How do we envision the world we inhabit, and what does this tell us about the way we think of life in general? The landscape has always been a popular image in art, one that is tightly connected to our dreams and ideals, our vision of Utopia. Celebrating the 500th anniversary of Thomas More’s Utopia, this exhibition explores our shifting perceptions of nature and our involvement in it.
Through installations ranging from experimental animated film and games, to architectural structures, this exhibition represents different animated views on our surroundings: Shifting perceptions of nature as a place of peace and quiet to an Anthropocene environment increasingly affected and modified by man — perhaps drawing us closer to Dystopia?
In #29, the constant zooming into certain landscape features displays a constant exploration for an argument. The camera’s assessment becomes the vessel for embedded associative imaginations and desires linked to the absent argument. #29 belongs to a series, researching the relationship between landscaperepresentation, perception and the unconscious. During editing crucial data is removed from the mpeg-stream, forcing software to re-interpret visual information.
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Experimental animation film uses vector graphics and is a product of collaboration between the visual artist Jan Sramek and Veronika Vlkova.
I selected a number of buildings that epitomize today’s zeitgeist. I transformed these architectural types into toy blocks. In doing so I have two objectives. The first is to shed a light on the excessive nature of contemporary large scale architecture – the mega factory – by using the poor and abstract form language of toy blocks. My second objective is to make full use of the contrast between the harshness of contemporary architecture and the illusory children’s world of friendliness and unlimited possibilities cultivated by adults.
Video-collage made from found-footage of renowned films about the end of times.
For this project de Beijer has been focusing on the landscape drawings, etchings and engravings from Dutch masters like Hercules Seghers, Jacob van Ruisdael, Rembrandt van Rijn and Vincent van Gogh. Their vision and interpretation of the Dutch landscape has been the starting point for developing his own vision on the landscape through the ages; untouched and dynamic at the same time.
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MOUNTAIN is an ambient procedural mountain game.
Als synthetische spiegelingen van de tastbare wereld, construeert Brand gedetailleerde interpretaties van de realiteit. Digitale werken waarin de suggestie van leven en fragiliteit balanceren tussen een geloofwaardige weergave en de klinische verschijningsvorm van een digitale façade. Hoewel hij ooit als schilder begonnen is, werkt Brand al jaren enkel in het digitale domein. Vanaf zijn vroegste werken is het verbeelden van natuur-landschappelijke scènes een constante . Van de romantische atmosfeer in nachtelijke bostaferelen tot absurdistische en humoristische sequenties waarin onnatuurlijke objecten transformeren binnen de logica van de virtuele onstoffelijkheid.
Raoul Island is a remote volcanic island in the Pacific Ocean. There is only one house on this otherwise uninhabited island, to welcome a team of rangers and volunteers who come every year for a few months to remove alien vegetation. Except from them, no one is allowed to step on the island. Naïmé Perrette is interested in this micro society that deploys so much effort to adjust a land to fit an idea of original nature. She looks at this particular scenario as an echo of a more general idea of state control over spontaneous growth.
She layers images, as much as she layers narrations in her video works. She twists perspectives by deconstructing colour channels, and by assembling different angles of vision of the same entity. Her prints help her flesh out visual ideas relating to environment and display, elements that feed back into decisions she makes about her films and video installations. She examines the limits of printing techniques and how they could exist alongside her films or in response to them - how the materials themselves can speak of a particular time and place or mood.
The quiet rustling of the gold throws us off balance. This heap of solid gold breathes at a human pace. The rhythm breathes life into otherwise inanimate matter, gathering an even more disquieting effect, since we now attribute human characteristics to precious stones. This inanimate though breathing being becomes a friendly companion; it transforms an empty space to a shared one, shifting the focus from being alone to being together. Where we often feel that technique only creates a dehumanising effect, in this installation it has quite the opposite of the effect, we start to feel related. It is only natural to feel close to things that breathe.
Roos van Haaften maakt lichtwerken op muren - ze tekent met reflecties en schaduwen. Haar beelden kunnen door hun virtualiteit ieder moment van gedaante veranderen. Door met theaterlicht te projecten in de ruimte, rondom objecten en figuren, ontstaan fotografische en filmische scenes met een beklemmend karakter. De middelen waarmee ze haar beelden tot stand brengt zijn alledaags: het zijn kruimels
My work deals with the relation between religion and capitalism, which is depicted in a scenery of architectural landscapes/cityscapes. These landscapes show the contours
of an imaginary city. A city which breathes the human ambition towards power and status. Its large scale buildings reminds us of the industrial utopia’s which prevailed in the human mind, but failed to shine or provide peace and humanity in the real world.The most prominent facet of this city is perhaps its appearance, from which one can easily read that the main ideology of its inhabitants is Capitalism. But this ideology is beginning to manifest itself in a religious manner, and will maybe even become a religion itself.
And in a way that it will be seen as a redeemer. The city shows the self-confidence of an utopia but also the emptiness of a deserted ruin. The over towering Art Deco skyscrapers stand proud like medieval cathedrals, their decoration reminds us of the rich symbolism of the early Christian art, with all its references to spiritual suppression and revelation. The skyscrapers cast their shadow over desolate and damaged monuments which represent the lost moral standards and values of humanity, which have been exchanged for the never-ending spiritual search for capitalist redemption, which provides us with the luxury and convenience of modern day life.
Kaboom Animation Festival is the one-stop-shop for the latest and greatest in all things animated. Ranging from cutting-edge experimental arthouse to colorful stories for families and kids, Kaboom will cater to the animation needs of all. Yes, even yours, my amazing weirdo friend!
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