Clinic A // 2019
Curated Art Selection
During the last decade we feel technology should be everywhere and nowhere at the same time, perfectly integrated into our everyday experience in our homes and living spaces, without intruding. The future art audience has technology in their everyday life; through technology they experience the world around them, and this is what connects them to one-another.
The Premium Package presents gorgeous 4K digital art, an eye catching experience that allows your guests to linger for more than just a moment...
In Cézanne Unfixed, the relationship between the painting and the museum in the installation photograph is blurred. In his time, Cézanne was influenced by developments in science to challenge the ways of modelling space and volume, and this artwork continues that work. The brushstrokes of Cézanne break from their canvases to inhabit the spatial dimensions of the museum while the architecture flattens into the surface of the image plane. While old barriers are fractured, new barriers are created in the medium of this artwork, the digital video file.
Jardins d’Été #1
An homage to the the tradition of French Impressionism and the late works of Claude Monet, "Jardins d'Été" investigates the ways in which nature is observed, studied, and synthesized with and through technology. The gardens at the Château de Chaumont-sur-Loire serve as a point of departure, as Quayola employs an extensive technological apparatus to represent and abstract floral landscapes. Filmed at night with high winds, precise movement is transformed into gestural motion, composition, and color schemes, emulating impressionistic brushstrokes.
Void Season Extended Version
“Void Season” is a simulated fashion project. Part dreamlike theatre, part lateral cargo cult hustle, a quick succession of bold garment designs acts as an ersatz runway show. In a minimal set of solid backdrops, radiant colors and oblique choreography second the exquisite design of costumes that have been entirely artificially generated. A wealth of custom procedural surface detail emphasizes the uncanny rift between the realistic presence of the guises and the abstract vacancy of the digitized human movements.
Nico Tone Collective
Old Plum Blossom
Digital interpretation of a work by Japanese old master Kano Sansetsu. The massive black trunk of an ancient plum tree with bending, twisting branches spans nearly sixteen feet across four sliding panels. The reptilian old tree sprouts blossoms, which convey the atmosphere of a cold early spring morning and symbolize birth and renewal. These panels originally formed one wall of a room in the Tenshōin, a subtemple of Myōshinji, a Zen temple in Kyoto. During the 1880s, they were sold to a private collector and trimmed at the top to conform to the smaller dimensions of his home. On the reverse of these panels was a composition depicting the Chinese theme of the Eight Daoist Immortals, which formed a wall in the adjacent room.
Is a scientific visual experiment / data visualization art, using brain waves data to drive particle motion in space. Made from a 42 Seconds recordings of the artist’s Alpha, Beta, Gamma & Theta brain waves while meditating, The data was challenged and studied based on numerous scientific researches recognizing patterns and ranges where the brain is more imaginative and focused. Based on the study of the different brain wave channels, the latter were categorized and analyzed to amount present of right brain activity and its volume (amplitude). Isolating the ranges from each channel of when they were more meditative ,imaginative and creative, The cataloging of the different bands of the measured brain waves is at the basis of the work, where from personal reflection through meditation a level in the middle brain, where both left and right hemispheres meet, arises. This work is a personal reflection of emotion and science, as they manifest in space, and spread through motion.
Nico Tone Collective
An infinite flow of organic movement out of time and space. Digitally generated ode to the hidden appearance of the gold shift.
Nico Tone Collective
The Silent Lake
A subtle digital interpretation of a work by the American painter John Frederick Kensett, George Lake. Kensett visited Lake George in the Adirondacks on numerous occasions and made many studies of the area. This work is based on Kensett's original painting, which is the largest and most accomplished treatment of the subject, as well as a fine example of his mature style. He has taken considerable liberties with the topography in composing the work, but certain specific sites can be identified. Kensett's vantage point was probably from Crown Island, off Bolton Landing on the west shore, looking across the lake northeast toward the Narrows. The distance has been substantially reduced in the representation, some of the islands have been omitted, and others relegated to the shore. Nico Tone echoes the original oil painting qualities and composition, while transforming it to the digital realm and allowing the landscape and its inhabitants to come to life.
Digital Death, 2013, 20 minutes, looping
High definition 1920 x 1080 p
3D animation Installation
life-sized projection or framed monitor
Digital life is ultimately flawed and fleeting, even more so than biological life. From the moment of creation, digital life is marked by myriad glitches and a rapid descent into obsolescence. Hence digital life is no more than a mere illusion for a more base reality, that which is Digital Death. This work was created by embracing ideas that seem to be contradictory by simultaneously using two sets of paired software tools, on two separate pieces of software that are oppose one another. The first set employs a biological growth algorithm. What I did was to both "grow" and "ungrow" a cherry tree simulation at the same time. The second set regards the passage of time. I both added and removed time simultaneously, using editing software. By using tools that exist in paradoxical relation to one another, I created a Taoist tree that eats itself even as it is being born, endlessly cycling - in a state of Digital Death. The piece was first shown in a two-person exhibition entitled Rendering Time, with the artist and my former student, Alex M. Lee at Gallery Dos in Seoul, Korea. A catalog written by Nicholas O'Brien discusses our work in the context of contemporary media, representation and proposes that digital structures necessitate a contemporary version of the historical concept of the Sublime. Download: https://files.cargocollective.com/7657
Ectopic is proposing to blur the lines between organic matter, live organism and wearable artifact: Clothes become colonies of engineered bacteria to populate the naked skin of humans. Abstract conceptual photo realism.
