Andreas Schmid [De]

 

DALHOUSIE ART GALLERY // Andreas Schmid: Lichtungen (Clearings), 2009/2019

Site-specific light installation, 19 vertical fluorescent coloured filter tubes, acrylic cylinders, programmed compositions, controlled technology 

In Andreas Schmid’s Lichtungen (Clearings) installation, the immediate environment of the exhibition space is gradually transformed as 19 freestanding vertical neon tubes, modulated by a computer program, slowly shift in colour and intensity. As it progresses through the modulations, the artwork becomes an exploration of the effects of changing light on the surrounding architecture and on the visitors’ perceptions of time and space as they move throughout the gallery.

“The works of art by Andreas Schmid are informed both by their locations and by the passage of time. The temporary spaces he creates allow their visitors’ external perception to segue into proprioception as they move through the rooms, discovering their transitory nature.  In interpreting spaces to unearth their latent significance, Schmid primarily uses lines – stretched between two points, glued, drawn, painted, cut out, photographed, laid on the ground or installed on the walls as light fixtures. “Basically, I will amplify whatever I perceived as the characteristic features of a space, which form the basis of my work.  My interventions will also alter empty spaces, charging them with new force and activating them.” Entering into a dialog with the positions taken by painters in the 1960s, Schmid modifies architectural, transitional rooms to become slowly changing drawings of light in space.  A computer program modulates the colouring and intensity of the columns of light in a gentle rhythm.  The drawings of light that Andreas Schmid creates in space thus open up another, separate space in which a patient observer will be able to observe the slow pulse of change – a space for visual exploration and meditation.”

Dr. Renate Wiehager
Head of the Daimler Art Collection

LINKS

Andreas Schmid
Daimer Art Collection


Andreas Schmid

*1955, Stuttgart, Germany, lives in Berlin

Andreas Schmid studied art education and free arts at the Academy of Fine Arts, Stuttgart, Germany. The line has always been crucial for his art. From 1983 until 1986 Andreas Schmid spent three years in the P.R. of China to study calligraphy, history of calligraphy and seal carving at the Zhejiang Academy of Fine Arts in Hangzhou. After returning to Germany, Schmid moved to Berlin in early 1987, where his work turned more and more towards space related installations and space drawings. His work is shown in several national and international exhibitions in Germany, Denmark, France, Great Britain, Japan and the P.R. of China including Hong Kong.

In 1993 Andreas Schmid co-curated the first large exhibition of contemporary Chinese art- “China Avantgarde” in Europe in Berlin, Rotterdam, Oxford and Odense. In 1997 he curated the exhibition „Contemporary Photo-Art from the P.R. of China” for the NBK, Berlin. Among other grants, Schmid received a scholarship for a residency at the Chinati foundation in Marfa, USA in 2000. There he began to work with (natural) light. In 2002 his first work with programmed cycles took place at the DaimlerChrysler Collection in Berlin (“Seven Pieces for One Space“) with the German composer Isabel Mundry.

Since 2003 on, Schmid has been working regularly with light in public spaces in various cities. Additionally he has been teaching “light and space” in art academies in Hanoi, Ho-Chi-Minh-city (Vietnam) and several Chinese cities like Chengdu and Chongqing.

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Christine Sciulli [NY|US]

 

DALHOUSIE ART GALLERY // Christine Sciulli: Breath of the Sea

Commissioned to create a new work for Atmospheric Events, Christine Sciulli has created Breath of the Sea, a site-specific 10-channel video installation. In this work, volumes of bunched and gathered translucent tulle are suspended from the ceiling of the High Gallery and cascade down and around the architectural features in the space. Kinetic arcs and circles of white light are projected into the undulating contours of the suspended tulle in an ebb and flow of line, shape, and luminosity, evocative of the slow pull and pulse of the ocean’s rhythms.

Sciulli writes about her work:

Light can be voluminously fierce, subtly ethereal, and deftly determined. Its ability to envelop us humans is primal, transcending language and culture. From my earliest memories catching light has been my main preoccupation.
 
Breath of the Sea
 
The pull and pulse of our oceans is the foundation of the rhythms I have incorporated into this silent 10 channel site specific projection installation.  As arcs and circles of white light swell and ebb across tumbles of fabric reaching through the Dalhousie gallery, visitors are invited to linger awash in shadow five meters beneath the alternating sweeping torrents and lingering drifts of the leading edges of radial waves of light as well as nest within the portals of the Dalhousie’s mezzanine windows for an intimate experience of the work.

