working is very direct and functional, and being so close to the subject changes the conception of materials and reality. The space is being emphasized. You create an ideal situation and therefore I think the model can stand for an idea. Working in Probe provides an additional point of view to exhibition making and that is an almost god-like position in which you have control over everything. I think it is similar to why people like model-train-landscaping. It’s having total power.

2. What did you want to create in Probe?

I imagined walking into a museum hall with just empty walls. The place even looked deserted. On the one hand I wanted to create an ominous situation. You could see the cloud as a sign of misfortune. You could also read it as an element out of the Dutch landscape paintings in a physical form in a classical museum hall. At the same time I wanted to make (for once) a very clear image, an almost cliché and cartoon like visualisation of having bad luck.

3. What obstacles did you run into?

The idea I had was going to be an ephemeral work. It would only exist as a photo. I thought this would work very well with the idea of Probe, as the exhibitions only exist in the form of documentation. I didn’t realize there is in fact a very physical aspect about Probe’s presentation. The 9 different perspectives of documentation make it possible for the spectator to wander around the space and create the opportunity of visiting the exhibition. Therefore with every shoot we had to make a new cloud and keep in account approximately the same lighting and position to create the illusion of physically walking through the space.

::

Berndnaut Smilde : Website

Project Probe

::

13
Sep
11

Gerhard Mantz : Landscapes (Architecture Series)

::

“One can wander through these cubic structures and colored patterns to view them from different angles, much like moving through spaces and mazes in the urban environment. Purged of architectural embellishment and pared to essential 3-D form, these abstract spaces remain rich vessels for associative memories of streets and skylines we have known.” G Mantz

::

Zweideutige Geschichte
Pigmented ink on canvas
100 x 180 cm
2006

Beharrliches Schweigen
Pigmented ink on canvas
100 x 180 cm
2006

Alarmbereitschaft
Pigmented ink on canvas
100 x 180 cm
2006

Philidor Verteidigung
Pigmented ink on canvas
100 x 180 cm
2006

Systematische Studie
Pigmented ink on canvas
100 x 170 cm
2006

Latente Toleranz
Pigmented ink on canvas
100 x 170 cm
2006

::

“The landscape subject is not so much about a geographical locale, but more a metaphor for a psychological state. It evokes feelings and moods so that the viewer enters an environment with immediate emotional responses. It appears realistic, even photographic, with inviting naturalistic details that lure and seduce. But, upon closer inspection the seemingly realistic details shift to reveal a strange virtual world associated more with an interior “reality” than an exterior one.” (Gerhard Mantz)

::

Gerhard Mantze : Website

::

30
Aug
10

Robert Overweg: Photographer in the Virtual World

The end of the virtual world 1
2010
Robert Overweg
Left 4 dead 2

The end of the virtual world 5
2010
Robert Overweg
Half-life 2

The end of the virtual world 6
2010
Robert Overweg
counter-strike source

the facade
2010
Robert Overweg
half-life 2

In his serie The end of the virtual world Robert Overweg shows us a remarkable series of photographs which he took in four different computer games. They show us the end of the virtual world in a way which is sometimes presented to us to determine the border of the game or level. All photographs have the same vanishing point, straight in the center of the image, almost in a classical manner, as we have learnt in elementary school which told us what perspective is, with two lines going into one point on the horizon in between which you draw a railway track.

This may be the case here but there is more going on: the air is cloudy, the light is dramatic, the corners are sharp, the horizon is invisible. We stand at the edge of a a abyss or in front of the beginning of a black tunnel. This does not mean that these worlds have a dreamy feel to them maybe this is because of the moment and the way this landscape is sculpted. A road which has been cut off, a field of grass which suddenly stops or a railway which abruptly disappears into nothing; something which wouldnt happen in daily reality or is not visible. Because these images are artificial and behold a high aesthetic value, they are able to breathe; the drama is somewhat toned down. [John De Weerd]

Shot by Robert

Robert Overweg : Website

26
Aug
10

Andreas Nicolas Fischer : Digital Installations

The first image (below) is a 3d rendering, which was created using only images as references from press releases of the Temporäre Kunsthalle Berlin. It accurately depicts an existing architectural space, but only from the view point of the virtual camera.

Temporäre Kunsthalle Berlin
Digital Image, C-print, 45 × 30cm
2009

Installation view
01 / 03
Digital Image, C-print, 45 × 30cm
2010

Installation view
02 / 03
Digital Image, C-print, 45 × 30cm
2010

Installation view
03 / 03
Digital Image, C-print, 45 × 30cm
2010

The images in this series are digital renderings, which were created using image references from gallery documentation and found textures. The 3d objects (neon bulbs, euro palettes, stackable plastic chairs, rectangles with car paint) were modeled or found online (digital readymades). The assets were placed in a generic white cube scene and randomly positioned and aligned with a script. The series is a documentation of an installation in an architectural space, neither of which physically existed.

[Extract : Andreas Nicolas Fischer : Website]

Andreas Nicolas Fischer : Website




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

email address

Join 495 other followers