Steps of Recursion – ICG

anne de vries

 

Steps of Recursion on rail – ICG

 

Year: 2012
Size: 135 x 110 x 75 cm
Material: steel frame, UV print, plastic

 

In this sculpture, a digital print is connected to a steer rail somewhat inspired by those found in airports and subway stations. Functional, stainless-steel street furniture supports a safe and smooth transit. In the digital print we see the reflection of one sneaker becoming the next but same sneaker, bent into shape of small steps which smoothly wiggle from A to B.

Sneakers, can be experienced as a very direct enhancement of the body and are also often branded to embody the spirit to strive further to improve oneself. Recursion as it appears in Mathematics, Biology, and Computer Science, could be seen as the stable factor at the core code of our reality. The question remains to what extend the constant push for adaption and improvement of our species is already included in this equation.

 

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

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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 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.

 

 

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Tunisia Protest Jan, 2011

 

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Hong Kong Protest, 2015

 

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Guatemala Rises Up, May 2015

 

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Martin Luther King Jr. speech in Washington, August 1963

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

 

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Mecca Hajj, Sep 2014

 

 

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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Trails Rising at Fluxia, Milano and Greenroom, London

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Photo by Andrea Rossetti

 

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Trails Rising

 

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. 

 

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

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)
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

 

Steps of Recursion – Tuned

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Steps of Recursion – Tuned

 

Year: 2012
Size: 220 x 150 x 65 cm
Material: Stainless steal construction with photo prints on plastic.

 

In this sculpture, a digital print is connected to a steer rail somewhat inspired by those found in airports and subway stations. Functional, stainless-steel street furniture supports a safe and smooth transit. In the digital print we see the reflection of one sneaker becoming the next but same sneaker, bent into shape of small steps which smoothly wiggle from A to B.