Flag (Thames) 2016 depicts a small section of the Thames River—one that is adjacent to the Palace of Westminster in London—as an algorithmic representation on an LED panel. The river color is vividly represented with reflections of buildings along the riverbank, including Big Ben. At the center of the scene sits a simulated gasoline spill. The depiction accurately refracts the light and creates a vivid prismatic patch, endlessly shifting in shape over time and appearing in direct relation to the precise time of day in London. The point-of-view of the camera in the work circles this changing shape, as Flag (Thames) unfolds over a 365-day solar cycle of night and day. The soft undulation of the waves animates the scene and gives rise to the title of the work. The power of Flag (Thames) lies in its simplicity. It embodies all of the strengths of his larger work, but its technical and conceptual complexity are manageable. (The oil spill alludes to the artist’s longstanding interest in addressing the perniciousness of the oil industry.) His work can be described as existing in post-cinematic, non-linear time, sequences produced and discarded in the time it takes the computer to execute the complex codes in which they are written. His work both transcends and immortalizes their subjects.
For more than two decades, John Gerrard has produced media work that has harnessed the emergent technologies of programming languages and gaming engines, and transmuted them into landscapes and portraits of ever increasing intricacy and autonomy. Gerrard works with a small team and creates complex algorithmic generators of simulated images. His projects exist as pieces of software. That piece of software needs a powerful machine, such as a gaming-type of machine. While some of his work are manifested as a projection, others exist as an object, or as an LED wall. The only place his art cannot exist is online, because his scenes are too dense and too complex to function in that space at present. Born 1974 in Ireland, John Gerrard received a degree in sculpture from the Ruskin School at the University of Oxford in 1997. He went on to pursue graduate studies at the School of the Art Institute of Chicago and at Trinity College, Dublin. He has spent twenty years going beyond the artificial look of 3D animation, beyond what Hito Steyerl and Ed Atkins leave as recognizable. Instead, Gerrard’s work speaks to the present as well as to the histories of photography, and even to the histories of cinema.
Dutch Emerging: Ruben Janssen X GRA Fashion Bachelor 2023 – A Shaded View on Fashion From the back to the middle and around again — Ria’s wedding dress, Alan’s patterns and John’s model: ‘My project is an investigation into evolution, explored through prisms of biology, computation and a poetic personal narrative, shifting between timescales on an evolutionary timeline...
Untitled (Celestial Motors) is a visual meditation on an icon of modern urban Philippine life—the jeepney...
How Banksy’s 2015 amusement park parody Dismaland transformed a gallery founder’s view of exhibitions | South China Morning Post Advertisement Advertisement Art + FOLLOW Get more with my NEWS A personalised news feed of stories that matter to you Learn more A mermaid sculpture sits in front of a fairy castle at Banksy’s Dismaland amusement park parody in Weston-super-Mare, England, in 2015...
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...
L’herbier (petit Trianon) consists of four “realistic” drawings of plants, screenprinted on transparent PVC...
In his photographic series Périphérique (2005–2008), Mohamed Bourouissa used the composition of classical paintings to stage the portrait of friends and young people in the banlieue s (suburbs)...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
Nina Azoulay — Comme un rond dans un carré — Frac île-de-france, le Plateau — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Nina Azoulay — Comme un rond dans un carré — Frac île-de-france, le Plateau — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Nina Azoulay — Comme un rond dans un carré Exposition Installations, sculpture Derniers Jours Nina Azoulay, Olivia, 2024 © Nina Azoulay Nina Azoulay Comme un rond dans un carré Encore 7 jours : 11 janvier → 18 février 2024 La Project Room est le nouvel espace prospectif et expérimental du Frac qui prend place dans la dernière salle du Plateau...
The half-length portrait of Joe Shirley presents a man with a great presence, wearing several items that point to ancestral Native American culture...
The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together...