{"id":12986,"date":"2024-08-16T21:58:09","date_gmt":"2024-08-16T20:58:09","guid":{"rendered":"https:\/\/www.instantsvideo.com\/blog\/?post_type=portfolio&p=12986"},"modified":"2024-08-16T22:01:56","modified_gmt":"2024-08-16T21:01:56","slug":"spukhafte-fernwirkung","status":"publish","type":"portfolio","link":"https:\/\/www.instantsvideo.com\/blog\/video\/spukhafte-fernwirkung\/","title":{"rendered":"Spukhafte Fernwirkung"},"content":{"rendered":"\n

Spukhafte Fernwirkung<\/em> a consist\u00e9 \u00e0 collecter manuellement chaque photo t\u00e9l\u00e9charg\u00e9e sur le site www.road.is-a, qui utilise un vaste r\u00e9seau de webcams pour montrer l’\u00e9tat des routes et de la conduite en Islande, chaque jour pendant un an. Le fait de parcourir l’Islande avec mes bottes de neige me manquait, c’est pourquoi m’int\u00e9resser au paysage \u00e0 distance pendant deux ans a \u00e9t\u00e9 pour moi un moyen de rester en contact avec le pays. En outre, alors que le num\u00e9rique est domin\u00e9 par les m\u00e9taphores de l’espace, avec des termes tels que cyberespace ou r\u00e9alit\u00e9 virtuelle, je me suis int\u00e9ress\u00e9e au temps, parce que le temps est (num\u00e9riquement parlant) ignor\u00e9 ou consid\u00e9r\u00e9 comme une frustration – le temps qu’il fallait autrefois \u00e0 un modem pour se connecter \u00e0 l’internet, ou le temps qu’il faut pour t\u00e9l\u00e9charger quelque chose. J’ai \u00e9galement \u00e9t\u00e9 attir\u00e9e par la faible r\u00e9solution des images (640 x 480 pixels chacune), qui leur conf\u00e8re une qualit\u00e9 \u00e0 la fois glitchy et picturale. N\u00e9anmoins, bien que num\u00e9rique par nature, je consid\u00e8re l’\u0153uvre comme un processus hybride entre une peinture de plein air (de longue dur\u00e9e) et un traitement informatique (apr\u00e8s la capture). Les webcams sont perp\u00e9tuellement \u00e0 l’ext\u00e9rieur, capturant constamment le(s) paysage(s) – avant que je ne capture \u00e0 mon tour leur capture du terrain num\u00e9rique. Fondamentalement, je ne crois pas que le statut num\u00e9rique d’une \u0153uvre d’art doit alt\u00e9rer son exp\u00e9rience perceptuelle ou son appr\u00e9ciation. En outre, je voulais explorer un aspect de l’Islande diff\u00e9rent de celui des dizaines de milliers de photographes et de vid\u00e9astes qui se rendent chaque ann\u00e9e aux m\u00eames endroits pour d\u00e9peindre l’Islande comme un paysage d’un autre monde, sauvage, accident\u00e9 et intouch\u00e9. Je m’int\u00e9resse davantage \u00e0 la disparition des fronti\u00e8res claires entre la culture, la technologie et l’environnement. La route 1 (le p\u00e9riph\u00e9rique), qui fait le tour de l’\u00eele et relie la plupart des habitants du pays, ainsi que les attractions touristiques les plus populaires, \u00e9tait donc pour moi un sujet plus int\u00e9ressant.<\/p>\n\n\n\n

Spukhafte Fernwirkung involved manually collecting every photo uploaded to www.road.is\u2014a website that uses a vast network of webcams to show the road and driving conditions of Iceland\u2014each day for a year. I missed trudging around Iceland in my snow boots, so engaging with the landscape remotely for two years was a way for me to stay connected to the country. Moreover, whereas the digital is dominated by metaphors of space, with terms like cyberspace or virtual reality, I was interested in time, because time is (digitally-speaking) ignored, or viewed as a frustration\u2014the time it once took a dial-up modem to connect to the Internet, or how long it takes to download something. I was also drawn to the low-resolution nature of the images\u2014measuring just 640 by 480 pixels each\u2014which gave them a glitchy, yet painterly quality. Nonetheless, while digital in nature, I view the work as a hybrid process between a (long durational) plein air painting and (post-capture) computer processing. The webcams are located perpetually outside, constantly capturing the landscape(s)\u2014before I, in turn, captured their capturing of the digital terrain. Basically, I don\u2019t believe an artworks digital status should alter its perceptual experience or appreciation. Besides, I wanted to explore a different aspect of Iceland to that of the tens of thousands of photographers and videographers who travel to the same locations each year to portray Iceland as a wild, rugged, and untouched otherworldly landscape. I\u2019m more interested in exploring the disappearance of clear boundaries between culture, technology, and the environment, so Route 1 (the Ring Road), which runs around the entire island connecting most of the country\u2019s inhabitants, as well as the most popular tourist attractions, was for me a more interesting subject.<\/em><\/p>\n\n\n\n

