CAVE2CAVE 2019

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Anne de Vries

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YEAR: 2019
DIMENSIONS: 150 x 100 cm
ARTIST: ANNE DE VRIES
MATERIAL: PRINT (UV-RGB-W) ON MIRROR COATED PVC, ON ALUMINUM P35 ARTEL STRETCHER WITH ALUMINUM ARTIST FRAME

 

CAVE2CAVE2CAVE 2019

anne de vries cave2cave

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anne de vries cave2cave

Anne de Vries cave2cave

CAVE2CAVE2CAVE
Artist: Anne de Vries
Year: 2019
Dimensions: 100 x 150 cm
Material: mixed media on mirror PVC, Stretched with aluminum artist frame

Image Transfer : Jalapeños, Rucola, Peanuts, Champignon

Image transfer : Jalapeños, Rucola, Peanuts 
Artist: Anne de Vries
Size: 160x70cm

 

Image transfer : Jalapeños, Peanuts, Champignons
Artist: Anne de Vries
Size: 160x70cm

 

Image transfer : Rucola, Jalapeños, Peanuts
Artist: Anne de Vries
Size: 160x70cm

 

 

The Anthem : Lost in Tech, Time and Space

 

 

The Anthem : Lost in Tech, Time and Space

Artist: Anne de Vries
Material: steal, polyethene, coating.
Height: 598 cm

 

Documentation from: Hybrids curated by Chris Driessen & David Jablonowski at Lustwarande in Tilburg, The Netherlands

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Artist: Anne de Vries
Year: 2017
Dimensions: 8 meter

Public sculpture at FAÇADE 2017 in Middelburg, The Netherlands

Copyright: Anne de Vries

Campaign Tech 2016

 

Campaign Tech 2016
Artist: Anne de Vries
Year: 2017
Materials: acrylic paint, uv-print, vinyl, aluminum trusst system

OBLIVION

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OBLIVION
Artist: Anne de Vries
Year: 2016 and 2018
Materials: Hardstyle event diorama in a scale of 1:87, presenting several texts produced for this installation.
Materials: sand, stones, wood, plastic, aluminum, paint, PVA, styrofoam, miniature advertisement campaign,
miniature graffiti, miniature truss system, miniature LED projector, miniature Hi-Fi system.

 

Exhibition view from the 9th Berlin Biennale at the KW in Berlin, and Fries Museum in Groningen.
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Submission

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Public Cortex by Anne de Vries at Onomatopee, Eindhoven

Public Cortex by Anne de Vries at Onomatopee, Eindhoven

 

 

Submission
Artist: Anne de Vries
Year: 2015
Material: 4 track audio, video recorded live streams, fiberglass, wood.
Dimensions: Variable

 

Inside the first gallery, De Vries pulls together the human psyche by exploding a head into a variety of architectural structures and representations alongside the technology we use to feed thought and communication. Live-streamed screens of global locations take us to far away places, from the congested streets of Times Square, New York City, to a tranquil bird watch in the South American jungle. Time zones are switched to accommodate the viewer’s desire. Each architectural make-shift shelter harbors conversations between a mediator, commissioned by Vries, to investigate and interview various representatives from special unrelated global institutions ranging from monasteries, shelters, detention centers, swingers clubs, and meditation centers. Via a series of discussions and questioning, focusing on the philosophy and mission of each institution, the audio reveals a simulation of codes and rules, which seem to merge into one.
Technology takes an anthropomorphic form and the audio gives shape to distinct places and states of mind that can potentially be entered and fade into each other. The caller’s phrases and vocabulary simulate into fragmented codes of artificial intelligence where humans become part of the automated tools they use.

