Spiral Tribe 23.1



Title: Spiral Tribe 23.1

Artist: Anne de Vries

Year: 2020

Size: 201 x 151 x 3,5 cm

Material: Photography, UV print, gesso, acrylic paint, cotton canvas, aluminum stretcher.

Shelter at the Chelsea piers


Title: Shelter at the Chelsea piers.
Artist: Anne de Vries
Year: 2020
Size: 200x150cm
Material: linen canvas, gesso, acrylic paint, UV print. Oakwood artist frame. Photography of trees at what is left of the Chelsea piers in New York, with hands from the Rat God drawn by Richard Corben, presenting us a Paris apartment rendered by Bertrand Benoit.

EC type-examination – CE marking Directives

Title: EC type-examination – CE marking Directives

Artist: Anne de Vries

Year: 2020

Size: 166×126

Material: Cotton Canvas, Gesso, Photography at Party store Deiters on Alexanderplatz in Berlin, CG render, UV printing, aluminum frame, acrylic paint.

NAR-CO-TEK-NO


Title: NAR-CO-TEK-NO
Artist: Anne de Vries
Year: 2018
Material: Polyutherane, ink, acrylic paint, laser print.

Hive Mind Mosh Pit

Title: Hive Mind Mosh Pit

Artist: Anne de Vries

Year: 2020

Material: linen, gesso, aluminum artist frame.

UV print, CGI and photography of plants from REWE,

aggressive cartoon bees and hornets.

CAVE2CAVE 2019

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Title: CAVE2CAVE
Artist: Anne de Vries
Year: 2019
Dimentions: 150 x 100 x 3,5 cm
Material: mirror coated pvc, with Print (UV-RGB-W) on Aluminium P35 stretcher, and inside an aluminium artist frame.

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ARTIST: ANNE DE VRIES
YEAR: 2019
DIMENSIONS: 150 x 100 x 3,5 cm
MATERIAL: PRINT (UV-RGB-W) ON MIRROR COATED PVC, ON ALUMINUM P35 STRETCHER 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

Title: The Anthem : Lost in Tech, Time and Space
Artist: Anne de Vries
Year: 2018
Material: steal, polyethene, coating.
Size: 598 x 134 x 125 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