Digital Capture Magazine #06. November 2014.#MARK GMEHLING#CHRISTINE STREULI#COD. ACT#ANJOU#ROXY PAINE#PIM BLOKKER#PIM BLOKKER

PUBLICATIONLINKED ACTIVATION

ORIGINAL IMAGE > 'Margaret, the Artist's Wife'. Jan van Eyck.THE NATIONAL GALLERY. London

Jan van Eyck is credited with originating a style of painting characterised by minutely realistic depictions of surface effects and natural light. This was made possible by using an

oil medium, which allowed the building up of paint in translucent layers, or glazes.

One One of his most famous works is the 'Arnolfini Portrait', signed and dated 1434. It is thought that his 'Portrait of a Man' may be a self portrait.

pre

German artist Mark Gmehling has an elastic view on life. He makes fine art prints from 3D renderings of abstract characters and bizarre scenarios, all illustrated in a playfully fluid manner. It’s interesting to see 3D mode-ling being presented as fine art which you don’t see very often. The aesthetics of each of his figures are highly polished though and resemble beautiful, glossy ceramic pieces. txt capture > thefoxisblack.com

Wallstreet, 150x100cm, Fineartprint on dibond, aluframe, signed edition of 3.

CRYe. #06. November 2014. LIQUID EXISTENTIAL.

zzzup?/ Selfportrait, 2014, Fineartprint, 80x100cm, edition of 3. (originally created for pictoplasma portrait gallery)

CRYe.#05. June 2014. NEO PASTORALISM. FABåzLES, FOLKLORE AND OTHER REALITIES RODEL TAPAYA is one of the leading Filipino visual artists of his generation and belongs to the most acclaimed artists in Southeast Asia today. Due to exposure in international exhibitions and success in mportant regional art contests his works have gained renown and critical endorsement. He broke out in the art scene by earning the prestigious APB FoundationSignature Art Prizein 2011. Graduated from the University of the Philippines University of Fine Arts. Works Tapaya has been requested for the 10th Gwangju Biennale to be held September 5–November 9, 2014.

Zementa, 2014, Fineartprint on dibond, 110x150cm, edition of 3.

‘Plastic Relations’.

Mg

"Guaranteed real", 2008, Galerie Rupert Pfab, Düsseldorf.

CHRISTINE STREULI

ART

CRYe. #06. November 2014. PATTERNS IN LANDSCAPE. Streuli‘s works feed on ornamental and graphic elements, colours, geometries and patterns, which she generates from the existing imageries of the internet, advertising, printed textiles from around the world as well as historical image material. While her works are painterly in appearance, she rarely resorts to the brush. Rather, she depicts traces of brushstrokes. What is more, she works with stencilled fragments of paper, dot matrices, fields and contour-lines built up to large-scale collages by means of printing techniques such as decalcomania, cut out and others.out and others. The pictures attain their high visual density by layering, staggering and interlacing. They, like the commercial advertisements all around us, are carriers of emotion rather than information.

Visionär, 2012. Mixed media on cotton..

Insider, 2012. Mixed media on cotton.

Flash by, 2012. Mixed Media auf Baumwollegalerie-pfab.com

The artist regularly draws on source material from art history. For instance, she has appropriated existing material by the early 17th century painter Sebastian Stosskopf who was cele-brated all over Europe for his precise still lifes of alluring fruit and luxurious Venetian glasses. Streuli produced small-scale interpretations which she then went on to quote in some of her large-scale works. She also makes recourse to sample books with engrwith engravings of ornamentation or psaligraphy dating back to the Renaissance period. Hence she develops new, autonomous pictorial worlds from the totality of the artificial imagery of advertising, historical art and ornamentation. Fruit, acanthus, stars or motifs from psaligraphy, interlacing and quodlibets of fake text documents afford compositional stability to the otherwise mostly abstract paintings. Surfaces from different ccontexts and periods encounter each other. In her works Streu-li achieves a high degree of optical saturation that reaches the intensity of an all-over through the means of pop.

In this Streuli‘s works unfold their high energy levels through abstract signs of velocity, temperature, colour tone and spatiali-ty. Quotes, repetitions and mirror effects animate the pictorial scores that are as spontaneous in appearance as there are sophisticated in their planning and execution. The artist always adheres to the thought of “both-and” instead of “either-or” working both into the surface and in depth. She succeeds in rrelating vigorously agitated elements to thoroughly organised graphical quotations so that each new work generates the impression of comprehensive simultaneity. Therefore Streuli‘s paintings can also be read as statements on the prevailing global information community, which poses a challenge to every individual by its boundless availability.

