Sculpture for exhibition Hybdrids
at Lustwarande sculpture park in Tilburg, Netherlands
Material: steal, polyethene, coating.
Height: 6 meters
Ketender campaign studies
Works on water colour paper 140lb/300gsm
Winsor & Newton
760 x 560 mm
Campaign for the techno nation
materials: acrylic paint, uv-print, vinyl, aluminum trusst system
14 min, 4 channel audio piece
fiberglass, Paint, latex, synthetic hair, clothing
Public sculpture at Facade 2017 in Middelburg, The Netherlands
Critical Mass : Pure Immanence
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
Surge, Music by Phill Niblock, Thomas Ankersmit playing Serge synthesiser
a.o. to be updated asap
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.
Curated by Timur Si-Qin at Andrea Rosen Gallery
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.
Tunisia Protest Jan, 2011
Hong Kong Protest, 2015
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
Mecca Hajj, Sep 2014
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.