The exhibition opened with the transmediale 2011 and runs until 3.4.2011. He told me that the exhibition space will function as a studio also where he is going to work on a new shooting series while the public can watch him and his team in progress. If you are in berlin by that time, you should not miss it. I had the pleasure to get Reynold Reynolds under the tagR.umbrella to talk about his work.
Archive for the ‘interview’ Category
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Frederik de Wilde likes black art. At Ars Electronica 2010 he showed a patch of the blackest black ever, a nano-structured material that absorbs 99.97% of the incident light, winning him the “[the next idea] voestalpine Art and Technology Grant”. He envisions a bright future for the material, with applications ranging from superblack magneto-levitated cubes to increasingly large patches that might finally allow the observer to get immersed in infinite darkness.
For now, De Wilde leaves us in the dark in other ways: In an interview with derstandard.at, he impishly refuses to explain the details of how the trick works, pointing out that Rembrandt and Picasso didn’t publish their color recipes either. The scientists of Prof. Lin’s group at Rice University who developed the material did publish their findings, albeit in a closed-access journal. Probably they also filed a patent. German newspaper Die Zeit has a story on how British scientists discovered the material in the wings of a butterfly. Later, this feat of nature was mimicked using nanofabrication techniques in a Houston cleanroom.
In the exhibition space, the material is covered by plexiglass since dust particles would quickly degrade its properties. The glass surface however creates quite strong reflections, indeed reminding us of a Rembrandt painting hidden behind security glass in a carelessly illuminated museum. A prototype problem only, says De Wilde, to be solved by further research.
In our interview, quantum physicist Tobias Nöbauer finds out more about the physical principle and artistic concepts behind De Wilde’s work: How are the incident photons being treated? What’s the artist’s approach to taking a nano-material from the cleanroom into the exhibition space? Art as alchemy, uncontrolled reflections, whispering black magic? There’s a new shade of nano on the artistic reasearcher’s color palette: What do we get shown?
Interview: Tobias Nöbauer
Camera: Franziska Mayr-Keber
Editing: Sophie-Carolin Wagner
exclusive interview with ?anonymous? at the transmediale, talking about the secret shit behind the scenes of #tm11. if this is true it will be a big disaster. recorded at haus der kulturen der welt 6.2.2011
A brilliant project at this years Ars Electronica was Merrick by Daan van den Berg. It shows a mutated IKEA lamp, together with images of the so called “Elephant Man” John Merrick. Van den Berg looks into a near future of customised design and on demand culture. Where everybody can easily print out his/her furniture on 3D printers – without getting it physically from the store. In this case something went wrong on the way: The artist infected the IKEA design files with a virus, letting it mutate, disfiguring the lamp like a case of Elephantiasis. The project is worth mentioning not only because of discussing topics of design in our digital age, but also because a digital virus is here infecting an everyday object, questioning a forthcoming hybrid space between the virtual and the real.
Interview: Peter Moosgaard
Kamera: Franziska Mayr-Keber
Schnitt: Christof Vonbank
Leo Peschta (media artist/ AT) ist auf der Ars Electronica 2010 mit einer umfangreichen Serie an Arbeiten vertreten in denen er sich, wie bei “B.R.E.T.T” (2008) mit dem Thema Bewegung und Raum auseinandersetzt, aber auch das Museum als Institution kritisch ins Auge fasst, “Der Zermesser” (2007-2010). Seine neueste Arbeit “Der Chronograph” (2010) verschreibt sich dem “akkustischen Augenblick”.
Über ihre gemeinsame Arbeit, den “WERP_BOT” (2006), und folgende, sprechen Leo Peschta und Gordan Savicic in diesem Interview.
Interview: Gordan Savicic
Kamera und Schnitt: Conny Zenk
language: German
I spent a wonderful week in beautiful Sofia at the second edition of the Digital Art Festival. It was a small, but fantastic event organized by the National Academy of Art in Sofia. Apart from the professional and very nice team i met a lot of interesting artists like Paul Granjon, who´s hilarious approach to human<>machine interaction inspires me a lot, or Mark Coniglio who held a workshop with his Software “Isadora” – the first SW i paid for and worked a lot for live visuals and video-dance-performances. I also got to know Reynold Reynolds, a fascinating film maker who studied at Stan Brakhage and his very distinctive philosophical visual language is just breathtaking. He exhibited his two screen video installation “six appartments“, which won last years distinction award at the Transmediale.