Production year: 2009
Length: 12:58 minutes
In the video Coral, we are captivated as viewers by what can best be described as a moving abstract painting with allusions to both traditional romantic, atmospheric paintings and chemical processes. With seductive imagery in a meditative pace, we are faced with cascades of colours that slowly appear to assume the shape of organic forms such as plants, smoke, clouds, explosions or, as the title suggests, corals. Paintings in motion Inspired by science and our experience of forms in nature, Tone Bjordam has for many years been working with video and photography projects visualising the movement and progression of liquid colour in fluids and unfolding organic forms. She stages controlled, yet playful experiments and creates imaginary landscapes and paintings in motion. She started using this technique as a student at the Art Academy in Oslo (2001-2007). Her first exhibited video with this technique was Liquid Landscape in 2005. A dark and gloomy landscape appears from the horizon and a cloudy weather system seems to build up around it. From there she moved on to make big format photographs of different liquids and in 2009, she made a video entitled Coral. In contrast to the dark, black and white, Liquid Landscape, Coral is bright and colourful. Coral won the People's Choice Award in all of the Carnegie Art Award exhibitions in 2010 in Denmark, Iceland, Finland, Sweden and Norway.
In “EDF” the Chilean Patagonian landscapes from the “Torres del Paine National Park” are the main protagonists. As the video develops the images are slowly been deleted. The intervention consists in a “monumental black block" that literally blocks the landscape images. What we finally see is similar to the logic of the “fade to black” transition, the difference here is that not only the two-dimensional image fades to black, but also the topography is gradually covered. One of the main ideas in the project is the problem of digital representation, in the context of what some people calls the “post-photography era”, where the images are no longer a representation of reality, but a way of reality itself. The annulation of the geography in the screen is an effort for making a simple visual but symbolically strong intervention that make us aware of the instability of the representational surface.
Fire Mountain is a digital animation from Ludy’s ongoing series, Clouds (2011 - present). This series employs computer imaging programs to generate animated paintings. Dozens of painterly compositions are layered to create tangible textures, referencing the desire for virtuality to manifest physically.
Yellow Pink Blue Clouds
Yellow Pink Blue Clouds is from the ongoing series "Clouds" (2011 - present). This series employs computer imaging programs to generate animated paintings. Yellow Pink Blue Clouds is composed with multiple layers of animation, simulating atmospheric clouds reminiscent of the sublime found in Romantic painting. *Site-specific resolution. Exhibited on the facade of the Drake Hotel in Toronto for Nuit Blanche, 2014
Joe Hamilton (b. 1982 Tasmania) makes use of technology and found material to create intricate and complex compositions online, offline and in-between. His recent work questions our established notions of the natural environment within a society that is becoming increasingly networked. Hamilton holds a BFA from the University of Tasmania and an MA from RMIT in Melbourne. His work has been included in recent group exhibitions at The Moving Museum Istanbul, The Austrian Film Museum, Kunsthalle Düsseldorf and The New Museum in New York.
Quayola employs technology as a lens to explore the tensions and equilibriums between seemingly opposing forces: the real and artificial, figurative and abstract, old and new. Constructing immersive installations, often at historically significant architectural sites, he engages with and reimagines canonical imagery through contemporary technology. Hellenistic sculpture, Old Master painting, and Baroque architecture are some of the historical aesthetics that serve as a point of departure for Quayola’s abstract compositions. His varied practice, all deriving from custom computer software, also includes audiovisual performance, video, sculpture, and works on paper.
ZEITGUISED is an art and design studio conjuring exquisite realities, at the intersection where digital and physical space meet.
ZEITGUISED have been influencing synthetic image making since 2001, with an approach connecting formal and conceptual design, oscillating between cerebral tickle and poetic flavours. The work of the collective often bears character like abstractions, brandishing a unique blend of digital animism carried by hallucinative narratives of shape, color and behaviour relations.
Nico Tone is a collective of media artists based in Asia. Their artistic practice comes from exploration of relationships between traditional fine art and new emerging technologies. Nico Tone’s works include video-paintings, interactive and generative experiences.
Ronen Tanchum creates works at the intersection of art, technology and interaction, and explores the encounter between perceptions of human , social reality and between digital and physical experiences.
Claudia Hart emerged as part of that generation of 90s intermedia artists in the “identity art” niche, but now updated through the scrim of technology. Her work is about issues of the body, perception, nature collapsing into technology and then back again. Everything is fluid in it including gender. She considers it Cyborg-ish, creating liminal spaces, and is in love with the interface between real and unreal because it is space of contemplation and transformation.
Norwegian artist Tone Bjordam makes projects related to nature, perception and science. Bjordam works with video, animation films, nature photography, abstract and nature-inspired paintings, intricate, detailed drawings and sculpture installations. She has Masters Degree in Fine Arts from Oslo National Academy of the Arts and her work has been on display in numerous countries around the world. Bjordam is particularly interested in finding ways to communicate science through art, especially the wonder that drives science.
Nicolás Rupcich studied his Bachelor of Arts degree at the U. Finis Terrae, has a Master's degree from the University of Chile and Meisterschüler in Medienkunst at the Hochschule für Grafik und Buchkunst Leipzig. Rupcich works mainly with photography, video and installation, his work focuses on issues related to digital image postproduction and technologies related to image production today.
Sara Ludy’s practice investigates the confluence of the physical and virtual. Her works include websites, animation, video, sculpture, and audio-visual performance. Traversing the online virtual world Second Life, Ludy photographs domestic interiors, landscapes, and other scenes that are iconographically familiar, yet feel otherworldly. Alongside this practice, she three-dimensionally renders architectural forms and sculptures, each one imbued with the mysticism of the digital uncanny: a space between what is known and unknown, within reach but just out of grasp.