Catalogue Exhibition │Millepiani
Posted on September 17 2020
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WINDOWS INTO THE VIRTUAL
JENS VANGE
The Way Out │ Photography, 2019
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After a meeting at the Saint Paul Downtown Airport in Minnesota, I saw a large old Mylar map in the corner. A window on the adjacent wall reflected in the map. I composed the photo so a loosening seam in the map created a fractured reality in the ordinary reflection.
- J. V.
JENS VANGE
Is What You See What You Get? │ Photography, 2020
- J. V.
One Day The House Caught The Clouds │ Photography, 2020
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I love photography. I really love when my photos are interesting to others.
- S. B.
Leaf on Blast Beach, County Durham │ Photography / Installation, 2020
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A leaf, bleached to create transparency, used as a slide in a modified 1950's slide projector. Projected onto a limestone outcrop, on a post-industrial beach in the North East of England. Part of an ongoing exploration of the anthropocene, how humans change nature, and nature reclaims it.
- C. P.
This work explore the overwhelming task of living and parenting during the pandemic. In thinking about the current climate, especially related to motherhood, I've been inspired by fourteen mountains with the highest elevations in the world, otherwise known as the Eight Thousanders. The Eight Thousanders are located in the Himalayan and Karakoram mountain ranges in Asia, and their summits are in the death zone, with sitting elevations of 8,000 meters above sea level. The mountains reach heights requiring supplemental oxygen for human exploration, and the death zone is the point where the pressure of oxygen is insufficient to sustain human life for an extended time span.
- K. S.———
This work seeks to consider our anthropological trash heap, as a telling barometer of where ‘advancement’, and ‘progress’, and ‘growth’, might actually be trending, alongside record-breaking financial markets and luxury towers, the thrown-away that’s less and less ‘hidden’, and more and more ‘ in plain sight’.
- D. R.
- K. A. M.
Pseudo Wedding │ Digital, 2020
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The formulation of the Pseudo Wedding concept, presents the historical recording of sexuality, the strictly moral peasant world, and reinforced medium- term desires and materialization in defined forms, as well as metaphorical review and further development. In connection with the encounter of desires and rite, I was dealing with the folk performances, during the carnival period. The only summary of the end-of-carnival habitual games of thought, fertility, transmission of life, mating, marriage. If its specific performers are the brides, grooms, or a periodistic imitation of a wedding. In order to increase sensitivity in relation to the formation of individual desire, the strategy, to facilitate processing, and alo to connect metaphorical communication and perform separation, which means that it consists of a material with inappropriate instincts. This is a communication bridge for the wedding itself. The pseudo-wedding is chosen from the folk theater games, and the themes of the reburial are thus brought together. In winter death and lifelessness, the flag is that this birth is a new stage of production, growth and development. The original function of the game was an ancient social tension, and it was a preparation for life rounds. As usual, the roles of a man and a woman played swearing alternately, while a priest kept tempting him with lyrics on the shield, a wedding crowd. The wedding was closed by dancing and singing. This powerful theatrical play, its costumes, props, thoughtfulness, is inspired by a corporeality, images of men dressed as brides emphasizing grotesque elements, an overview into an individual vision. This rework shows a bridal look that is more of a kyborg, pseudo-bride emphasizing masculine traits. Masculinity, men, cannot be sought by suggestive stereotypical elements, but we are habituated to recognise gender visually. This is how I came to the questions of the body hairs, which are still considered a taboo subject. The carnival vision presents an option where gender boundaries-maybe under the hair-can blur just for the wish of playing.
- C. G.
Concretion #2 │ Photography, 2019
Shadows are fleeting, and in physics, described as “holes in light”. In my photos they become autonomous entities resisting verbal interpretation and untethered to literal meaning; each, an “absented presence”. They are something of our “hyper-real” world, of the unanchored over-information we increasingly drift in.
- L. B.
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'Walkies’ exists as an online videographic journey through a cache of places, imaginings and memories comprised of simulacral human constructions. Using fiction, personal-reference and fringed domestic perspectives, the piece - a product of ‘The Space Raiders Residency’ at The Royal Standard Liverpool - aims to challenge expectations of interpersonal-relationships through virtual mass-connectivity-systems.
- R. G. & E. T.
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I have been expressing my joy of art since childhood. I began as a painter, evolved into a photographer, and eventually began painting vivid colors on my Cibachrome prints, creating my own colorful world before Photoshop. Now I scan my hand-painted prints and my library of 35mm Kodachrome color transparencies taken over 40 years years, and paint, collage and enhance them with Photoshop, creating a wonderful new magical reality.
- J. G.
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“Home” is a project about finding one’s own place using a deliberately technological approach to the most humane question possible - “Where do I belong?”. It consists of colored cutout photographs from a book about New York combined with Siri's answers to questions about the meaning of home.
- L. G.
- A. C. P.
- M. C.
"Augmented Datability" questions how AR can take into consideration emotional parameters of human beings in order to help us make the best decisions. Combining portrait photography and data visualisation, I created an interface prototype of a "real time datability scan" that tells users how "datable" a stranger can be.
- K. C.
A photographic self portrait is a way to recognize ones on being by visual means. In the virtual space of the internet, photographs become avatars of the person they are representing. Reality and virtuality melt together: Is identity no longer bound to the physical appearance in the concrete world?
- F. O.
This portrait is based on the dramatic character of the real Dennis Rader in the series Mindhunter. inspired by the music of " Murcof - Una "
- I. A.
This portrait based on the first digital image made on a computer in 1957 by Russell Kirsch, The image showed researcher Russell Kirsch’s baby son Walden Kirsch. inspired by the music of " Philip glass - Prophecies "
- I. A.
Shanzhai Zhexue, from Chinese, translates as Counterfeit Philosophy. This series focuses on obvious simulations, inflatable toys, as they interact with natural landscapes, creating new photographic realities. This image, Gator Fraud was photographed in an actual Florida swamp using an inflatable alligator, out floating amongst real alligators.
- P. R.
"Alienating Humanity" is the photo project which dedicate to social problems. Inequality, discrimination - that's all surrounds us. All people are different like a flowers, we're like a sparkling stars in the night sky. So beautiful but so far away from each other. We shine or we can burn. People are united by one ideology - it's a force. No matter of skin color, religion, sex. We can be union of light, kindness and love. Just be together and take care of each other.
- D. C.
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