CAVE2CAVE2CAVE
ARTIST: ANNE DE VRIES
YEAR: 2019
DIMENSIONS: 150 x 100 cm
MATERIAL: PRINT (UV-RGB-W) ON MIRROR COATED PVC, ON ALUMINUM P35 STRETCHER WITH ALUMINUM ARTIST FRAME
Projects Exhibitions
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
The Anthem : Lost in Tech, Time and Space
Artist: Anne de Vries
Material: steal, polyethene, coating.
Height: 598 cm
Documentation from: ‘Hybrids‘ curated by Chris Driessen & David Jablonowski at Lustwarande in Tilburg, The Netherlands
Ex
Ex
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
Critical Mass : Pure Immanence
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: AquaDome, LPIN-AX, Phill Niblock, Thomas Ankersmit, a.o.
Video stills and Documentation from the 9th Berlin Biennale at KW, Nuit Blanche Paris, Cell Projects London, Fries Museum and Foam Museum
OBLIVION
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.
Submission
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
Boids
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
Mecca Hajj, Sep 2014
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
Trails Rising
Photo by Andrea Rossetti
Trails Rising
Artist: Anne de Vries
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.
Documentation from Éric Hussenot in Paris, Fluxia in Milano and The Composing Rooms in London
Read also:
UNIQUE, UNIQUE-ER, UNIQUE-EST by Agatha Wara
Eye Catchers
Eye Catcher 03
Artist: Anne de Vries
Dimensions: Various
Materials: Coated steel, polished plexiglass and spiderweb Copyright: Anne de Vries
On view at Twenty Thousand Years of Yarn curated by Rubén Grilo at Future Gallery Berlin
Metropolis – Gillette’s vision
HYDRA 5
Artist: Anne de Vries
Year: 2015
Dimensions: 50x50x200 cm
Rechts und Links
Artist: Anne de Vries
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
Steps of Recursion – Tuned
Artist: Anne de Vries
Year: 2012
Size: 220 x 150 x 65 cm
Material: Stainless steel construction with photo prints on plastic.
In this sculpture, a digital print of one sneaker melting into another one is connected to a steering rail,
and bent into the shape of small steps, wiggling from A to B.
Steps of Recursion – ICG
Steps of Recursion on rail – ICG
Artist: Anne de Vries
Year: 2012
Size: 135 x 110 x 75 cm
Material: steel frame, UV print, plastic
In this sculpture, a digital print of one sneaker melting into another one is connected to a steering rail,
and bent into the shape of small steps, wiggling from A to B.
Documentation from Éric Hussenot in Paris, Martin van Zomeren in Amsterdam and Fluxia in Milano
Whole World Overview
Whole World Overview
Artist: Anne de Vries
Year: 2011
Size: 220cm
Material: UV print on dibond and 4mm Plexiglass
Satellite photograph of The Whole World by NASA, stretched into a circle (North Pole against South Pole)
equable to the ancient Sun Cross or Sun Wheels.
Documentation from Future Gallery Berlin
Image Transfers
Image Transfers – Apple, Pear and Banana
Image Transfers – Apple, Avocado and Lemon
Artist: Anne de Vries
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 materialisation 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 today’s global economy.
Exhibition views from, Winterthur Museum in Winterthur, Frans Hals Museum in Haarlem, Foam Museum in Amsterdam, Sandy Brown in Berlin and Nest Museum in Den Haag.
FORECAST
FORECAST
Artist: Anne de Vries
Year: 2011
Material: HD video projection
Size: 3 meter x 135 cm projection screen
Length: 5 minute Loop
Sound: James Whipple (aka M.E.S.H.)
Technical assistance: Timur Si-Qin
Text: Parts from Bertrand Russell’s ‘A.B.C. of Relativity’ Philosophical consequences
Watch the online version of FORECAST here
‘Forecast’ is a computer-generated video in which the camera is panning through photographs of a blue sky with clouds photographed over Amsterdam.
There is a slow voice that takes us through specific segments of Bertrand Russell’s book “ABC of Relativity” in which Russell explicates differences between actuality and perception.
Addressing relativity theory and concepts of space-time. Halfway through the video, the reading of Bertrand Russell’s text turns into music, leading the viewer into a more associative experience.
Documentation views from Kunsthal Charlottenborg in Denmark, Max Mayer Gallery in Dusseldorf, and E_MERGE at Foam Museum
CAVE2CAVE
CAVE2CAVE
Artist: Anne de Vries
Year: 2011 – 2019
Size: 130 x 100 cm (60.63 inch x 33.46 inch)
Material: UV print on mirror foil, aluminum frame
Photographs of wrinkled reflections of cave paintings and UV-printed on mirror foil on a stretcher.
INTERACE
Interface – Musashi
Artist: Anne de Vries
Year: 2014
Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut-outs, painted wooden frame.
Interface – Easy Jet
Artist: Anne de Vries
Year: 2014
Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut-outs, painted wooden frame.
Interface – Il Casolare
Artist: Anne de Vries
Year: 2014
Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut-outs, painted wooden frame.
Interface – Downstairs
Artist: Anne de Vries
Year: 2014
Dimensions: 164 x 124 cm
Materials: 2 digital prints on 2 sheets of Forex, with digital cut-outs, painted wooden frame.
Exhibition views from Folklore Contemporain Exhibition ll with sculptures by Sebastien Aubry & Dimitri Broquard at SWG in Glasgow
and Martin van Zomeren and Frans Hals Museum
Mind Management
Mind Management
Artist: Anne de Vries
Year: 2013
Size: 200 x 65 x 175 cm
Material: Stainless steel, digital print on plexiglass.
Copyright: Anne de Vries