Title:Little Heralds Amendments Artist: Anne de Vries Year: 2025 Materials: Brass pulver, Patina, Resin core, Customized 1/6 knight with aluminum armor, heart balloon. Dimensions: 35 x 45 x 30 cm About: This art installation consists of a unique set of components that can be collected, installed, and played with. Where:Blue Velvet, Zürich
Title:STAMP ALERT – Connecting The Dots Year: 2025 Artist: Anne de Vries
Description: An immersive installation exploring themes of media and constructed realities through a combination of animatronics, video, and large-scale printed visuals.
Installation Components:
Video:
Duration: 22 minutes
Format: 4K with sound
Description: A fictional news channel titled STAMP ALERT, streamed on an LCD screen and presented by Anya Demure. The video blends fact and fiction, creating a commentary on media narratives.
Contributors: Mansur Suri (main actor), Leonardo Reuvenkamp (3D animator)
Description: A life-sized CGI-rendered virtual apartment, printed on PVC and reminiscent of architectural renders commonly seen on construction sites in urban environments.
Contributor: Leonardo Reuvenkamp
Animatronics:
Dimensions: 89 cm × 55 cm Materials: Resin, airbrush acrylic paint, lacquer, Raspberry Pi, Python, Sound (22 minutes).
Description: An animatronic robot named Vapula watches the STAMP ALERT news channel and provides commentary, adding an additional layer of context and narrative to the installation.
Title:TRAUMA UNCLOGGED Year: 2023 Artist: Anne de Vries
Dimensions: Variable Materials: 14 fully functioning toilets on a dance floor with a light and sound system
Description: This immersive installation features 14 fully functioning toilets on a dance floor, equipped with lights and a sound system. Serving as a stage, it hosted several performers, musicians, and the club night CLUB UNCLOG throughout a one-month exhibition period. This first incarnation has been hosted and produced by Trauma in Berlin.
Title: Day Care Drill – Episode 02 Artist: Anne de Vries Year: 2023 Description: This art installation features infantile but not innocent scenes, that include toy-like sculptures that can be played with. Location: The headquarters of the ‘Parti Communiste Français’, inside the ESPACE building designed by Oscar Niemeyer in Paris. Curated by: Kaleidoscope.
Title:STOMPING GROUNDS Artist: Anne de Vries (in collaboration) Curators: Adriano Rosselli, Odessa Evelyn Malke Researcher: Sven von Thülen (der Klang der Familie) Sand Carvers: Bouke Atema, Jeroen Advocaat Sound Designers: Rowan Ben Jackson, Odysseas Constantinous 4D Sound Programming: Usomo Location:Kraftwerk Berlin About: The art installation Stomping Grounds is a 1:1 replica made from sand of the giant gold vault underneath the Jewish-owned Wertheim building, which after a turbulent history and the fall of the Berlin Wall in 1989 became the cradle of techno music from Detroit, Chicago, the UK, and Germany, known as Tresor.
Title:Trance in Amsterdam – RETURNS Artist: Anne de Vries Year: 2020 Size: 201 x 151 x 3.5 cm Materials: 380 g linen canvas, gesso, acrylic paint, oil paint, photography, AI-script, Epson UltraChrome K3 archival 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:T.A.Z. Artist: Anne de Vries Year: 2018 Dimensions: 85 x 56 x 5.5 cm / 33.5 x 22 x 2.2 inch Materials: Chinese ink, acrylic paint, laser print transfer, gesso, narkotek logo, and hard polystyrene (XPS).
Title:Windy Artist: Anne de Vries Year: 2020 Dimensions: 200 × 150 cm Materials and Techniques: Linen canvas (380g), gesso, acrylic paint, UV print. Includes a photograph of trees near the Chelsea Piers, visual elements from The Rat God by Richard Corben (specifically, hands), and a rendered image of a Paris apartment by Bertrand Benoit. Mounted in an oakwood artist frame.
Title:Homo Machina Artist: Anne de Vries Year: 2020 Dimensions: 166 x 126 x 4 cm Materials: 380g canvas, gesso, paint, photography, CGI, UV-print, aluminum artist frame.
Title:Anarchy in the Hive Mind Artist: Anne de Vries Year: 2020 Dimensions: 191 × 141 × 4.5 cm Materials and Techniques: Linen canvas (380g), gesso, photographic imagery of flowers, cartoon bees and hornets, CGI, UV print. Mounted on a double wooden stretcher with an aluminum artist’s frame.
Title:Salsa Artists: Anne de Vries and Alberto De Michele Year: 1999 Dimensions: Variable Materials: Dancefloor with a sound sequence, and 5,000 packages of Mustard, Duck, and Soy Sauce placed on the floor to walk and dance on.
Title:GILLETTE’S, IDEAL CITY PROPOSAL Artist: Anne de Vries Year: 2014 Dimensions: Various Materials: Double-sided UV prints on Photo Forex, PVC, mirror, coated metal hanging system, screws, Gillette razors, clothing.
Conceptual Background: This body of work draws inspiration from The Dream of King Camp Gillette and his radical proposal for a future urban society. Before becoming known for inventing the safety razor and establishing a major industrial enterprise, King Camp Gillette (1855–1932) authored several books and pamphlets outlining his vision for a transformed economic and social system.
In his first major tract, The Human Drift, Gillette proposed the creation of a single, highly organized, technologically advanced megacity called “Metropolis.” Designed to house the entire population—excluding agricultural and rural labor—this urban complex would be constructed using cutting-edge materials and systems. Gillette envisioned this society as being administered by “The United Company,” a unified organization responsible for producing, manufacturing, and distributing all necessities of life.
Although often grouped with utopian literature such as Edward Bellamy’s Looking Backward, Gillette’s proposal reads not just as speculative fiction, but as a sincere (if eccentric) urban and social engineering plan. As both an inventor and idealist, Gillette’s “Metropolis” functions as a kind of verbal prototype—an industrial-era working model of a unified and optimized future city.
Artistic Approach: Through precision photographs of Gillette’s shaving products, used as the basis for sculptural forms and visual layering, this work explores the intersections of utopian architecture and the refined industrial design of Gillette’s iconic shaving systems.
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
Exhibition: Exhibition views from Folklore Contemporain II featuring sculptures by Sebastien …
Title:Interface – Musashi 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.
Title:Interface – Il Casolare 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.
Title: Interface – Easy Jet 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
Title: Mind Management Artist: Anne de Vries Year: 2013 Dimensions: 200 × 65 × 175 cm Materials: Stainless steel, digital monochrome print on milled plexiglass.
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 isolating secure computer networks physically from insecure ones, such as the public internet, to prevent unauthorized data flow. This work reflects on these ideas of separation, protection, and control.