Critical Mass : Pure Immanence at 9th Berlin Biennale and Valentin

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Critical Mass : Pure Immanence

 

Year: 2015
Video: Full HD
Screen 300cm x 135cm
Duration: 11 min loop

 

Camera, Video edit, Lyrics and Music arrangement by:
Anne de Vries and Q-dance

 

including:
Surge, Music by Phill Niblock, Thomas Ankersmit playing Serge synthesiser
a.o. to be updated asap

9th Berlin Biennale June 4 – Sept 14 2016

Oblivion by Anne de Vries at 9th Berlin Biennale

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Oblivion

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.

at the KW location in the 9th Berlin Biennale until September 14th, 2016
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‘Boids’ in ‘Asdzą́ą́ Nádleehé’ Curated by Timur Si-Qin at Andrea Rosen Gallery

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Asdzáá nádleehé
Curated by Timur Si-Qin
December 11, 2015 – January 23, 2016

 

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.

 

 

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Tunisia Protest Jan, 2011

 

Boids Anne de Vries

Hong Kong Protest, 2015

 

 

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Mecca Hajj, Sep 2014

 

“Boids” investigate the emergent behavior of populations. The Nematodelike sculptures depict large religious or socio-politically motivated crowds.
The emergent transformations of populations can also be simulated by artificial life programs such as the work’s namesake “Boids”, a flocking behavior algorithm.

 

Submission at Cell Projects, London

 

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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 harbours conversations between a mediator, commissioned by Vries, to investigate and interview various representatives from special unrelated global institutions ranging from monasteries, shelters, detention centres, swingers clubs and meditation centres. 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 arti cial intelligence where humans become part of the automated tools they use.

 

 

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E_MERGE at Foam Museum ROOM 1

 

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Critical Mass : Pure Immanence

 

Year: 2015
Video: Full HD
Screen 300cm x 135cm
Duration: 12 min loop

 

Camera, Video edit, Lyrics and Music arrangement by:
Anne de Vries and Q-dance

 

Including:
Surge, Music by Phill Niblock, Thomas Ankersmit playing Serge synthesiser
a.o. to be updated asap

 

 

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

 

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Boids

 

Year: 2015
Materials: Polystyrene and UV Printed Vinyl
Dimensions: Various
(this is only a selection)

 

Boids is an artificial life program, which simulates the flocking behaviour of birds.
As with most artificial life simulations, Boids is an example of emergent behaviour; that is,
the complexity of Boids arises from the interaction of individual agents (the boids, in this case) adhering to a set of simple rules.

The Nematode-like sculptures are covered in historical photo documentation depicting large crowds.
This documentation is part of the protest and the process that can change the course of history.

 

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Entwurf zu ‘Kleine Freude’
Study for ‘Small Pleasures’
Etude pour ‘Petites joies’
2015

 

 

 

 

E_MERGE at Foam Museum ROOM 2

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HYDRA 5
Year: 2015
Dimensions: 50x50x200 cm

 

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

 

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E_MERGE at foam museum ROOM 4

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Steps of Recursion -Tuned and -ICG, Whole World View, Forecast, and All days of Aquarius
documentation by Christiaan van der Kooy