 

 

Documentation from the solo exhibition Submission at Cell Projects in London, and solo exhibition Public Cortex at Onomatopee in Eindhoven and at Hybrid Layers at ZKM Museum in Karlsruhe

 

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Boids

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Guatemala Rises Up, May 2015

Martin Luther King Jr. speech in Washington, August 1963

‘Je Suis Charlie’ March Place de la Republique in Paris, Jan 2015

Tunisia Protest Jan, 2011

Hong Kong Protest, 2015

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Mecca Hajj, Sep 2014

 

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Boids
Artist: Anne de Vries
Year: 2015
Dimensions: Various
Material:Polystyrene with UV print on Vinyl

 

 

Before they could be used for flight, feathers first appeared on dinosaurs for other, terrestrial purposes such as heat regulation, camouflage or signaling. Blindly, and through the ecstasy of geological timespans, their use was transformed and mortal animals were again granted the power of flight in a new way. In biology the evolution of the feather is an example of an exaptive trait, namely a trait that evolves for use in solving one adaptive problem, but then is at some point retooled or co-opted to serve another. Recent computational models of E.Coli suggest most traits start off as exaptations.

The exaptive trait stands in opposition to the idea that biology or the world is pre-determined. Instead it is wholly contingent. If the forms and functions of heredity can be so fundamentally repurposed and our material, animal bodies transmogrified to fly over mountains and swim beneath oceans, it is because matter is itself inherently open, lacking in essential character or permanent identity. A deep modularity of/and in service to a matter determined to experience all variations of itself.

Whatever functions a structure has today is no clear indication of its function or meaning in the future. At each moment of time, we are new.
Dependently originated, the universe in a unique configuration; empty of essence yet pregnant with unimagined forms and unpredictable capacities. The artworks and objects in this exhibition speak to this ability of the world to transform to its core.

 

Installation views from: E_MERGE at Foam Museum, Amsterdam and Asdzáá nádleehé curated by Timur Si-Qin at Andrea Rosen Gallery, New York

 

 

Trails Rising

 

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Photo by Andrea Rossetti

 

Trails Rising
Artist: Anne de Vries
Year: 2011
Size: variable from 223 cm high up to 12 meters high
Material: Plastic, sand, metal

 

The sculpted totem poles ‘Trails Rising’ are made from a mixture of sand and an epoxy clay which has been marked by the tread of various sneakers. The imprints forged by ergonomic footwear, designed to augment the body, remain as traces forming future terrains. In their profusion the individual prints join and become a pattern across a mutable landscape – as if a multitude of solitary runners meet one another in a collective space, traversing the poles in a direct attempt at transcendence. One reference might be Brancusi’s monumental Infinite Column, built as a WW1 memorial for those who died defending the Romanian city of Targu-Jiu, was created as a means of symbolic ascension to heaven. Through these similar gestures we are presented with a different process based interpretation, opposing Brancussi’s essentialist notion of what enhanced realities could be. 

 

Documentation from  Éric Hussenot in Paris,  Fluxia in Milano and The Composing Rooms in London

 

Read also:
UNIQUE, UNIQUE-ER, UNIQUE-EST by Agatha Wara

Metropolis – Gillette’s vision

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HYDRA 5
Artist: Anne de Vries
Year: 2015
Dimensions: 50x50x200 cm

 

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Rechts und Links
Artist: Anne de Vries
Year: 2015
Dimensions: 20 x 70 x 40 cm
Materials: Metal Hardware, digitaly printed Plexiglass
and GILLETTE FUSION PROGLIDE FLEXBALL RAZORS

 

Steps of Recursion – Tuned

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Steps of Recursion – Tuned
Artist: Anne de Vries
Year: 2012
Size: 220 x 150 x 65 cm
Material: Stainless steel construction with photo prints on plastic.

 

In this sculpture, a digital print of one sneaker melting into another one is connected to a steering rail,
and bent into the shape of small steps, wiggling from A to B.  

Steps of Recursion – ICG

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Steps of Recursion on rail – ICG
Artist: Anne de Vries
Year: 2012
Size: 135 x 110 x 75 cm
Material: steel frame, UV print, plastic

 

In this sculpture, a digital print of one sneaker melting into another one is connected to a steering rail,
and bent into the shape of small steps, wiggling from A to B.

 

Documentation from  Éric Hussenot in Paris, Martin van Zomeren in Amsterdam and Fluxia in Milano