Presso il One Marylebone di Londra, dal 9 al 13 di marzo, Remastered, prodotto da jotta e Intel, invita 13 artisti e designers della nuova generazione a reinterpretare i capolavori del passato, dalle origini della cultura occidentale al cubismo, esplorando le potenzialità della tecnologia come strumento di rinnovamento, rilettura, trasformazione.
All’interno dell’evento si colloca il dibattito Hacking and Cracking, che si terrà il 10 marzo, sull’arte interattiva e sul generative filmmaking, con interventi di Shane Walter, onedotzero (onedotzero.com), Tony Langford, Kinetica Museum (kinetica-museum.org), Audrey Anastasy and Paul Ferragut, Midnight Toastie (midnight-toastie.co.uk), Eric Schockmel, Watergun (watergun.tv).
In home page, still da Occupation: Movements II & III – Watergun Labs, diretto da Eric Schockmel – Lussemburgo e Londra, Giugno 2010.
La presentazione degli artisti, dal sito http://www.jotta.com:
Van Gogh’s The Starry Night is reframed by Midnight Toastie collective, who use open source software, tactiles materials and a responsive constellation of electronic lights to create an interactive interpretation. The viewer is invited to employ the hand of the painter, producing swirling elements of movement and light in the night sky.
Plunged into a resonating arena of sound and light, Sara Hibbert’s figure addresses the dancer’s emotional struggle with the demanding discipline. Hibbert, like Edvard Degas, fragments and records the variations of a dancer’s actions, but places them in a sequenced yet distressed visual continuum.
Johannes Vermeer painted the fascinating discoveries of advancing sciences during the 18th century, so too Stuart Bailes utilises the immediacy of the photographic moment to create a series of works that reference our modern world and it’s foundations, so reliant on technological structures.
Emma Rios and Dan Price take the most intriguing elements of Manet’s A Bar at the Folie-Bergere, the ambiguous perspective and the female subject, to create an interactive 18th century kaleidoscopic den. Enter and become mesmerised by throbbing reflections, magnifying the sinister side of Manet’s famously controversial depiction of modern life.
Friedrich’s Wanderer above the Sea of Fog inspired Rafael Pavon’s stereoscopic animation. Recreating the emotions conveyed in the original work, of man’s solitary interactions with the unknown future, the work utilises 3D tools, montaged illustration, animation and live action to evoke the sights, sounds and diversity of London.
jotta’s graphic designer and software designer, Jane Trustram and Anthony Mizon, respond to Picasso’s Guernica. Referencing the Deconstruction theory, and taking Internet as their canvas, Trustram and Mizon’s online application, ‘Deconstruct’, gives the viewer the tools to take apart and reassemble the elements of any webpage.
Filmmaker Paul Bryan and sculptor Jonathon Ryall took an investigation to the home of Venus De Milo, The Louvre, commenting on her manipulation in contemporary culture, through the perspective of those in closest proximity to both the original sculpture – the security guards – and the multitude of replicas in surrounding souvenir shops.
Animator and sound artist Lung re-instills the shock originally intended to engulf the viewer when Edvard Munch created his expressionist masterpiece The Scream. Screens and speakers omit a concoction of sights and sounds from a vivid sculpted wall, akin to the frenetic lights, colours and jingles of a decaying theme park.
While Raphael’s School of Athens depicted the most prominent thinkers of Raphael’s era, Interaction designer Vanessa Harden’s School of TIME focuses on the most influential individuals in the world according to TIME’s Person of the Year from the last decade. Asking viewers to consider the notion of “perspective”, has TIME chosen individuals who merit the title of most influential person in the world, or most influential person in America?
Sam Bompass and Harry Parr – gastronomic scientists, jelly architects and food smiths – chose to respond to Leonardo Da Vinci‘s The Last Supper, a better match could not be imagined.
Apocalyptic and visionary, Eric Schockmel’s 3D animation uses atmospheric effects to reference Turner’s Rain, Steam and Speed – The Great Western Railway. Focusing on the expressive power of the train as a metaphor for advancing technology, the film depicts the train regenerating itself, creating the conditions of it’s own growth.
Daniel Swan adopts a purely digital aesthetic and medium, deploying the software as the paint brush, creating a constantly-changing digital canvas filled with dreamlike forms in various stages of clarity in response to Salvador Dali’s melting clocks and dream analysis.
1 Marylebone Road
Exhibition is open to the public from 10 March – 13 March 2011
11am – 6pm Thurs- Sat, 11am – 3pm Sunday.
Tag:Generative filmmaking, Interactive art