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The portfolio of Croatian artist Igor Eškinja has been one that I have become drawn to.  The simple yet clever use of recognisable objects are altered or presented in a new perspective.  The simple forms are striking and make the eyes and brain engage to read the works and what they are trying to convey.  Click here to see more of Eškinjas’ work.

This work by Igor Eskinja can be interpreted as a challenging disengagementent from his former research practice directed towards problematizing of visualità in contemporary visual expression. A concept tied to ironizing of the basic visual elements like space, perspective, interaction and dictate of consummation of the presented work is been supplemented by problematization of questionable ownership over natural resources and a right to freedom of their distribution.

Nemanja Cvijanovic

 

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SURFACE_GALLERY

21st March – 15th May 2014

Access by appointment only

We present two films NOISE//01 and NOISE//02.

Each film take us on a series of orbits around a single, unedited, scan captured in Berlin in November 2013. The camera journeys through the droning spheres of error and cataclysmic arrays of inaccurate points.

A single edition of each film is available for purchase.

 

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ScanLAB Projects exhibition at Surface Gallery delivers an insight to the process of Matthew Shaw and William Trossell.  Their work which they produce under their name ScanLAB Projects.  I saw their work from a recent post on BLDGBLOG, here is what is said about these images.

Last week, Shaw and Trossell premiered a new project at London’s Surface Gallery, exploring where laser scanners glitch, skip, artifact, and scatter. Called Noise: Error in the Void, the show utilizes scanning data taken from two locations in Berlin, but—as the show’s title implies—it actually foregrounds all the errors, where the equipment went wrong: a world of “mistaken measurements, confused surfaces and misplaced three-dimensional reflections.”

The tics and hiccups of a scanner gone off the mark thus result in these oddly beautiful, almost Romantic depictions of the world, like some lunatic, lo-fi cosmology filtered through machines.

Frozen datascapes appear like digital mist settling down over empty fields—or perhaps they’re parking lots—a virtual Antarctica appearing in the middle of the city.

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As one of the past artist in residents at SNEHTA I will be exhibiting at the upcoming Art-Athina.  This SNEHTA show will be co-curated by  Augustus Veinoglou, Becky Campbell and Irini Bachlitzinaki.  Six past artists have been invited to exhibit at this art fair who have spent time on the artist in residence program run by SNEHTA.  Art-Athina hosts Greek and International galleries and alongside these established galleries they also run a Parallel Programme which is what SNEHTA will be part of.  Over the next few weeks the work will be finalised and more information about this art fair will be released.  It is an exciting opportunity and I look forward to seeing what the curators and artists bring to the table create for this event.  

Launched in 1993 by the Hellenic Art Galleries Association, Art-Athina stands today as one of the longest lasting contemporary art fairs in Europe and as the largest annual visual arts event in Greece. A meeting point for international artistic creation, Art-Athina brings together significant Greek and foreign art galleries, cultural institutions, curators, collectors, art critics and art lovers.

Last year’s Art-Athina was held with great success from 16 to 19 May 2013 at Faliron Pavilion (TaeKwonDo Stadium) and was enthusiastically received by some 30,000 visitors!

Important art galleries from Greece and abroad were joined in harmony by cultural institutions, art publishers and media to present a full picture of the contemporary art scene. A number of important parallel activities reinforced the international character of the event with the participation of a large number of artists with a marked predominance of the younger generation. Concurrently, educational activities and historical retrospectives underlined the social role of Art-Athina.

For more information please follow these links:

http://www.art-athina.gr/parallel-programme/

http://www.snehtaresidency.org/

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Patatap is a portable animation and sound kit. With the touch of a finger create melodies charged with moving shapes. While easy to pick up there is a wide range of possibilities. Switch between multiple color palettes and matching soundscapes on the fly. Whether its on your laptop, desktop, mobile phone, or tablet Patatap invites creators of all ages to engage the mind and senses in a different type of creation process.The motivation behind Patatap is to introduce the medium of Visual Music to a broad audience. Artists working in this field vary in discipline but many aim to express the broader condition of Synesthesia, in which stimulation of one sensory input leads to automatic experiences in another. Hearing smells or seeing sounds are examples of possible synesthesia. In the case of Patatap, sounds trigger colorful visual animations.The history behind the aesthetic expression of synesthesia arose from the paintings of Piet Mondrianand Wassily Kandinsky and the early videos of Viking Eggeling and Norman McLaren, to the contemporary animations of Oskar Fischinger and softwares of C.E.B. Reas. Patatap takes elements from all these visionaries and aims to present this concept in a direct way.

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 COLLABORATION

In order to create Patatap I worked with music composers Lullatone, the melody design unit of Shawn James Seymour and Yoshimi Seymour. Based in Nagoya, Japan, the duo have released more than 10 albums and frequently soundtrack films, commercials and more. With each sound they try to bring out the everyday wonder of overlooked moments and make the mundane seem magical.Lullatone Studio _2011_They created compelling sounds to accompany the animations. Each color palette has a unique corpus of sounds. Each set comprises sounds that enable a full-bodied composition both in terms of sound and visuals. These sounds are geared toward making tapping as melodic as possible, similar to a keyboard of drum pads. The result is a visceral and rewarding experience.

