
Frieze Magazine: Pure Products Go Crazy by Pablo Larios, 2012, ONLINE/PRINT/PDF







Title:
Image Transfers – Apple, Pear and Banana
Image Transfers – Apple, Avocado and Lemon
Artist: Anne de Vries
Year: 2012
Dimensions: 160 × 70 cm
Materials: Digital print on photo paper
About:
These two digital prints deconstruct their own production process. Beginning as still-life photographs of supermarket fruit, the image journeys through the digital pipeline—lens, sensor, wiring, computer components, software—until it materializes as ink on paper, hung on the wall with hooks and clips.
The deceptively simple arrangement is layered with an informational panorama that reveals the production chain’s circumstances and locations, positioning the fruit as the final eventuation of this global process. Superimposed in small type over the still-life are inscriptions including the retailer’s name and address and the primary production companies involved, tracing the artwork’s roots in today’s global economy.
Exhibition History:
Winterthur Museum in Winterthur; Frans Hals Museum in Haarlem; Foam Museum in Amsterdam; Sandy Brown in Berlin; Nest Museum, Den Haag; Martin van Zomeren, Amsterdam


Title: CAVE2CAVE2CAVE
Artist: Anne de Vries
Year: 2019
Dimensions: Overall width 700 cm, comprising 150 × 100 × 3.5 cm stretchers
Materials: UV-RGB-W print on mirror-coated PVC; aluminum P35 stretchers with aluminum artist frames


Title: Interface – Downstairs
Artist: Anne de Vries
Year: 2014
Dimensions: 164 × 124 cm
Materials: Two digital prints on Photo Forex sheets with CNC cut-outs; painted wooden frame
About:
The Interface project is informed by processes of tracking thought and observation, and by an interest in how the constant exchange between the two might be visualized. This inquiry was shaped by broader technological preoccupations of the time, particularly in the early days of A.I., when there was a growing attempt within the tech world to model and make legible the often messy cognitive processes through which we perceive and understand reality. The work also engages with the history of photography and its longstanding investment in the documentation of “reality.” By using photography to visualize perception as fragmented, layered, and non-linear, the project questions ideas of photographic clarity and objectivity, suggesting instead that our experience of the world may be closer to painting – subjective, composite, and constructed – than we might like to admit.


Title: Mind Manager
Artist: Anne de Vries
Year: 2013
Dimensions: 200 × 65 × 175 cm
Materials: Stainless steel, digital monochrome print on milled plexiglass.

Title: Places to See
Artist: Anne de Vries
Year: 2013
Dimensions: 260 × 65 × 160 cm
Materials: Stainless steel, digital monochrome print on milled plexiglass
Edition: Unique
Copyright: Anne de Vries


Title: Viewfinder
Artist: Anne de Vries
Year: 2013
Dimensions: 45 × 65 × 175 cm
Materials: Stainless steel, digital monochrome print on plexiglass, key, medical rubber tubes, colored solution.










Title: Nightwatch at the Parking Lot
Artist: Anne de Vries
Year: 2014
Dimensions: Variable, large-scale installation
Materials: Metal eyeglasses, walls, furniture, surveillance camera systems, LCD screens, fabrics, and other props
Documentation: The Moving Museum, Şişhane Autopark, Istanbul






Title: Eye Catcher 03
Artist: Anne de Vries
Dimensions: Various
Materials: Coated steel; polished Plexiglass; real spiderwebs
Documentation:
On view at Twenty Thousand Years of Yarn, curated by Rubén Grilo, Future Gallery Berlin








Title: All Days of Aquarius
Artist: Anne de Vries
Year: 2011
Dimensions: 188 cm × 42 meters (74.02 × 1653.54 inches)
Material: Solvent print on vinyl
About:
This calendar presents every single day of a 2150-year time period, beginning on February 4, 1962, and continuing through the year 4114. With a total length of 42 meters, it can be displayed in various ways—rolled, or unrolled to fit 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 (by GJ van Rooij and others)



Title: Hold On, Auto Future
Artist: Anne de Vries
Year: 2013
Dimensions: 250 × 450 × 300 cm
Materials: Stainless steel; solvent-printed bath towels with data
About:
Towels hang from the handrail like remnants of physical activity. Printed on these towels are computer-generated texts containing data about events scheduled from 100 to several thousand years into the future. These texts are the result of random web-based searches, revealing an auto-generated vision of the future.



Title: Air Gap Hold On
Artist: Anne de Vries
Year: 2012
Dimensions: 117 × 60 × 8 cm
Materials: Stainless steel; digital print on towel; digital print on plastic
About:
The title refers to the concept of an air gap in both plumbing and networking contexts. In plumbing, an air gap is the unobstructed vertical space between a water outlet and the flood level of a fixture, preventing contaminated water from flowing back into the potable water system. In networking, an air gap is a security measure that physically isolates secure computer networks from insecure ones—such as the public internet—to prevent unauthorized data flow. The work reflects on ideas of separation, protection, and control.







