Interest in combining technology and art - finding a connection between science and art - art studio as laboratory
Examples of artists using technology:
Condensation Cube, 1963-1968
Sculpture, 76 x 76 x 76 cm
Condensation Cube (1963-1968) is one of Hans Haacke’s earlier works. While over time the artist developed a critique of art as an institution and system, these early works focus on art in the sense of process and physical system. Interested in biology, ecology and cybernetics, in the mid-sixties Haacke was influenced by the ideas of Ludwig von Bertalanffy, especially those outlined in his General System Theory of 1968. For the Austrian biologist and philosopher, a living organism is an open system that continuously changes depending on its dialogue or interaction with the environment. Haacke’s early works, such as Condensation Cube, transpose this concept to the realm of art.
This piece is very captivating in how it combines a minimalist and scientific approach to making
Looking at intersections between art and science
Also makes the audience an active participant as their presence raises the temperature of the room and causes the water to evaporate
Time based works - allow a change throughout the duration of an install - I can consider ways in which I include time based aspects in my own work
Utilise different sources of information - visit talks or seminars on digital technologies in art
Inclusion of material components that are interactive through electronics
Electronic sculptural integration
What is the key thing I am interested in with mechanics
Chico MacMurtrie
Chico MacMurtrie, Robotic sculptures
Robotics artists – processes and technologies are still useful reference –
Zimoun – avant garde minimalist sculpture and music – metronomic work
steve reich – minimalist composure
Haroon Mirza
Haroon Mirza, The National Apavilion of Then and Now, Ikon Gallery
juncture between sound and image – make sounds – similar to foley artist
creating physical spaces
time based quality that react to people entering a space
psychological - creating oppressive environments - change the emotional responses of the audience
https://www.a-n.co.uk/media/52481916/
list of artists
Sholto Dobie
Maddie Banwell and Grace Black
Basking Spot, 2022. Grace Black.
industrial, messy aesthetic
creating physical objects that contain electronics such as light, sound and movment
useful reference for considering how I incorporate my own electronics into my sculptures
Secluded Brontë
Performance artists
Supernormal – festival at oxford – contemporary fine art and musicians – experimental music
Conrad Shawcross
Series of light works
incorporating mechanisation
Large scale that takes up entire space - work is not too crowded and illuminates the room
Elements of science fiction - appears like a pointless object with no apparent purpose - I like how this could be applied to my own work - there is something quite profound and radicicolous about an object that is so perfectly crafted but is pointless.
Sun Yuan and Peng Yu
Can't Help Myself
Machine – bodily and oppressive
The instant transformation of the hose into a deadly threat points to certain paradoxes of freedom: first, when unleashed, a powerful aspiration toward liberation may not spare blood or sacrifice, and second, in some societies, so-called freedom often takes shape in a very prescribed manner. Can’t Help Myself (2016), which engages a programmed robotic machine to evoke the conditions of surveillance and warfare surrounding border control (Guggenheim, 2016).
Rebecca Horn
– kinetic sculptural
Black paint over flying books – books act as a documentation. Relationship between contextual archive that is in movement
Rebecca Horn, Flying Books Under Black Rain Painting
Sense of poetics in work
Looking at haptic movement
Elements of chance
Sporadic movement
Uncontrollable
Reference:
https://hum11c.omeka.fas.harvard.edu/exhibits/show/open-readings/flyingbooks-artvslit#:~:text=O'Brien's%20Trauma-,Rebecca%20Horn's%20%22Flying%20Books%20Under%20Black%20Rain%22%20%2D%20The%20Intersection,rainfall%20painting%20across%20the%20wall.
Guy Osherov aka Guy Dubious – sound and performance based artist – PHD researcher – looking at loops and the breaks within loops
What are these artists relationship between movement in work – why they use kinetic element – does it produce narrative – textual meaning (literary/psychoanalytic?) making references to other forms. Or is it more performative, sound based – like Zimoun – makes dialogue between minimalist sound work – prepared instrument (Cage prepared piano) works in a way that s depednant on the conditions of space. Motors are dependant on different variables – excentuate the movement – chaos theory or butterfly effect. – small effect, Related to minimalist phasing – things beconning in and out of synch – constantly making different patterns
Example Works:
Formal qualities of my own work – which is more important? Aesthetic formalism – adds a playfulness to something austere
Interrupts its serious
Disruption of minimalist heritage sculpture
Why is this disruption important – intentional disruption?
Adding unpredictable element
Could it be connected to the sound in the space – correspond or responding or playing with data that comes from somewhere else? Katie Patterson – who uses scientific data in sculpture
Amplifying a sense – show an energy that is unseen
Show the agency or the energy of a material – audience to engage with a sense of there being an invisible energy
Imperceptible made visible
Laboratory approach – the formal boundaries of the sculpture frame that moment e.g. 2 cement plaques – gives a focus and space a boundary – the break between one thing and another in which to view the activity
Prepared DC motor, string, concrete
Motor sculpture
Passage of time and duration – what are markers of time
Related to Deluezian philiosphy – a continuous loop – does it have any breaks in ti – what makes the break – a distinction between when something begins or ends – framing moments
Point to different interpretations of breaks of an epoch
Finding ways of focusing the viewer to experience an intensity of an action – be attentive
Forcing these sculptures to function – so that we can see what matter does when it is activated
Too vague to just be into materiality – needs another discourse and a focus
Analysing what these interventions are that it causes
How you make the viewer aware of them – tell them that the action is the main event – other parts are there to frame them
Flocked sculpture
Concrete and white flock, 2023
Links to Matthew Barney artist sculpture
very subtle sculpture – having a sense of something having to occur
turning something inert into something living – foundation for a new colonisation
connections to biophilic architecture
spirulina algae – bioplastics
growing algae inside tube – the interacting in space – kinetics and pumps – creating something that is a sculptural form – part of a cycle that you create
create a durational effect
aesthetic based on abstract minimalist sculpture – ideas around phasing
structures themselves could have a relationship with document of time – ways in which the movement can have some narrative relation possibly to an event (connects to algorithm)
Philip glass – phasing in minimalist music and Steve Reich
Yuri Pattison – artist – very digital but utilises data
What kind of data could I be engaged
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