Trails Rising

 

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Photo by Andrea Rossetti

 

Trails Rising
Artist: Anne de Vries
Year: 2011
Size: variable from 223 cm high up to 12 meters high
Material: Plastic, sand, metal

 

The sculpted totem poles ‘Trails Rising’ are made from a mixture of sand and an epoxy clay which has been marked by the tread of various sneakers. The imprints forged by ergonomic footwear, designed to augment the body, remain as traces forming future terrains. In their profusion the individual prints join and become a pattern across a mutable landscape – as if a multitude of solitary runners meet one another in a collective space, traversing the poles in a direct attempt at transcendence. One reference might be Brancusi’s monumental Infinite Column, built as a WW1 memorial for those who died defending the Romanian city of Targu-Jiu, was created as a means of symbolic ascension to heaven. Through these similar gestures we are presented with a different process based interpretation, opposing Brancussi’s essentialist notion of what enhanced realities could be. 

 

Documentation from  Éric Hussenot in Paris,  Fluxia in Milano and The Composing Rooms in London

 

Read also:
UNIQUE, UNIQUE-ER, UNIQUE-EST by Agatha Wara

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

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

Free Slide

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Free Slide
Artist: Anne de Vries
Year: 2012
Material: Stainless steel, with plastic skateboard wheels attached
Size: 210 x 105 cm