hey ho…… der mai 2006 ist der dropshadow mai *g*
dropshadow wird auf der InformARTics in der hfg/zkm gezeigt und
im National Museum of Contemporary Art in Bukarest – http://www.mnac.ro/

hier ist der ausstellungs text:

Installation art, the total immersion (working title)
A desire for the extraordinary, which is at the core of any fantastic machine, travels
through this exhibition as an undercurrent – and is often transferred to the viewer as an
experience for the senses.
Interactivity is a common word in new technology in general and multimedia in particular.
It is featured daily in a growing number of pubic discourses, from entertainment and
education to marketing and also since the mid 1990s in art. The term interactivity first
surfaced around 1960 in the United States in reference to the computer or to be precise
to the fact that scientists had managed to interrupt the computer’s operations. They
called the interruption an interactivity and decided to focus on the partnership of man
and machine in further development of the computer.1 Since then interactivity got directly
associated with computer systems. Interactive art as we now has not changed its relation
to computers. But the background of Interactive Art harks back to participational art
where the spectator is taking part in a given project. This could be Happenings (1950s)
or the reactive Kinetic Art (1950s) where the public was encouraged to take part in the
realization of the artistic project. Partaking was supposed to stimulate the spectators
creativity and hence with inspire new ideas. The ideals of the artists were high they
wanted to change both the art world and the world at large. But at the time many of
these undertakings failed. Artists soon found out that the public was not keen on being
engaged and in making the project alive. The better controlled video installations of the
1970s became an acceptable substitute.
The video installations, especially the closed-circuit installations were based on principals
that were close to interactive art. The installations consisted of video camera’s, monitors
or projections and were based on relations in which the public didn’t need to actively
partake. The media used created the work and from the audience a mere perceptive
participation was expected. The interest in these controlled environments in which the
actions of the public activate the work increased with the development in technology. Due
to cheaper and smaller equipment the installations could become less ‘obvious’ and more
adventurous. Not all of the works were interactive in itself, most of the installations were
very much controlled, but the creative process was interactive. The public stirs the
computer which in turn translates the movements in images, sounds or texts, for the
public to play/interact with. The spectator becomes a user searching for the (prescribed)
paths. Hoping to encounter the new and unexpected while losing oneself in a total
Surrounded by a three-dimensional space of the work, projects the users body mentally
into another, spatial and temporal dimension he experiences in real time. This use of
space and architecture is another characteristic of most interactive and installation art.
Due to its connections with play many of these artworks have not been giving the
attention they deserve. Mostly seen as simple mirror effects, they were seen as
entertainment and not withstanding the high criteria of art. In the exhibition ‘Installation
Art, the total immersion’ (working title) the Netherlands Media Art Institute will present a
selection of interactive, installation works and single channel works that not only
immerse the active spectator but also reflect upon society, discuss the working of
interaction and present us with unexpected alternative modes of presentation.

1. Michiel van Bakel – Hovering over Wasteland
2. Jasper van der Brink – Vlieg + Zelfportret
3. Persijn Broersen & Margit Lukacs – Prime Time Paradiso
4. Rikkert Brok – Optical Machines
5. eddie d – A word of welcome + Orquestra Revoltillo
6. Jan Peter van der Wenden – Digital Pin Display + The Blue Man
7. Kirsten Geisler – Dreams of Beauty 2.0
8. Bernard Gigounon – Starship
9. Nan Hoover – black and white… + Returning to Fuji
10.SERVAAS – Pfft…
11.Andreas Siefert – Dropshadow
12.Bill Spinhoven – It’s about time #2
13.Eric Steensma – Untitled
14.Martijn Veldhoen, Dislocations

Wir benutzen Cookies um die Nutzerfreundlichkeit der Webseite zu verbessen. Durch Deinen Besuch stimmst Du dem zu.