Login, for two



Login, for two


Year: 2013
Size: 260 x 65 x 160 cm
Material: Stainless steel, digital print on polished and milled Plexiglas.

Copyright: Anne de Vries  

pink glasses

At the Shores



Year: 2013
Size: 65cm x 160cm
Material: Digital prints, framed

For some time I have gathered computer generated information about the far future online. While many of the events assigned to these random dates will probably not take place, some other predictions for example by NASA are more likely to take place.

Around the Eye






Around the Eye
Material: Digital print on extruded polystyrene XPS, plexiglas, aluminium frame

Presentation at Liste, Basel 2014

with Martin van Zomeren
Copyright: Anne de Vries

‘Superficial Hygiene’ at Museum De Hallen in Haarlem



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Foto by GJ van Rooij


All Days of Aquarius


Year: 2011
Size: 188 cm x 42 meter (74.02 x 1653.54 inch)
Material: Solvent print on Vinyl


A calendar presenting every single day of the 2150 year-long time period known as the age of aquarius. Starting with 1962-02-04, it continues into the year 4114. At a length of 42 meters, this piece contains an unusually large amount of precisely generated data. Likewise, the work is usually difficult to present in a regular space. Besides the physical limitations, the task of mentally representing such a span takes us out of our usual anthropocentric perspective, reaching beyond our personal human understanding of the future. This calendar can be exhibited in different ways, rolled up and unrolled as far as possible on the floor or on the wall. In these documentation pictures we see one version almost completely rolled up, and one with the first 16 meters of the 42 long roll exhibited on the wall.The PHP code, written specifically to generate the entire calendar, became an additional work, framed in painted wood and exhibited behind museum glass. 


Air Gap Hold On





Air Gap Hold On


Year: 2012

Material: Stainless steel, Digital print on towel, Digital print on plastic, 

Size: 117 cm x 60 x 8 cm


Air gap (plumbing)
An air gap, as it relates to the plumbing trade, is the unobstructed vertical space between the water outlet and the flood level of a fixture. A simple example is the space between a wall mounted faucet and the sink rim (this space is the air gap). Water can easily flow from the faucet into the sink, but there is no way that water can flow from the sink into the faucet without modifying the system. This arrangement will prevent any contaminants in the sink from flowing into the potable water system bysiphonage and is the least expensive form of backflow prevention.


Air gap (networking)
An air gap or air wall is a security measure often taken for computers and computer networks that must be extraordinarily secure. It consists of ensuring that a secure network is physically isolated from insecure networks, such as the public Internet or an insecure local area network. Frequently the air gap is not completely literal, such as via the use of dedicated cryptographic devices that can tunnel packets over untrusted networks while avoiding packet rate or size variation. Even in this case, there is no ability for computers on opposite sides of the air gap to communicate.


Image Transfers









Image Transfers – Apple, Pear and Banana 
Image Transfers – Apple, Avocado and Lemon



Year: 2012
Size: 160 x 70 cm
Material: Print on photo paper


These two digital prints present their own production tear down, starting as a still-life of supermarket fruit captured by a digital camera, the image travels through the lens, chip, wire, computer components, software, etc. all the way to the printer, until its materialization as ink on paper that is hung with hooks and clips to the wall. The deceptive simplicity of this arrangement is overcoded by an informational panorama that renders visible the circumstances and locations of the chain of production in relation to which the fruit are the end-product eventuations. The inscriptions include the name and address of the retailer and the first responsible production companies involved and are superimposed in small type over the still-life image. Lining up the dynamic roots of this art piece production in todays global economy. 

Katanga Bub at Sandy Brown, Berlin


Press Image



Katanga Bub


Year: 2011
Size: 35.43 x 56.69 inch
Material: Mobile devices glued on a light box displaying a press image of the Katanga mines in the Kongo, rephotographed under water.


The extreme ends of the mobile device industry are brought together in ‘Katanga Bub’.
It is based on a press image depicting the landscape and workers of Katanga, in The Democratic Republic of Congo – an area mined for many minerals like tungsten and coltan, which have been crucial for the manufacture of mobile devices. For this work the press image of the Katanga mines has been re-photographed underwater and set within a freestanding display unit. as water ripples and bubbles float over the surface, distort- ing the scene underneath, the screens of numerous mobile phones show clearer details of the same view of the Katanga mine. The elemental earthy origins of the mines are (re)connected with the liquefied luxuriance of global technology commodities and their marketing aesthetics, to express the easy exchange of information through these devices. This work fuses two opposing but connected ends of the story: on one hand the mobile devices help spread knowledge and raise global awareness, with the false prom- ise of engendering a better world. On the other hand, while the economy of “rare earths” props up the problematic social and political infrastructures of the Democratic Republic of Congo, it also reveals the recursive relationships between matter and information underwritten by the move from production to product; from raw material to data generation. 


The Oil we Eat


The (s)Oil we Eat is a Solo Exhibition at
Martin van Zomeren in Amsterdam.





at Aral GmbH
Dimensions: 241 x 112 x 51 cm
Materials: Earth from Naturpark Hoher Fläming, Aral BlueTronic SAE 10W-40,
Sonax Xtreme antifrost&klarsicht konzentrat Nano Pro, Ignite Vitamin water, Acrylic pipes,
Rubber corks, Stainless steal, Paint.






at Holiday Inn
Dimensions:  318 x 100 x 31 cm
Materials: Purex Laundry detergent, Comfort Lavender laundry softner, Cola Light, Acrylic pipes, Rubber corks, Stainless steal, Paint.




Interface – Musashi
Dimensions: 164 x 124 cm

Materials: 2 digital prints on 2 sheets of Forex, with digital cut outs, painted wooden frame.





at Strani Venice
Dimensions: 225 x 120 x 35 cm
Materials: Aperol Sprits, Chianti, Piatti Detergenti, Acrylic pipes, Rubber cork, Steal, Paint.




at Capbreton Beach
Dimensions: 278 x 190 x 31 cm

Materials: Vinaigre aux herbes, Huile d’olive, Acrylic pipes, Rubber corks, Stainless steal, Paint, Beach sand, Styrofoam.




Interface – Easy Jet
Dimensions: 164 x 124 cm (incl. frame)

Materials: 2 digital prints on 2 sheets of Forex, with digital cut outs, painted wooden frame.



Interface – Il Casolare
Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut outs, painted wooden frame.




at Tête de Rigaud
Dimensions: 98 x 58 x 30 cm

Materials: Soil, Styrofioam, Beer lid, Tiny metal stands.




Copyright: Anne de Vries









Folklore Contemporain Exhibition ll
duo show with wall pieces by Anne de Vries and sculptures by Sebastien Aubry & Dimitri Broquard
at SWG, Glasgow