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Kailum Graves<\/strong> est un artiste et archiviste binaire obs\u00e9d\u00e9 par l\u2019objet num\u00e9rique artefactuel. \u00c0 travers des \u0153uvres d\u2019art, des \u00e9crits et des projets de commissariat, il enqu\u00eate sur les structures cach\u00e9es et invisibles du pouvoir. Il le fait en envisageant des th\u00e8mes aussi divers que l’in\u00e9galit\u00e9 \u00e9conomique, la nature algorithmique de la photographie num\u00e9rique, le bombardement d’images m\u00e9diatiques, la politique de la peur et la menace de l’alt\u00e9rit\u00e9, les fronti\u00e8res changeantes entre les corps et les technologies, la manipulation photographique et sa repr\u00e9sentation de la r\u00e9alit\u00e9. , et la culture des c\u00e9l\u00e9brit\u00e9s. Bien que cet int\u00e9r\u00eat d\u00e9coule d’une exp\u00e9rience tr\u00e8s personnelle et constitue pour lui une fa\u00e7on de commencer \u00e0 comprendre, \u00e0 accepter et \u00e0 g\u00e9rer son propre trouble de stress post-traumatique, son angoisse, son anxi\u00e9t\u00e9 et sa d\u00e9pression, son travail aborde des id\u00e9es, des m\u00e9taphores, des images, des th\u00e8mes, de l’humour (noir), des sentiments et des symboles universellement partag\u00e9s (les nuances de l’existence humaine). Kailum s’est sp\u00e9cialis\u00e9 en histoire de l’art et en philosophie \u00e0 l’Universit\u00e9 du Queensland et a obtenu son dipl\u00f4me en 2011 avec une th\u00e8se sp\u00e9cialis\u00e9e ax\u00e9e sur le groupe activiste am\u00e9ricain bas\u00e9 sur Internet The Yes Men, le collectif russe Voina et le groupe hacktiviste international Anonymous comme moyen de discuter de la pratique plus large de l’art. le brouillage culturel et remettre en question l\u2019efficacit\u00e9 de l\u2019art politique sous l\u2019h\u00e9g\u00e9monie du capitalisme multinational. Les faits saillants de sa carri\u00e8re incluent l’exposition \u00e0 la National Portrait Gallery de Canberra; expositions internationales au Royaume-Uni, en Italie, en Allemagne, en Gr\u00e8ce, au Mexique, en Suisse, en Chine, au Br\u00e9sil, au Danemark, en Islande, en Russie, au Portugal, en Pologne, en Malaisie, aux \u00c9mirats arabes unis et aux \u00c9tats-Unis ; \u00eatre finaliste \u00e0 de nombreux prix d’art internationaux et nationaux ; participation \u00e0 une conf\u00e9rence internationale \u00e0 Mexico; r\u00e9sidences \u00e0 Skagastr\u00f6nd, Berlin, P\u00e9kin et Changsha ; allocutions au Symposium de recherche cr\u00e9ative sur les animaux critiques 2018 ; remporter le premier programme d’\u00e9change de r\u00e9sidences d’artistes BigCi et Red Gate Gallery ; recevoir une r\u00e9sidence financ\u00e9e, une commande et une exposition \u00e0 PLAN8T ; \u00eatre pr\u00e9sent\u00e9 dans Digital America ; recevoir un financement du Arts Queensland et de l’Australia Council; remporter le Clayton Utz Art Award 2016 ; et \u00e9tant acquis par la collection permanente de la Toowoomba Regional Art Gallery. Il a \u00e9t\u00e9 le fondateur et grand chef totalitaire d\u2019An Evolving Thesis \u2013 un site Web cr\u00e9\u00e9 pour enqu\u00eater et d\u00e9battre de l\u2019\u00e9conomie culturelle \u2013 et a \u00e9t\u00e9 le directeur et dictateur de The Goodwink Conspiracy, un programme de r\u00e9sidence en ligne et une plateforme de conservation.<\/p>\n\n\n\n

Kailum Graves<\/strong> is an artist and binary archivist critically obsessed with the artifactual digital object. Through artworks, writing, and curatorial projects he investigates the hidden and invisible structures of power. He does this by contemplating themes as diverse as economic inequality, the algorithmic nature of digital photography, the bombardment of media imagery, the politics of fear and the threat of otherness, the shifting boundaries between bodies and technologies, photographic manipulation and its representation of reality, and celebrity culture. While this interest stems from very personal experience and is a way for him to begin to understand, accept, and deal with his own post-traumatic stress disorder, angst, anxiety, and depression, his work addresses ideas, metaphors, images, themes, (dark) humour, feelings, and symbols which are universally shared (the nuances of human existence). Kailum majored in art history and philosophy at the University of Queensland, graduating in 2011 with an Honours dissertation focused on American Internet-based activist group The Yes Men, Russian collective Voina, and international hacktivist group Anonymous as a way into discussing the wider practice of culture jamming, and to question the efficacy of political art under the hegemony of multinational capitalism. Career highlights include being exhibited at the National Portrait Gallery, Canberra; international exhibitions in the United Kingdom, Italy, Germany, Greece, Mexico, Switzerland, China, Brazil, Denmark, Iceland, Russia, Portugal, Poland, Malaysia, the United Arab Emirates, and the United States; being a finalist in numerous international and national art awards; participation in an international conference in Mexico City; residencies in Skagastr\u00f6nd, Berlin, Beijing, and Changsha; speaking engagements at the 2018 Critical Animals Creative Research Symposium; winning the inaugural BigCi and Red Gate Gallery artist residency exchange program; being awarded a funded residency, commission, and exhibition at PLAN8T; being featured in Digital America; receiving Arts Queensland and Australia Council funding; winning the 2016 Clayton Utz Art Award; and being acquired by the Toowoomba Regional Art Gallery\u2019s permanent collection. He was the founder and totalitarian head honcho of An Evolving Thesis\u2014a website established to investigate and debate the cultural economy\u2014and was the Director and Dictator of The Goodwink Conspiracy, an online residency program and curatorial platform.<\/em><\/p>\n\n\n\n

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