Archive for the 'art' Category

Installation hyper-spaces

Saturday, April 7th, 2007

Project>

Installation hyper-spaces> with Jamil Mehdaoui + Claire Gasteuil

Installation Concept> ANTONELLO da Messina: St Jerome in his Study, 1460

Future Exhibition: Ars Virtua New Media Center II

Wednesday, March 28th, 2007

[part I: WHAT? & WHY?]
part II:

HOW? « What can’t be seen, must be Shown »

Artists developing machines & spaces
–the representational devices capable of instilling desire–
engaging in-world creation to an emergent universal grammar, composing a unique material construct for these virtual territories.

Exhibition flow: The exhibition attempts to engage visiting avatars as project participants. By interacting with the installation infrastructure, they will actualize its content. The project proceeds in five steps :

  1. Teleports send visiting avatars to distant Second Life sims that contain functioning project infrastructure, the spaces and machines designed to extract in-world data. Three land-types are used in the project, each possessing unique characteristics to ensure a multiplicity of data, image and spatial types:pockets: small, dense, interstitial; scapes: landscapes, e-scapes, scape-lands, capable of producing social-spatial imagery; and, territories: from a boundless space into an oriented, sustainable Place.
  2. Avatars use HUDs to capture and send project data back to the gallery. The HUDs are provided throughout the gallery and worn by participating avatars. When visiting a distant project sim, the HUD facilitates data extraction by creating screenshots, then automatically sending the image data back to the Ars Virtua gallery. The HUDs are programmed to extract project data that is embedded in the captured image.The participating avatar uses the HUD to compose, frame and capture a point-of-view. Each POV contains unique data, meta-data and images, composing a unique representation of the project. The HUD employs data analysis algorithms to separate in-world data concerning the deep structure of distant sims, captured by the image, from the graphic information.
  3. Captured information and images are sent back to the gallery. Ornament is created from this data that serves as the spatial support for its content. The form and proportion of these objects are generated by an analysis of the captured data. Prims are auto-rezzed in the gallery space upon reception of the information sent by the avatar’s HUD. Ornament is composed by the subsequent images and data being mapped to these forms, which are then placed into the exhibition infrastructure –size, placement and shape of these objects are determined from the data being sent back to the gallery. A correspondence is made between where the data was taken and what it tells us about the distant territory and its placement in the gallery space.
  4. The avatar is provided with a return teleport to rejoin the exhibition space. In her brief absence, the exhibition has been transformed by this interaction; her choice of composition, POV and image determines the way in which this transformation has been carried out.
  5. Visitors moving through the gallery space, over, under and within its formal-textural construct, make critical connections between in-world conditions and deep structures of disparate SL environments that are represented.The spatial and informational content of the exhibit is composed by a synthesis of texture and form, space and text. Avatars trace a path through the exhibition space, composing content in their wake.

Creating a feedback loop involving avatars is a reflection of the necessity to create meaningful space through presence and participation. Foist into the role of the exhibit’s connective tissue, its agent, avatars relay subjective points-of-view from distant SL territories, assuming their role as an in-world medium, a conduit of information.

The tool employed by the avatar, that which ties together the diverse content of the exhibition media, is the Image.

continue reading about the exhibition’s GOALS, OBJECTS & REFERENCES (more…)

Of objects in space or in time

Sunday, January 28th, 2007

Matthew Barney is an artist who most ostensibly uses film as his most visible expressive media, but he considers himself foremost a sculptor. This seems like a rather disproportionate statement given the panoramic scale of his films, in relation to the containment of his sculptural work. Perhaps I’m reacting to an image or memory of the sensation his films leave me with (and I’ve seen all five films from the Cremaster Cycle + Drawing Restraint) but in relation to the broad narrative spaces and profound color fields with which he films, his sculptures don’t have the same force. Nor apparently, were they intended to.

“These three-dimensional works are not cinematic relics or props, but incarnations of the characters and settings. They exist separately from the films, but carry the same content… these stories are a way of creating a narrative out of which sculpture can come… They exist independently from the films, but embody the same content—now expressed in space rather than time.” [Matthew Barney at the Babylon Theatre Transcript]

Image from Matthew Barney’s film “Cremaster 3″ showing the charactor Hiram Abiff (or the Architect) played by sculptor Richard Serra, in his atelier.