 

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PRESENCE

Because Patatap is a website its relatively smooth to install and reconfigure the application. As a result, Patatap has had physical presence in the form of performances and installations. If you’re interested in having Patatap at your next event or exhibition please contact inquiries@patatap.com. Notable appearances are as follows:2014 The Tech Museum San Jose, US. Super Flying Tokyo Tokyo, JP. Punto y Raya Festival Reykjavík, IS.2013 CreativeCode.io San Francisco, US. 2012 MonarchSan Francisco, US.

 

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Matt Calderwood – Interrupted Projections sees 3D and 2D meet with direct prints taken from 3D and presented in 2D.  A simple yet effective translation which creates a dialogue between the two dimensions.  It is however the decisions and errors in this translation that intrigue me, like with a lot of visual attraction its the flaws that have the detail and interest.  This exhibition for me portrays this in a straight up fashion, with such simplicity leading to so much more.  The 2D prints deliver new narratives and readings of what came before.
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Matt Calderwood
Interrupted Projections

opening Saturday 1 March 2014, 6–9 pm
exhibition 2 March – 12 April 2014
Wednesday–Saturday 11 am – 6 pm and by appointment

Sommer & Kohl are pleased to present the first solo exhibition of new works by British artist Matt Calderwood (*1975 Northern Ireland).

The title of the exhibition Interrupted Projections refers to mapmaking processes which translate the curved, three-dimensional terrestrial surface onto a flat, two-dimensional plane. No map projection can preserve shape and size simultaneously, and the larger the mapped area, the more pronounced the total distortion. Interrupted maps were developed in order to represent specific map characteristics more accurately or to achieve the best possible compromise for certain sections of a map.

Calderwood is interested in the fact that compromises are necessary when transferring a three-dimensional surface onto a two-dimensional plane. Where does the space between a sculpture and its flat representation get lost? Recently the artist has been producing printed images from a range of rubber and plywood sculptures using printers ink and household gloss paint on large sheets of paper. These works have always recorded one side of the sculpture resulting in something like a drawing of the object.

For Interrupted Projections, Matt Calderwood deals with the object’s entire surface. His central theme, how to follow the logic of objects with an economy of means, is always present in the background. For the exhibition, the raw plywood form is painted on all sides with gloss paint, placed onto a tyvek sheet and wrapped on all sides with the material. After a few moments the now gloss printed wrapping is removed and both it and the sculpture are left to dry. This process is repeated several times. The sculpture hereby becomes subject, tool and object for the image production.  At the same time the images resulting from this process are like a set of maps for the sculpture. Like a cartographer’s interrupted projection where there are cuts in the image to allow the flattening of the globe’s surface with minimal distortion, the necessary folds in the fabric as it negotiates the three-dimensional surface create similar interruptions and compromises within the prints.

Matt Calderwood lives and works in London. 2013 he had solo exhibitions at the De La Warr Pavilion in Bexhill On Sea (UK) and at Baltic 39 in Newcastle upon Tyne (UK).

For further information and/or images please contact Sommer & Kohl.

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I am drawn to the works by Pablo Valbuena by the way he allows the viewer to straddle both the real and virtual/digital realms.  His subtle carefully placed interventions are eloquent and respond to the existing patterns of the architecture whilst break and ask the the viewer to build understanding through their own experiences.

Here is the article written on the Creative Application website:

Created by Pablo Valbuena, Time Tilings are four site-specific interventions created for Artefact festival, STUK Kunstencentrum. Leuven, BE in 2013. Like in most of his projects, time tilings is about time, space and perception. He explores the overlap of the physical and the virtual, the generation of mental spaces by the observer, the dissolution of the boundaries between real and perceived, the links between space and time and the use of light as prime matter.

Time Tilings includes projection mapping onto existing surfaces that are physical patterns in themselves. The projections add a new dimension of time where the projected geometries are carefully and precisely mapped over the physical ones. The installation is site-specific each time, formulated as a direct response to the perceptual qualities, physical conditions and surrounding influences of a certain location or space.

Architecture is judged by eyes that see, by the head that turns, and the legs that walk. Architecture is not a synchronic phenomenon but a successive one, made up of pictures adding themselves one to the other, following each other in time and space, like music. — Le Corbusier. Modulor I.

Project Page | Pablo Valbuena

See also quadratura and para-site [mattress factory]

Pablo is a visual artist with an architectural background. Born in Spain and currently based in the south of France (Toulouse), his work has been presented internationally in public and private institutions, biennials and galleries as exhibitions and site-specific commissions. He has developed large-scale interventions in the public space in locations across Europe and America.