Streuli‘s fierce paraphrases open hitherto unseen, utopian fields of experience. They cannot be reduced to specific messa-ges and singular statements because their immediate aim is the emotional state of the viewer who, if he is willing to embark on this journey of signs and colours, is seducing himself while making surprisingly new experiences within the dynamic

txt capture> artnews.orgLast exhibition; "Collar size / Kragenweite: 36". Galerie Sfeir-Semler, Hamburg.

christinestreuli.ch

“Nyloïd”. Cod.Act, Michel et André Décosterd, La Chaux-de-Fonds.sound installation.

Nyloïd is an impressive sound sculpture, a huge tripod consisting of 3 nylon limbs of 6 meters in length animated by a sophisticated mechanical and sound devices. Sensual, animal and threatening, this mobile draws its dramatic

power from the reactivity of its plastic and sound material to diverse mechanical constraints. Similar to a living object, its tension, effort and suffering, which result from its contortions and its vocal mani-

festation, can be sensed.festation, can be sensed.

This work constitutes a new stage in our researches. We did new investigations, each within his domain, on plastic and sound organi-city to combine them into this fascinating object: a return to life

operated by means of mechanics and sound processing.

The approach is a long-term reflection culminating in an advanced and complex minimalism. Nyloïd is a rudimentary structure. Often extreme, its movements are at the junction between mechanical perfection and raw material. Its impressive sounds, which seem to emanate from the material itself, are the result of an extremely

sophisticated vocal research.

The combination of raw material, mechanical and sound perfection The combination of raw material, mechanical and sound perfection results in a kind of hypnotic and dramaturgic choreography, from which arise, on a paradoxical way, perfectly random kinetics.

txt capture > codact.ch

NYLOÏD

CRYe. #06. November 2014. KINETIC DRAMA

CRYe.#05. June 2014. NEO PASTORALISM. FABåzLES, FOLKLORE AND OTHER REALITIES RODEL TAPAYA is one of the leading Filipino visual artists of his generation and belongs to the most acclaimed artists in Southeast Asia today. Due to exposure in international exhibitions and success in mportant regional art contests his works have gained renown and critical endorsement. He broke out in the art scene by earning the prestigious APB FoundationSignature Art Prizein 2011. Graduated from the University of the Philippines University of Fine Arts. Works Tapaya has been requested for the 10th Gwangju Biennale to be held September 5–November 9, 2014.

The synthetic voice and the music of Nyloïd

For Cycloid-E, we developed a musical device based on the acoustic principle which specifies that the louder an acoustic instrument is played, the richer the harmonics in its tone are, at the same time becoming clearer and more brilliant. The music of Cycloid-E accompanies its own

movements by adapting expression, combinations of tones, and brightness.

After this experience, we tried to improve the musical device to make it more flexible and After this experience, we tried to improve the musical device to make it more flexible and more organic. We looked for means to compose musical phrases in real time by morphing

sound fragments.

We wanted to create hybrid musical sequences by switching spontaneously and without We wanted to create hybrid musical sequences by switching spontaneously and without discontinuities between sound tones coming from various sources. We made tests with many different sounds. Among them, the spoken voice particularly fascinated us. On the one hand, it exercises on us an irresistible attraction; on the other it brings a very concrete and emotional dimension to the musical language. Finally, the wealth and the diversity of the sounds that the

voice produces make for an exceptionally flexible and subtle musical instrument.

We pursued our researches on the theme of the voice, particularly on computer-generated We pursued our researches on the theme of the voice, particularly on computer-generated speech. By using synthesis and digital treatment, the voice is brought back to a state of tone and vibration and becomes raw material. It takes on a plastic consistency and recovers an

archaic energy, as if it returned to its origins.

Always striking, the voice oscillates between inarticulate expiration and furious primitiveness, Always striking, the voice oscillates between inarticulate expiration and furious primitiveness, sometimes giving way to explosive fury. In spite of its at times disquieting sounds, the voice always stays very close to the essential. Its immediacy touches our senses and our emotion. The voice is perceptible through its breath, the noise, the sound and the tone, with which it

maintains an Aristotelian rapport.

enderfeed.com/2014/08/renderfeed-artist-profile-mark-gmehling/

The musical composition of Nyloïd is controlled by a continuous follow-up of its movements.

The musical composition develops from the voice, synthesized from a wide range of expressions and a wealth of textures. The voice follows the tensions and contortions of the

sculpture, sometimes as burst fragments, sometimes in broad incisive textures, sometimes in spasmodic expirations. If the movements stop, the voice stops as well,

silence becomes menacing.

CRYe.#06. November 2014. MODULATED SYNTHESIS

Anjou is the beautifully enigmatic reunion of Labradford's Mark Nelson (Pan American) and Robert Donne with fellow Kranky star, percussionist Steven Hess. The result of four years writing and editing, it marks Donne and Nelson's first collaboration since Labradford's 'fixed:content' (2000) and the first meeting of Pan American's Nelson and Hess since 'Cloud Room, Glass Room' (2013). Now older, wiser, quieter, the trio offer a subtly involving, hazily detailed ambient suite gleaned from an intricate process of modular synthesis, Max/MSP programming and live instrumentation.

