Title: In Control Artist: Anne de Vries Year: 2022 Dimensions: Variable Material: Fencing, prints on vinyl Description: A video work is surrounded by festival fences. The banners on the fencing advertise imaginary events, with actual dates and locations. It remains unclear what this event exactly is, it could be a party or a demonstration, as it is located at some of the world’s most environmentally destructive corporations. The visuals are a collage inspired by flyers for Tekno, Hardcore, and Bondage events including the iconic globe by Frank Burghout for InQontrol. Where: Frans Hals Museum, Haarlem
Title: Trance in Amsterdam – RETURNS Artist: Anne de Vries Year: 2020 Size: 201 x 151 x 3,5 cm Material: 380 g linen canvas, gesso, acrylic paint, oil paint, photography, AI-script, UV-print, aluminum stretcher, aluminum artist frame with coating.
Title: Détournement 023 Artist: Anne de Vries Year: 2020 Dimensions: 79 x 59 x 1.4 Inch / 201 x 151 x 3,5 cm Material: Cotton canvas 380 g, gesso, acrylic paint, photography, kierewiet logo, UV-print, aluminum stretcher.
Title: Windy Artist: Anne de Vries Year: 2020 Size: 200x150cm Material and techniques: Linen canvas 380g, gesso, acrylic paint, UV-print, a photograph of trees near the Chelsea piers, with hands from the Rat God by Richard Corben, and a Paris apartment rendered by Bertrand Benoit, oakwood artist frame.
Title: Anarchy in the Hive Mind Artist: Anne de Vries Year: 2020 Size: 191x141x4,5cm Material: 380g linen canvas, gesso, photography of plants from REWE, cartoon bees and hornets, UV-print, CGI, double wood stretcher, aluminum artist frame.
Title: Entwurf zu ‘kleine Freude’ Etude pour ‘Petites joies’ Artist: Anne de Vries Year: 2015 Dimensions: 517mm x 347mm x 50mm Edition: Unique, Signed Material: Archival UV print, on Photo Forex, wooden frame with acrylic paint. Technique: Digital collage with photographs taken by the artist from crowds with laser light shows on different occasions, and works by Wassily Wassilyevich Kandinsky, the title refers to the compositions and writing by Kandinsky about the relationship between people, music, and colors.
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
About: These digital prints present their own production tear down, starting as a still-life of supermarket produce 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 today’s global economy.
Title: CAVE2CAVE2CAVE Artist: Anne de Vries Year: 2019 Dimensions: 700cm wide, consisting of 150 x 100 x 3,5 cm stretchers. Material: Print (UV-RGB-W) on mirror coated PVC, Aluminum P35 Stretcher, with Aluminum artist frame.
Titles: CAVE2CAVE_1379, CAVE2CAVE_0671, CAVE2CAVE_0807, CAVE2CAVE_9850, CAVE2CAVE_1339, CAVE2CAVE_0613. Artist: Anne de Vries Year: 2019 Dimensions: 150 x 100 x 3,5 cm Material: mirror-coated PVC, with Print (UV-RGB-W) on an Aluminium P35 stretcher, and inside an aluminum artist frame.
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 About: Photographs of wrinkled reflections of cave paintings and UV-printed on mirror foil on a stretcher.
Title: 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. About: Exhibition views from Folklore Contemporain Exhibition ll with sculptures by Sebastien Aubry & Dimitri Broquard at SWG in Glasgow.
Title: At the Shores Artist: Anne de Vries Year: 2013 Size: 65cm x 160cm Material: Digital prints, framed About: 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.
Whole World Overview Artist: Anne de Vries
Materials and techniques: UV print on Dibond and 4mm Plexiglass About: This artwork is generated by Anne de Vries in association with NASA’s The Whole World satellite photography.
The footage is stretched into a circle (North-Pole to South-Pole) reminiscent of ancient Sun Crosses and Sun Wheels. Documentation by: Future GalleryBerlin
Title: Infinite Value
Artist: Anne de Vries Year: 2009
Sizes: 5 x 74 x 53 cm
Material: 3 digital prints in front of each other in the frame. About: 3 Digital prints overlaid in the custom-made wooden frame.
By milling out parts of the first image, another version of the same image appears.
Title: 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.
About: 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