 

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re:post from http://we-make-money-not-art.com/archives/2013/07/thermal.php

Written by Regine on July 26, 2013

One last project exhibited a few weeks ago at the Sight + Sound festival in Montreal. You might remember that a while ago I interviewed Arthur Heist about the workshopAnalyze Dat: TOR Visualization & online black markets. Before that, i talked with Nicolas Maigret about The Pirate Cinema.

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This time, i had an exchange of emails with Mario De Vega to talk about Thermal, a performance in which he uses microwave ovens to alter the molecular composition of different materials. The work also uses custom-built hardware to sonify the electromagnetic activity produced by the overheating of the content of the ovens.

Hi Mario! Thermal is an audio-visual performance in which several objects are modified using a microwave oven. Now I’m sure you’ve been asked that questions many times but isn’t it dangerous to put objects inside a microwave? The photos from the performances look a bit on the hazardous side to me. Do you have to take certain precautions?

I over-expose danger and confront human vulnerability through a frontal situation. Security advices are given before the performance starts and audience are free to leave the room. I give information and advice of possible danger.

Of course, by overheating a device which development comes from radar technology research from WWII, confronts a complex paradigm: the oven could explode during the performance, gases are highly toxic and electromagnetic activity aim to be materialized thorough acoustic pressure.

Thermal is a confrontation with our own vulnerability using an electronic device that mainly everyone can recognize, a device that modified nutritional facts, social interaction and climate. The action has a political content itself without intending being political as principle. It confronts and intimidates through presence, ambiguity, over-exposed information and acoustic pressure. It also has a visual aim. I’m interested in how electronic devices or arrangements suggest context through ambiguity, in other words, I’m interested in producing events and situations in which codes are visible but not completely “readable”. We could be able, in this case, to recognize an object (microwave oven) but our understanding of things reduce our approach, resulting in a situation with dislocated semantic structure in which things are there, frontal and visible and more over we can not understand what is happening.

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During the performance, you put materials such as wax, ceramic, magnesium, carboxylic acid, pvc, etc. inside the microwaves. Could you describe how some of them react? Did any of the material you used react in a way you did not expect?

This has mainly a sculptural mean; with Thermal I’m interested in research materialization, irritation and modification as main topics. I modify materials, amplify, expose the process and materialize the results through different outputs. Technically, by irritating the molecular composition of matter, microwaves reflection change by absorption. We can think this in terms that certain materials absorb more than others, and here absorbing means less reflection and less dynamic range in an audio event.
We can understand amplification through four semantic layers.

The first one has the aim to amplify electromagnetic activity, high frequency mainly into the 2.4 GHz range. For this I use SNUFF and LIMEN, electronic devices based on logarithmic detectors used to demodulate high spectrum electromagnetic signals into a human audible ranges.

The second later is luminal activity. Using mainly a custom amplifier (BABEL) to convert lumens into sound.

The third part is electro-mechanic, using mainly a contact microphone to amplify friction and mechanic activity produced by the oven, rotating plate movements, for example.
The forth and last is probably the most dynamic part, reduced in a switch. On / Off. I turn on and off the device in order to maintain tension and produce a dynamic event.

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Window of the microwave oven during performance

More generally, could you describe what is going on during the performance? What can the audience see, smell and hear?

What you hear is mainly activity that in a normal situation humans would not be able to codify as acoustic pressure. I use electronic media to demodulate, amplify and over expose highly toxic electromagnetic pollution produced by an electro-domestic device used by 40% of the population worldwide. Burnt plastic and overheated corrosive materials are toxic; smell is an important issue for Thermal.

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Moscow Biennale, Moscow, 2009

If I understood correctly, the main instrument for this audio-visual performance is the microwave oven. Did you have to modify the household appliance for the work?

No, the ovens are not modified. This would be a very complex and even dangerous task. For me it’s even more interesting to use the devices as they are, I just simply amplify its activity.

Any upcoming project, event or research field you’d like to share with us?

Probably I should then here expose deeply my apologizes to delay this interview so long. I’ve been working in a solo exhibition in Mexico City during the last two years (SIN); the opening was on the 20th of June in a Museum located downtown namedLaboratorio Arte Alameda. It’s composed by 6 site-interventions, curated by Carsten Seiffarth and a retrospective salon curated by Michel Blancsubé.

An upcoming publication compiling 10 years of my work will be published this month, and an editorial project about thermal must be finished this year, as well as a vinyl edition with artkillart.

Thanks Mario!

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If you’re curious about Mario’s work, head to Berlin Art Link, they recently visited the artist’s studio.

Other works exhibited at Sight and Sound, a festival produced by Eastern Bloc in Montreal: Analyze Dat: TOR Visualization & online black markets and The Pirate Cinema, A Cinematic Collage Generated by P2P Users.

Photo on the homepage: © Kimberley Bianca / transmediale. All other images courtesy of the artist.

 

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