Oh, and there was Brian Kneb, a very nice guy, who creates interactive installations with a great organic style. The way he works with code is fascinating. For me as a total rookie in coding it is such a mind twisting field of teaching a computer the rules and dynamics of nature. Super interesting was that out of his work with code and classical digital interaction he started some “real life” experiments with multicellular organism interacting with bacteria taken from his own body. I should not forget hexler, who exhibited a generative installation experimenting with the analysis of psychologist Hermann Rorschach. And besides some nice drinking and fun time together he managed to teach a processing workshop at the festival.
I had the pleasure to get a walk through the exhibition with the two main organizers and curators of the festival, Galina Dimitrova and Venelin Shurelov, who also teaches at the Digital Art Master Program of the Academy. The walk is splitted into two parts. The first is the main exhibition in the Gallery space and the second one presents student works from the Digital Art Program of the Academy, the Animated Film Department of Zagreb University and the Digital Art class of the University of Applied Arts in Vienna.
Something i have to point out is that most of the Presentations and Performances were streamed live and are available to watch on demand as well. Like this very interesting talk by Don Foresta about a “New Renaissance”
DA Fest 2010 Main Exibition Gallery:
DA Fest 2010 Student exhibition space:
Unter dem Titel “Playful Interface Cultures” präsentieren Studierende der Kunstuniversität Linz, Masterstudiengang Inferface Cultures, ihre aktuelle Arbeiten im Rahmen des Ars Electronica Festivals 2010.
Verspielt zeigen sich in dieser Ausstellung nicht nur die Schnittstellen zwischen Mensch und Technik, sondern auch der Ausstellungskatalog zum Selberbasteln. Bei jedem der ausgestellten Objekte hängen bunte Kärtchen, eine Mischung aus Beipackzettel und Ausschneidebogen, die durch ihre anregende Erscheinungsform Neugierde und Sammertrieb der BesucherInnen wecken. Eine kleine Klapp – Bühne zur Platzierung der persönlichen Lieblingsobjekte bietet letztlich ein mit Ausstellungslogo versehener Pizzakarton.
Diese, dem Fast and Cheap Food entlehnte Verpackungsform, lässt in mir einen Hauch von Kritik aufkeimen, einerseits am Kunst – Produktionsprozess, in welchen die Kunstschaffenden viel Zeit und Kreativität für wenig bis kein Geld investieren, sowie andererseits an den schnellen, wahllosen Konsum von Kunst, der sich bei derart großen Festivals kaum vermeiden lässt.
Foto: Ars Electronica / rubi
Playful Interface Cultures zeichnet sich durch eine klar stukturierte Ausstellungsgestaltung aus. Besucher werden zu den Objekten und durch verschiedene, in sich geschlossene Zonen geleitet. Zigarttenkartons fungieren als Raumgestaltende Trennelemente, was sowohl einen inhaltlichen Akzent zur Tabakfabrik setzt als auch von respektvollen Umgang mit denkmalgeschützer Bausubstanz zollt.
Martin Kaltenbrunner, Professor der Kunstuniversität Linz und Medienkünstler (reactable), spaziert mit uns durch die Ausstellung und zeigt uns ein paar der ausgestellten Arbeiten.
Interview: Franziska Mayr-Keber
Kamera und Schnitt: Matthias Hurtl
language: German
Die diesjährige ARS Electronica findet erstmals sehr kompakt in der stillgelegten Tabakfabrik statt, die mit ihren grossen, leeren Produktionshallen die perfekte Atmosphäre für das Thema “repair” bietet. sind wir noch zu retten. ohne Frage. ohne Antwort. wer ist wir. vor wem. uns selbst. Für Julius Stahl aus Berlin stellt sich diese Frage erst gar nicht. muss es auch nicht. Er schafft mit seiner Arbeit “Flächen” eine ästhetisch ansprechende Rauminstallation, die den Grenzbereich zwischen akustischer und visueller Wahrnehmung erforscht und erfahrbar macht.
Stefan Riekeles, Program Director of the ISEA 2010, is presenting a selection of pieces of the ISEA 2010 RUHR Exhibition and reflecting over misunderstandings considering the term Sonification and whether the opposite of digital is necessarily analogue.
interview: Emanuel Andel, camera & editing: Sophie-Carolin Wagner
June 2010 @ Nime ( new interfaces for musical expression) congress in Sydney; I got the chance to meet stelarc before he had to catch the plane to his homebase melbourne. After hearing his one hour lecture (showing some impressive videos of his ear on arm surgery ) the other day, it was great to talk in a more laid back atmosphere; I have to admit he can hook you into his passion and brings along an infectious (to stay with terms!) enthusiasm for the future visions of cyborg art and a lot more… For the project ear on arm he won the golden nica hybrid art 2010 at ars electronica.
interview, camera, editing: Kathrin Stumreich
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