Title: Timetables
Artist: Anne de Vries
Year: 2011
Dimensions: Variable
Materials: Wood; metal; ceramic; digital photo prints on tables
About:
This piece features photographs taken from the clouds above Amsterdam in 2007.
Documentation:
Exhibition views from TruEye surView curated by Katja Novitskova, W139 in Amsterdam


Book Publication: ‘Post Internet Survival Guide‘ with contributions by Gene McHugh, Jon Rafman, Anne de Vries, R-U-IN?S, AIDS-3D, a.o. Curated and designed by Katja Novitskova, 2010, PRINT

Title: Time Stone
Artist: Anne de Vries
Year: 2011
Dimensions: 130 × 60 cm
Materials: Plastic; lightbox; backlit UV print








Title: Katanga Bub
Artist: Anne de Vries
Year: 2011
Dimensions: 90 × 144 cm
Materials: Mobile devices mounted on a lightbox displaying a press image of the Katanga mines in the Congo, rephotographed underwater
About:
Katanga Bub brings together the extremes of the mobile device industry. It is based on a press image depicting the landscape and workers of Katanga in the Democratic Republic of Congo—an area mined for minerals such as tungsten and coltan, essential for mobile device production. The press image has been rephotographed underwater and presented within a freestanding display unit. As water ripples and bubbles distort the scene beneath, the screens of multiple mobile devices display clearer details of the same Katanga mine view. This fusion of the earthy origins of mining and the liquefied luxury of global technology commodities explores the relationship between material extraction and digital information. The work highlights the dual narrative: while mobile devices disseminate knowledge and raise global awareness with the promise of a better world, the rare earth economy also supports problematic social and political infrastructures in Congo. It reveals the recursive links between matter and information, tracing the path from raw material to data generation.
Documentation:
Exhibition views from Trails Rising, Sandy Brown Gallery, Berlin; The Composing Rooms, London; and Treijac Project, France




Title: at Holiday Inn
Artist: Anne de Vries
Year: 2014
Dimensions: 318 × 100 × 31 cm
Materials: Purex laundry detergent; Comfort Lavender laundry softener; Cola Light; acrylic pipes; rubber corks; stainless steel; paint.


Title: at Téte de Rigaud
Artist: Anne de Vries
Year: 2014
Dimensions: 98 × 58 × 30 cm
Materials: Soil; Styrofoam; beer lid; tiny metal stands.




Title: at Aral GmbH
Artist: Anne de Vries
Year: 2014
Dimensions: 241 × 112 × 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.


Title: at Capbreton Beach
Artist: Anne de Vries
Year: 2014
Dimensions: 278 × 190 × 31 cm
Materials: Vinaigre aux herbes; huile d’olive; acrylic pipes; rubber corks; stainless steel; paint; beach sand; Styrofoam


Title: at Strani Venice
Artist: Anne de Vries
Year: 2014
Dimensions: 225 × 120 × 35 cm
Materials: Aperol Spritz; Chianti; Piatti detergenti; acrylic pipes; rubber cork; stainless steel; paint.









Title: Listening, 01, 02, 03
Artist: Anne de Vries
Year: 2015
Dimensions: Variable
Materials: Mixed media; vinyl with UV print; stones coated in silicone; Polyurethane foam coated in silicone; steel; Kneed pox; acrylic hair
About:
Duo exhibition by Anne de Vries and Olga Balema at Michael Thibault gallery Los Angeles









Title: Tech No Grind
Artist: Anne de Vries
Year: 2010
Materials: Wood; metal; rubber; plastics; UV print
Title: Play-R Grip
Artist: Anne de Vries
Year: 2010
Materials: Smashed tennis racket on the wall with an integrated audio headset
Title: Turn A Round
Artist: Anne de Vries
Year: 2010
Dimensions: Variable
Materials: Digital prints on laminated wooden display boxes; plastics
Title: Private Goods
Artist: Anne de Vries
Year: 2009
Materials: Wood; digital print; plastic; rubber



Title: Stick and Plant
Artist: Anne de Vries
Year: 2003
Dimensions: 2.5 × 3 × 14 m
Materials: 2-channel video installation; wood; kentia plants; roofing; clothing hangers; clothing; bench.
About:
Stick and Plant is a 2-channel video installation that reconstructs a rehabilitation center. Various treatments unfold inside and outside the video projections, which are integrated into the physical installation. Viewers witness participants changing in and out of camouflage suits and hiding within the kentia plant jungle behind the wooden wall.


Title: The Dike Story
Artist: Anne de Vries
Year: 2003
Dimensions: 117 × 70 × 85 cm
Materials: Video projection on laminated wooden sculpture