Essentially it takes the trio's respective, somnambulant aesthetics to a stranger, detached and dreamlike place, smudging Essentially it takes the trio's respective, somnambulant aesthetics to a stranger, detached and dreamlike place, smudging the parameters of their sound to a shape-shifting mass of sublimated harmonics and intangible melody beyond the reach of most modern ambient practitioners. Our personal highlights are the Gas-like 'Sighting' with its brooding, distant pads and deft percussion from Hess, or the eerie midnight waltz of 'Backsight', especially when the shimmering SAW-style chords seep into play halfway thru. It's a real beauty.All three names should be familiar with anyone who’s spent any time

leafing through the Kranky back catalogue. Hess and Nelson

ANJOU

It’s noisy. It’s beautiful. It’s imaginative. It’s haunting.forestpunk.wordpress.com

worked together on the crucial Pan American recordings, and Donne recorded as Aix Em Klemm with Stars of the Lid’s Adam Wiltzie, as well as recording crucial work as Cristal. Now the three have joined forces to create a refined record of digital and analogue synth processing, accented by Steven Hess’s percussive backbone.

txt capture > boomkat.com

kranky.net

'Checkpoint' is part of Paine's ongoing Diorama series, all of which intentionally blur the boundaries of reality. 'The scenes exist in an uneasy balance between being an idealised shadow and hyper specificity,' Roxy Paine.txt capture > wallpaper.com

American artist Roxy Paine's exhibition at New York's Marianne Boesky Gallery is inspired by an unlikely muse: an airport security

checkpoint.

Shown alongside wooden sculptures of mechanical objects that comment on labour, 'Checkpoint' is a near life size replica of its namesake, which Paine sees as representative of both banality and larger social anxieties. The familiar scene, which has been made entirely of maple wood and supported by

an aluminium structure, is rendered in minute detailed.

From the rubber flaps and rollers on the luggage conveyer belts to the ubiquitous office chairs that From the rubber flaps and rollers on the luggage conveyer belts to the ubiquitous office chairs that security personnel lounge on, everything has been created with impeccable verisimilitude. The visible wood grain and the soft, uniform hue add a further layer to the vista, decontextualising it

from its mundane reality and allowing viewers to examine a scene that is often scurried through as quickly as possible with a fresh eye.

Airport security is part of Paine's ongoing Diorama series. The Queens-based artist previously imAirport security is part of Paine's ongoing Diorama series. The Queens-based artist previously im-mortalised a fast food restaurant counter, 'Carcass', and a control room in birch and maple wood for an exhibition at Chicago's Kavi Gupta gallery last year. On choosing each location, Paine says: 'I think

about spaces that exemplify and reflect certain crucial aspects of our current episteme. I'm also interested in the spaces that we exist in, and pass through, but don't really see. A crucial aspect of these pieces is transformation in the alchemical sense; taking an element that is banal or base or

worthy of scorn - depending on your perspective - and transmitting it into a meditative reflective moment.'

ROXY PAINE

CRYe. #06. Novembre 2014. STOPPED REALITIES.

The visible wood grain and the soft, uniform hue add a further layer to the vista, decontextualising it from its mundane reality and allowing viewers to cerebrally examine a scene that is often scurried through as quickly as possible.

XAFar from just being straightforward

replicas, Paine's dioramas intentionally blur the boundaries of reality. 'The scenes exist in an uneasy balan-ce between being an idealised shadow and hyper specificity,' he explains. 'They are not based on one

specific place, but an amalgamation or conglomeration of places, representative of all, but specifically none.'

While 'Carcass' was pieced together from five years worth of photos taken in numerous fast food restau-rants, 'Checkpoint' was developed on computer due to its geometric complexities. In 'Checkpoint', a 70-ft depth of field was compressed into just 17 ft, creating a forced perspective that required its subsequent

components to be cut at different compound angles - a technical challenge, to say the least.

Ultimately, it was the qualities of a security checkpoint that appealed to Paine the most. 'My works are Ultimately, it was the qualities of a security checkpoint that appealed to Paine the most. 'My works are translations between two disparate and seemingly incompatible languages. [A checkpoint] is machinery for processing humanity,' he says. 'I was excited to tackle the aspects of expressing, exerting and revealing its

power structures and the intricate minutiae of its details and the forms of its functions.'

'Roxy Paine: Denuded Lens'

Marianne Boesky GalleryNew York

ROXY PAINE. STOPPED REALITIES.

Pim Blokker. Dirty dog. 2014. Oil paint on canvas.