Image Transfers

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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

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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

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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.

 

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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.

 


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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

Places to see

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Places to see
Artist: Anne de Vries
Year: 2013
Size: 260 x 65 x 160 cm
Material: Stainless steel, digital print on polished and milled Plexiglass Unique

Copyright: Anne de Vries

Login, for two

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Login, for two
Artist: Anne de Vries
Year: 2013

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

Viewfinder

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Viewfinder
Artist: Anne de Vries
Year: 2013
Material: Stainless steel, Pink Plexiglass, Key, Rubber medical tubes
Size: 45 x 65 x 175 cm

At the Shores

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At the Shores
Artist: Anne de Vries
Year: 2013
Size: 65cm x 160cm
Material: Digital prints, framed

 

While many of the computer-generated events assigned to these random dates will probably not take place,
some computer-generated speculations will take place. Such as those made by NASA and the science community at large.

 

Around the Eye

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Around the Eye
Artist: Anne de Vries
Year: 2013
Material: Digital print on extruded polystyrene XPS, plexiglass, aluminum frame


Presentation at Liste, Basel 2014

with Martin van Zomeren
Copyright: Anne de Vries

All days

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Foto by GJ van Rooij

 

 

 

All Days of Aquarius
Artist: Anne de Vries
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, starting with 1962-02-04 it continues into the year 4114.
With the total length of 42 meters, this calendar can be exhibited in different ways, rolled or enrolled as much as fits in the exhibition space.

 

Documentation views from TruEye SurView at W139 in Amsterdam, ‘Superficial Hygiene‘ at Frans Hals Museum in Haarlem, Max Mayer Gallery in Dusseldorf, and E_MERGE at Foam Museum

Hold on, Auto Future

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Hold On, Auto Future
Artist: Anne de Vries
Year: 2013
Size: 250cm x 450cm x 300cm
Material: stainless steel, solvent printed bath towels with data from the future.


In and around the handrail we find towels hanging and laying around, like leftovers from physical activity.
On these towels data is printed, computer-generated data describing events scheduled 100 to several 1000 years from now.
The texts are results of random web-based searches unveiling an existing auto-generated future.

Air Gap Hold On

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Air Gap Hold On
Artist: Anne de Vries
Year: 2012
Material: Stainless steel, Digital print on a 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 by siphonage 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.

Katanga Bub

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Katanga Bub
Artist: Anne de Vries
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 promise of engendering a better world. On the other hand, while the economy of “rare earth” 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 the product; from raw material to data generation.

 

Exhibition views from Trails Rising at Sandy Brown Gallery in Berlin, The Composing Rooms in London, and Treijac Project in France

The (s)Oil we Eat

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at Aral GmbH
Artist: Anne de Vries
Year: 2014
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 steel, Paint.

 

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at Holiday Inn
Artist: Anne de Vries

Year: 2014
Dimensions:  318 x 100 x 31 cm

Materials: Purex Laundry detergent, Comfort Lavender laundry softener, Cola Light, Acrylic pipes, Rubber corks, Stainless steel, Paint.

 

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at Strani Venice
Artist: Anne de Vries
Year: 2014
Dimensions: 225 x 120 x 35 cm
Materials: Aperol Sprits, Chianti, Piatti Detergenti, Acrylic pipes, Rubber cork, Steal, Paint.

 

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at Capbreton Beach
Artist: Anne de Vries
Year: 2014
Dimensions: 278 x 190 x 31 cm

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

 

 

 

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at Téte de Rigaud
Artist: Anne de Vries
Year: 2014
Dimensions: 98 x 58 x 30 cm
Materials: Soil, Styrofioam, Beer lid, Tiny metal stands.

 

 

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Copyright: Anne de Vries

Timetables

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Timetables
Artist: Anne de Vries
Year: 2011
Size: Variable
Material: Wood, metal, ceramic, digital photo prints

 

This piece consists of photographs taken from the clouds above Amsterdam in 2007
Inkjet printed on 18 tables with ceramic hands holding mobile devices, calling, taking pictures, texting.

 

Exhibition views from TruEye surView curated by Katja Novitskova at W139 in Amsterdam