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LINKS
www.soundandvision.cc
www.guildhall.org

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Caitlind Brown + Wayne Garrett [AL|Ca]

 

CITADEL HILL // Caitlind Brown and Wayne Garrett: The deep dark (2015)

The Deep Dark is a spatial installation intended to illuminate the interspace between our sacred (and natural) environments and cultural constructs of darkness. To develop the installation, the artists conducted interviews, asking: why do we fear the dark? Is darkness a presence or an absence? What separates real fears of nighttime from imaginary fears of things we cannot see? By unearthing commonalities between interviewed participants, a loose narrative emerged, exposing a collective insight into our human relationship with the deep dark.

The Deep Dark uses domestic doorways as an entry point, inviting you to move through ghostly architecture. As you pass through each frame, you are blinded by intense white light that overexposes your eyes. The darkness beyond the frames is magnified to blackness, much darker than before. As your eyes adjust to the dark, the next illuminated doorframe becomes visible in the distance, beckoning you onward. From an outward perspective, as viewers step through the gates, they disappear completely. Intended to impose artificial light into the wild darkness, The Deep Dark is light by which the darkness grows darker and disillusions the night.

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LINKS

www.incandescentcloud.com


Caitlind Brown and Wayne Garrett

Caitlind r.c. Brown & Wayne Garrett explore interspaces between seemingly polarized entities: light + darkness, nature + culture, individual + collective, DIY + institutional. Whether exhibiting in artist-organized domestic settings, formal galleries, or obscure public spaces, their work draws connections between materials, spaces, people, and places, changing the everyday through a critical shift in perspective. Collaborating since 2011, the duo has exhibited at Garage Museum of Contemporary Art (Russia), Japan Alps Art Festival (Japan), Weisman Art Museum (USA), Pera Museum (Turkey), the National Arts Centre (Canada), and others. Their public artworks can be seen in Edmonton, Calgary, and Toronto, sculpted from cars, hourglasses, rainbows, and more. When working independently, Wayne is a musician; Caitlind is a co-curator with WRECK CITY collective. Beautiful, subversive, and radically inclusive, their practice emphasizes transformation above all else.

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Cuppetelli + Mendoza [US]

 

DENNIS BUILDING // Cuppetelli + Mendoza: Nervous Structure (Halifax), 2019

Nervous Structure is an architectural-sized, site-specific, interactive installation that explores ideas of perception and participation, combining concepts and aesthetics of Kinetic and Op Art with interactive digital technologies. It consists of a video projection illuminating the rear of the Dennis Building with vertical lines, which move and ripple in reaction to a viewer’s body movements. The site was chosen specifically for its architectural finish, a repeating linear pattern, which will create strong moiré patterns when combined with the projection.



Nervous Structure (field) (2012) from Cuppetelli and Mendoza on Vimeo.

“By not only mapping the object but by mapping the viewer as well, Cuppetelli and Mendoza realize works that are responsive to their audience. The full range of properties of their body of work shows when visitors not only view but also move and interact in front of the installation. The installations respond to their viewers with change. They translate the viewer’s movement into their setting and allow a playful exploration to unfold …”

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cuppetellimendoza.com
vimeo.com/cmendoza


Annica Cuppetelli + Cristobal Mendoza

Detroit-based Annica Cuppetelli and Cristobal Mendoza began collaborating as Cuppetelli and Mendoza in 2010. They create installations and objects that combine physical elements with digital technologies, composing sensual, immersive and dynamic experiences. Their aesthetic approach references mid-century art movements such as Kinetic Art, Op Art and Light Art.

Their work has been the focus of solo exhibitions at the Denver Art Museum, Logistics Fine Arts (Miami, FL), Red Bull House of Art (Detroit, MI), Muskegon Museum of Art (Muskegon, MI), Museum of Art and History (Lancaster, CA), and Lipscomb University (Nashville, TN). They have participated in many group exhibitions and festivals around the world, including Nemo Festival (Paris, France), Scopitone (Nantes, France), ISEA, FILE (SP, Brazil), the Light Art Festival »Ascents« (Stuttgart Cultural Region), Lichtrouten (Luedenscheid, Germany), LIGHT LINE (Center MARS Abrau, Russia), Bienal de Video y Artes Mediales in Chile, DLECTRICITY (Detroit, MI), Currents (Santa Fe, NM), among others. Their work is also in public and private collections. In 2015 they were awarded a Kresge Arts in Detroit Visual Art Fellowship. Cuppetelli received her MFA in Fibers from Cranbrook Academy of Art. Mendoza received his MFA in Digital + Media from the Rhode Island School of Design.

