balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Safe Conduct
Take off your shoes, place your belongings in the tray and empty your pockets. What happens when we unquestioningly subject to airport security regulations – or other, less overt protocols in society? This is one of the questions addressed by artist Ed Atkins in a new work produced especially for the x-rummet venue at the SMK. The video work Safe Conduct by British artist Ed Atkins is a burlesque of airport security instruction videos. Atkins mixes appropriated and CGI footage of the artist’s own devising, set to Ravel’s ‘Bolero’. A carousel of protocol, rendered bodies – both literally and metaphorically – abattoirs and metal detectors.

Glitch art’ is a new genre which is now growing very popular within the digital art age. A glitch is certainly what many of us has experienced at least once in their life you are surrounded by technology. It is a temporary fault in the system and produces a distorted image. According to Iman Moradi, who wrote a brief account on glitch art, defined that there are two types of glitch art. One being ‘Pure Glitch’ where it was produced at random, real, and appropriated. Where as Szauder’s work classifies into ‘Glitch-alike’ because of the deliberate nature where the works were planned and designed, making them artificial.

New Age Demanded
Artist Jon Rafman uses software to digitally render sculptures and then applies Internet-sourced images to them. The works of many recognizable artists are re-appropriated in this on-going series of work, entitled “New Age Demanded”.

Саманта Доннелли
Samantha Donnelly’s practice is concerned with breaking down subjects and reconfiguring them in new constellations. Bringing together appropriated ephemera and quotidian materials such as magazines or cut-out photographs to produce assemblages, Donnelly reworks material remnants from various areas of contemporary culture, allowing them to dialogue and resonate within the same piece. By drawing our attention to surface and formal elements such as composition and colour, Donnelly’s work often references art history, particularly Modernism and the Baroque.

Саманта Доннелли
Samantha Donnelly’s practice is concerned with breaking down subjects and reconfiguring them in new constellations. Bringing together appropriated ephemera and quotidian materials such as magazines or cut-out photographs to produce assemblages, Donnelly reworks material remnants from various areas of contemporary culture, allowing them to dialogue and resonate within the same piece.

OUTROSPECTION
This project has taken as a starting point the concept of “Outrospection” initially introduced by philosopher Roman Krznaric, where he proposes that in order to know oneself one must live towards the outside, it is be experiencing life that one discovers and shapes oneself. I have appropriated his concept while relating it to out-of-body experiences more commonly known as astral projections, by seeking to represent -in a metaphorical way- the mind being projected inside out of the body as a way of self-expresion and representation.

2000 Cliparts

Oliver Laric’s work seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.

Before an object, material, or idea is understood – before it has a name – language relegates it to being a ‘thing.’ Not until it is cut open, taken apart, appropriated, used or misused, do we begin to know it, and consequently title it appropriately, as needed. It is then that this thing can become ours to categorize and organize within our systems of knowledge. Dutch-born, Berlin-based artist Rachel De Joode inverts this process in her study of “things,” and returns them back for refreshed and deconstructed viewing, wherein we once again feel unsure or almost suspicious about the objects with which we co-exist.

Gloves
Laura Splan’s work examines the material manifestations of our cultural ambivalence towards the human body. Her conceptually based projects employ a range of traditional and new media techniques. She often uses found objects and appropriated sources to explore socially constructed perceptions of order and disorder. Much of her work is inspired by experimentation with materials and processes including blood, cosmetic facial peel and digital fabrication.

جنيفر روبل
제니퍼 루벨
ジェニファールベル
Portrait of the Artist

Jennifer Rubell, the American artist and niece of Studio 54 co-founder Steve Rubell, brings a maternal touch to this year’s Frieze Art Fair with her autobiographical piece Portrait of the Artist. The pristine white nude, cast from steel-reinforced fibreglass, reclines like an odalisque at the Stephen Friedman Gallery stand. The sculpture is a replica of Rubell’s own eight-months-pregnant body, except it is eight metres high: the large belly, which is carved out to leave an egg-shaped void, can accommodate a fully grown adult. Spectators are able to clamber into the artwork and curl up inside as if they are the artist’s unborn child.Rubell’s intention was to create a monumental gesture of unconditional motherly love. There is a feminist statement here, too: Rubell has appropriated a style and scale historically reserved for male leaders to show, she says, “an emotion that is intensely personal and un-heroic”. The artist adds that watching members of the Frieze audience enter in the sculpture’s womb is “tremendously satisfying” – in her eyes the enlarged form was “incomplete until the first viewer entered”. Amid the hustle of Frieze’s mini-city there is something undeniably appealing about the opportunity to put your feet up in the foetal position in the name of art. Not to mention the comfort factor.