STOMPING GROUNDS, 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, UK, and of course Germany.
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: OBLIVION Artist: Anne de Vries
Year: 2016 and 2018
Dimensions: 380 x 200 x 60 cm
Materials: sand, stones, wood, plastic, aluminum, paint, PVA, styrofoam, miniature advertisement campaign, miniature graffiti, miniature truss system, miniature LED projector, miniature Hi-Fi system.
About: Hardstyle event diorama in a scale of 1:87, presenting several texts produced for this installation.
This body of work is inspired by “The dream of King Camp Gillette.” and his proposal for the ideal city. Before perfecting his invention of the safety razor and founding what became a major American industrial and sales enterprise, King Camp Gillette (1855-1932) authored several books and pamphlets calling for radical changes in the country’s economic and social system. The first of these polemical tracts, The Human Drift, called for the establishment of an ideal society to be created by The United Company “Organized for the purpose of Producing, Manufacturing, and Distributing the Necessities of Life.” Except for agricultural and other rural pursuits, all activities and all the population would be concentrated in one giant and hyper-designed mega-city, using high-tech materials and systems, to build an urban complex that Gillette called “Metropolis.” Although Gillette’s book has been regarded as part of the tradition of utopian romances like the better-known Looking Backward, by Edward Bellamy, it can also be looked on as a serious, if misguided, proposal for organizing the urban world. Gillette was a tinkerer and inventor, and “Metropolis” represents his verbal working model of a new kind of city.
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.
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.