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Marianne Nicolson [BC|Ca]

 

ANNA LEONOWENS GALLERY // Marianne Nicolson (BC): “The Sun Shines, the River Runs” (2019)

Commissioned specifically for //RESPONSIVE 2019, this artwork is based on the window architecture of the old Dominion Building in downtown Halifax.  The name of the building evokes a sense of Canadian Nationalism based in colonial oppression and resource extraction.  The word “dominion” implying dominance, supremacy, superiority, hegemony and authority.  The word “dominion” has been used to refer to the state creation of Canada which at the time of its birth required agreements with the Indigenous Peoples which since then have largely been ignored or denied.  The artwork appropriates an architectural feature of the Dominion Building (metaphorically an architectural feature of the nation itself) and integrates/transforms it into a blue lit glass window which is incised with pictograph imagery celebratory of the entrenchment of Section 35 into the Canadian Constitution in 1982.  It is referential to the recognition of treaty rights.  The work is inspired in part by the success of the Donald Marshall Jr. case, which forced Canadian authorities to recognize the treaty rights of the local Indigenous Nations. The window is lit from behind and casts a powerful blue shadow on the floor/ground in front of it.  It acts as a visual metaphor for the treaty saying: “As long as the sun shines and rivers flow…”

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LINKS

mariannenicolson.com


Marianne Nicolson

Marianne Nicolson is an artist activist of the Musgamakw Dzawada’enuxw First Nations. The Musgamakw Dzawada’enuxw Nations are part of the Kwakwaka’wakw (Kwak’wala speaking peoples) of the Pacific Northwest Coast. She is trained in both traditional Kwakwaka’wakw forms and culture and contemporary gallery and museum-based practice. She holds a Bachelor of Fine Arts from the Emily Carr University of Art and Design (1996), a Master of Fine Arts (2000) from the University of Victoria, as well as a Master of Arts (2005) in Linguistics and Anthropology and a PhD (2013) in Linguistics and Anthropology with a focus on space as expressed in the Kwak’wala language. Nicolson works as a Kwakwaka’wakw cultural researcher and historian, as well as an advocate for Indigenous land rights. Her practice is multi-disciplinary encompassing photography, painting, carving, video, installation, monumental public art, writing and speaking.

All her work is political in nature and seeks to uphold Kwakwaka’wakw traditional philosophy and worldview through contemporary mediums and technology. Exhibitions include the 17th Biennale of Sydney, Australia; The Vancouver Art Gallery, The National Museum of the American Indian in New York, Nuit Blanche in Toronto, Ontario, Museum Arnhem, Netherlands and many others. Major monumental public artworks are situated in Vancouver International Airport, the Canadian Embassy in Amman, Jordan and the Canadian Embassy in Paris, France.

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James Geurts [Au]

DALHOUSIE ART GALLERY + HALIFAX WATERFRONT // James Geurts: FATHOM 2

In 2018, as part of a GASP Public Sculpture Commission in Tasmania titled Refraction Principle, James Geurts produced an in-situ video work titled FATHOM I: Wilkinsons Point (approx. 40° S), where industrial waste interposes the brackish reaches of the Derwent River. During the video shoot Geurts exposed the circuitry of his camera to the atmosphere of the site, as a way to draw out the effects of residing magnetic anomalies generated through the layers of heavy metal deposits, permitting moisture, temperature, light and salt air to disrupt the digital colour fields. The resulting two-channel video, through pulses of light and colour, forefronts how the physical atmosphere can alter technology and consequent perception. The sound composition was also generated from field recordings including hydrophone and contact microphones.


In September, as part of //RESPONSIVE, Geurts will produce a companion piece FATHOM II at Halifax Harbour (approx. 40° N), focussing on a high frequency site where a build-up of shipwrecks combined with the seafloor geology cause extreme magnetic anomalies, which historically have perpetuated further shipwrecks. This two-channel video will be on display at the waterfront.

LINKS
www.jamesgeurts.com

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Hartung + Trenz [De]

 

CITADELL HIL // Hartung + Trenz: EVER & EVER

Detlef Hartung has been part of the planning of //RESPONSIVE since its inception in 2016. Together with his collaborator George Trenz the two presented Lightscape and their new work Character at //RESPONSIVE 2017.

Thi Projected onto the grassy slope of Citadel Hill, this text-based video pairs words that linguistically generate dualities such as: victory/defeat; euphoria/despair; back/forth. These pared down pairings express micro dramas about the human existence. Detlef Hartung and Georg Trenz are an award-winning duo from Germany. They have worked together since 1998, creating site-specific and typography-based projected installations. Hartung + Trenz participated in the first edition of RESPONSIVE at the Memorial Public Library in 2017.  

Dona Nobis Pacem from Hartung & Trenz on Vimeo.

