KUNST in de Nieuwe Digitale Wondere Wereld 14
KUNST in de Nieuwe Digitale Wondere Wereld 14
YouTube Play
De Bredase Evelien Lohbeck (27) heeft de internationale YouTube Play-wedstrijd gewonnen. Samen met 24-medewinnaars is haar video van 22 tot en met 24 oktober te bewonderen in het Guggenheim-museum in New York. Lohbeck zegt er zelf over: ‘Het is een knipoog naar nieuwe technologie. Een notitieboek representeert de basis van het schrijven.’ De video is een afstudeerproject voor de opleiding Animatie aan de Kunstacademie St. Joost in Breda en was puur gemaakt voor het internet.
De professionele jury lette vooral op de diepgang van een video. De diepgang van Lohbecks video bleek van de 23 duizend inzendingen uit 91 landen in ieder geval voldoende om in de prijzen te vallen.
Het Guggenheim-museum ziet de expositie als een viering van de macht van het internet om nieuwe digitale kunstvormen te katalyseren en te verspreiden, en een ode aan deze kunstvorm. Bron: VK
KUNST in de Nieuwe Digitale Wondere Wereld 13
KUNST in de Nieuwe Digitale Wondere Wereld 12
KUNST in de Nieuwe Digitale Wondere Wereld 12
Greyworld
KUNST in de Nieuwe Digitale Wondere Wereld 11
KUNST in de Nieuwe Digitale Wondere Wereld 11
bewerking: Pam Standing door: Mark Napier.
Venus 2.0 – Mark Napier
KUNST in de Nieuwe Digitale Wondere Wereld 10: Alternatieve werkelijkheid
KUNST in de Nieuwe Digitale Wondere Wereld 10
John Gerrard – Alternatieve werkelijkheid
John Gerrard is een Ierse kunstenaar die perfecte, digitaal nageootste omgevingen maakt die in hun eigen tijd en ruimte bestaan. Het gaat hier letterlijk om alternatieve werkelijkheden.
Exercise (Djibouti) 2012
2012; Simulation; Dimensions variable;
Further developing Gerrard’s realtime portraits of physical locations, Exercise (Djibouti) 2012 harnesses simulation and motion capture technologies to create a temporal collage in which disciplined athletic bodies perform a perpetual militarised exercise of strategic capability and intent. On a simulation of the barren landscape of Djibouti in the Horn of Africa, two teams of computer-generated figures meet daily at dawn to initiate a series of cryptic gestural routines – precise, repetitive, faintly antagonistic.
Just as the landscape is a painstaking, extremely complex reproduction of an actual space that was generated using photographs and satellite data, the figures in Exercise (Djibouti) 2012 were generated by engaging a group of elite athletes in training for the London 2012, whose actual movements were converted to data with the latest motion-capture technologies. Neither completely synthetic nor strictly real, the work exists in ‘real time’ (Djibouti: GMT +3 hours), orbiting over a yearly cycle that incorporates the movements of sun, moon and stars.
Bron / Source: https://jgerrard.tumblr.com/
Using customised game-design software to craft stunningly accurate virtual worlds, Gerrard projects a complex digital moving image that eerily develops in real time and will continue to do so over the next 30 years. The viewer joins this hyper-real scene three years into its slowly unfolding story on a desolate Midwest prairie:
KUNST in de Nieuwe Digitale Wondere Wereld 9: Tijdverstoren
KUNST in de Nieuwe Digitale Wondere Wereld 9
Daniel Crooks
Daniel Crooks is een Australische kunstenaar die opnames digitaal manipuleert om zo de tijd te manipuleren of te verstoren.
Melbourne-based video artist Daniel Crooks
Crooks’ work tests the new paradigms of space, time and vision forged by our ubiquitous digital image technologies. In 2011, he captivated Singaporean audiences with his piece Static No.12 (Seek Stillness in Movement), a mesmerising study of an elderly Tai Chi practitioner in a Shanghai park. For this piece, the artist was honoured with the APB Foundation Signature Art Prize, Juror’s Choice Award. More recently, he took out the digital/video prize at the inaugural Prudential Eye Awards (2014).Recalling the experimental origins of the moving image – the so-called ‘chronophotography’ of the 19th century – Crook’s beguiling compositions explore the fundamentals of human perception. In his celebrated ‘time slice’ series, begun in 1999, he extracts thin slices of moving images and rearranges them, altering the relationship between space and time.
Crooks’ work gives the digital image a new elasticity, employing techniques of angle variation, light diffusion and chromatic patterning to effect uncanny and intriguing mutations of the visible world. His videos reveal its unseen rhythms and patterns; time becomes a spatial, plastic dimension, something that can be moulded and transformed.
For Crooks, the frantic pace of contemporary life gives rise to a new experience of time. Inspired by the bustling metropolises of Asia, he is drawn to diametrically opposed subjects, from high-speed trains to solitary drifters, amid the urban chaos. These intense contrasts expand the gaps between ephemeral moments, amplifying the echoes of human presence in everyday social life.
About the artist
Daniel Crooks (born 1973 in Hastings, New Zealand) is one of Australia’s most renowned contemporary artists. In 1993 he completed his B.A. of Graphic Design at the Auckland Institute of Technology, New Zealand and received a Post Graduate Diploma of Animation, Victorian College of the Arts, Melbourne, in 1994. Since finalising his studies he has worked with photography and film, where he explores the perceptual change of the moving image using temporal and spatial displacement. In 2014 he was the recipient of the Digital Video award at the inaugural Prudential Eye Awards and in 2011 he received the Juror’s Choice Award for Asia Pacific Breweries Foundation, Signature Art Prize.
Crooks’ work is in the collections of the Art Gallery of New South Wales, Sydney, National Gallery of Australia, Canberra, Museum of Contemporary Art, Sydney and Australian Centre for the Moving Image, Melbourne. In the spring of 2014 he took part in an artist-in-residence program at the Ars Electronica Futurelab to do research on his project Real Imaginary Objects where he created a series of sculptural works to be exhibited at the Ars Electronica Festival in early September. Recent solo exhibitions have taken place at the Samstag Museum of Art, University of South Australia (2013) and Monash University Museum of Art, Australia (2013). He participated in the group exhibition Australia at the Royal Academy of Arts in London (2013) and Marking Time at the Museum of Contemporary Art, Sydney (2012).