“When approaching a new project, we start to ask a lot of questions and in the same way and the same time, we explore the interplay of the site and the possibilities of projection. And the better both work, the more information and associations surface and the more questions dive up. Usually the midst of this entanglement becomes our working ground …”

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LINKS

hartung-trenz.de
www.vimeo.com/hartungtrenz


Detlef Hartung and Georg Trenz

Since more than 20 years Detlef Hartung and Georg Trenz are realizing text projections for the inside and outside working as a team predominately – their big subject is the combination of light, space and language and all three factors playing together to break down other meaning levels.

In their typographical experiments they explore the symbolic dimension of characters as representation of definitions and contents. While playing with size and intervals, proportions and movement patterns as well as transparent and non-transparent overlays their black and white textures are forming. As ephemeral surfaces for build architecture or landscapes they become visual scores in which the quality of characters is envisioned as well as associative dimension. The range of activities of this artist pair reaches from the creation of a flashlight as multiple up to landscape-large and digitally animated projections.

The cooperation of both artists began in the Academy of Fine Arts in Munich as master-class pupils of Prof. Gerhard Berger. Georg Trenz, born in 1962, had completed his studies as a communication designer and Detlef Hartung, born in 1958, had studied mechanical engineering before.

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Friedrich Boell [De]

HISTORIC PROPERTIES //Friedrich Boell: Dead Pixels (2018)

Based on Böll’s discovery of a box of damaged iPhones, Dead Pixels features a freestanding, choreographed grid of flickering phone screens that are individually re-programmed byBöll to mimic the individual pixels in a larger, abstract composition. Böll has an extensive knowledge of electronics from his work and studies at Information Technology and Network Systems, in Berlin, Germany, combined with his education from Academy of Media Arts, in Cologne.

Boell is a student at the Media Arts Academy of cologne and was a student contributor to our sister exhibition in Cologne COLLUMNIA.

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LINKS

Friedrich Boell
Collumnia

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Tilen Sepič [Sl]

 

HISTORIC PROPERTIES // Tilen Sepič: Eclipse

Light Installation

“Light and shadow, in a perfect circle.”

The Eclipse is a light-object that handles the absence of light with equal grace as it does the abundance of it.

Mimicking celestial alignments, glowing light emitted from a minimalistic wooden frame, combined with light that is equally obscured, Eclipse represents both the absence and presence of light and shadow. Based in Slovenia, Tilen Sepič is a multidisciplinary designer and artist. A promoter of Open Source Culture, Sepič develops his own products and has exhibited internationally with his kinetic installations and new-media art.  

Tilen Sepič, Eclipse 2018

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LINKS

TilenSepic


Tilen Sepič

Tilen Sepič is a multidisciplinary designer, new media artist and promoter of “open source” culture. His experience with light is manifesting in light-design objects, iot design, product photography and light installations. Currently he is developing a practice on research and development of his own products and installations in fields of light design, kinetic installations and new-media art.

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Samantha Lee [CA/UK]

 

HISTORIC PROPERTIES // Samantha Lee: Showgirl, 2019

At the turn of the nineteenth century, Loïe Fuller’s hypnotic ‘Serpentine Dance’ radically reconfigured the female body as a site of transformation, deferring fixed representations against the backdrop of eroticized stage spectacle. Inspired by the contemporaneity of her work, this video plays with ideas of metamorphosis and persona through the appearance and disappearance of human form into raw energy and visual effect. Drapery acts as bodily prosthesis through the use of everyday expressive materials, brought to life by an invisible corporeal movement and projected light. The veiled female body in motion plays an emblematic and enigmatic character, in a performance ritual of becoming metaphor.

 

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LINKS
www.samanthalee.xyz


Samantha Lee

Samantha Lee is a Canadian born South Korean artist based in London. She holds an architecture degree from the Architectural Association. Since 2013 she has been running Universal Assembly Unit, a collaborative studio working across art direction, immersive and interactive design. The studio has been commissioned to create installations for performance, exhibition, and outdoor festival venues across the UK and Europe. These include the Roundhouse, Barbican Centre, Southbank Centre, Sonar+D Barcelona, London Design Festival, AND Festival and Fotodok Utrecht. They recently completed a public commission from Croydon Council for an interactive light installation as part of an urban strategy along the High Street. The practice is currently developing a responsive visual installation for a concert at the Queen Elizabeth Hall as part of the Bridget Riley retrospective, which will take the audience through a therapeutic chromotherapy journey. This project is part of ongoing research in collaboration with the London Contemporary Orchestra, developing adaptive environments and the potential of immersive media as cognitive tools to influence mood through sound and visuals.

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