Daniel Canogar • Sikka Magnum

360 movie DVDs, metal disc, computer, 14:19 min. video projection loop
Dimensions: 210x210x20 cm.

Sikka is a sculptural video installation constructed from 360 used DVDs. This multi-thematic piece was inspired by “sikka”, the gold coins sewn to clothing dating back to Babylonic times that eventually became the shiny plastic objects we know today as sequins. By projecting the contents of the DVDs back onto their surfaces the artist continues to investigate both new uses for discarded objects as well as his interest in combining the phantasmagorical properties of cinema with its physical elements. In this case, film segments were selected from each of the DVDs for their color, shape and movement value, forming a digital palette from which the final projected loops were constructed. The accompanying self-generated soundtrack is the resulting “accidental composition” created by layering the soundtracks from the actual segments being projected. The final effect is that of an audio-visual mosaic.

Historically, sikka were worn to remind onlookers of the wealth and power of those wearing them while also evoking the light of the divine. Similarly, the surfaces of the DVDs flash back at us images born from the glamorous world of Hollywood where image is converted to a kind of currency.

Jay Gould

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The Participatory Universe

I grew up under the strong influence of science, surrounded by its practitioners, raised with those always willing to create a hypothesis for one highly inquisitive child. For a time I felt that it was the field I belonged in, but I realized that the lessons I learned studying science never felt truly important until I applied them to art. The process of creating something visually with a concept in mind is a lot like an experiment. The end result is unknown until you are finished, but the sense of understanding, even in failure is clear because it has been earned. Through all of my visual projects, I have embraced methods and themes of experimentation and study. I look for connections that can be made between the natural world and the unseen reality that underpins it, but I am also seeking humanistic connections between those people that study science and those of us who are simply fascinated by it. It is my belief that many of us look to science in a similar way that we seek art, not for cold calculation, but instead for a story, something to challenge us, and a new mystery for our minds to unravel. In my work, I reveal stories based on science that exist beneath the surface of our visible reality and ask viewers to share in my sense of discovery, absurdity, and emotion that I associate with the people and themes of science.

Both fields are built upon the process of creating analogies and models to describe what is occurring in realms that we cannot examine with our natural senses. Tools are used to investigate, document, and understand processes that exist beyond what our eyes can perceive or what our fingers can detect. Whether the tool is a camera, a microscope, a pen or a particle accelerator, these become devices through which an explorer can not only further their own understanding, but also provide evidence to share with others. I embrace many different tools in my quest to explore my own unseen reality, but photography has always been my primary instrument. With its unique and tenuous connection with truth, evidence and culture, photography is the perfect medium to investigate how our reality is guided by unclear, invisible theories of science. Just as quantum mechanics demonstrates how interactions of energy and matter change depending on how we choose to view them, the connotations of truth within a photographic image can be strongly influenced by the choice of camera format or printing. No other medium embraces veracity in this manner, and because of that, photography has great power. However, there is also potential in the combination of photography with other mediums, and I welcome the results of such explorations and often include computer graphics, drawing, installation, sculpture, video and the use of laser-cutters into my process. Each of my projects serves as a means to connect the scientific concepts I admire with the visual metaphors that I crave, through which I enhance my own personal sense of understanding, while facilitating a dialog and shared sense of discovery with my audience and collaborators.

http://jgould.net

ARTIFICIAL PARADISE,INC.

Artificial Paradise, Inc is an experimental film anticipating a future where a major corporation has developed an unique software, based on organic virtual reality, which holds all the lost memories of humankind. A user connects to this database of the forgotten…what is he searching for?

Production : Condor & Jean-Paul Frenay
Director / editor / compositing : Jean-Paul Frenay
Main 3D artist / compositing : Sandro Paoli
3D artists : Sylvain Jorget and Sébastien Desmet
Additional 3D operators : Otto Heinen and Okke Voerman
Sound Design : Seal Phüric feat. Neptunian8

Sally Mann

1998

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Sally Mann
(b. Lexington, Virginia, 1951)

Sally Mann has always remained close to her roots. She has photographed in the American South since the 1970s, producing series on portraiture, architecture, landscape and still life. She is perhaps best known for her evocative and resonant landscape work in the American South and for her intimate portraits of her family, her young children and her husband. Her work has attracted controversy at times, but it has always been influential, and since her the time of her first solo exhibition, at the Corcoran Gallery of Art, Washington D.C., in 1977, she has attracted a wide audience.
Sally Mann explored various genres as she was maturing in the 1970s, but she truly found her métier with her second publication, a study of girlhood entitled At Twelve: Portraits of Young Women (Aperture, 1988). Between 1984 and 1994, she worked on the series, Immediate Family (Aperture, 1992), which focuses on her three children, who were then all aged under twelve. While the series touches on ordinary moments in their daily lives – playing, sleeping, and eating – it also speaks to larger themes such as death and cultural perceptions of sexuality. In her most recent series, Proud Flesh, (Aperture, 2009) taken over a six-year interval, Mann turns the camera onto her husband, Larry, who is suffering from late-onset Muscular Dystrophy. The results of this rare reversal of photographic roles are candid, extraordinarily wrenching and touchingly frank portraits of a man at his most vulnerable moment.

Mann has produced two major series of landscapes: Deep South (Bullfinch Press, 2005) and Mother Land. In What Remains (Bullfinch Press, 2003), she assembled a five-part study of mortality, which ranges from pictures of the decomposing body of her greyhound, to the bodies at the Forensic study facility commonly known as The Body farm,. Turning toward the landscape of death, she includes a meditation on the site where an armed fugitive committed suicide on her property segueing into a series of stirring, brooding images of the battlefields of the American Civil war.
While Mann has experimented with color photography, she has remained most interested in black and white, especially photography’s antique technology. She has long used an 8×10 bellows camera, and has explored platinum and bromoil printing processes. In the mid 1990s she began using the wet plate collodion process to produce pictures that almost seem like hybrids of photography, painting, and sculpture.
Sally Mann lives and works in Lexington, Virginia. A Guggenheim fellow, and a three- times recipient of the National Endowment for the Arts fellowship, Mann was named “America’s Best Photographer” by Time magazine in 2001. In May 2011, she served as prestigious speaker at Harvard University for the William E. Massey, Sr. Lecture in the History of American Civilization with a series entitled, “If Memory Serves.”
She has been the subject of two documentaries: Blood Ties (1994), which was nominated for an Academy Award, and What Remains (2007) which premiered at Sundance and was nominated for an Emmy for Best Documentary in 2008. She has been the subject of major exhibitions at the Institute of Contemporary Art, Philadelphia, and the Corcoran Gallery of Art, Washington, D.C and the Virginia Museum of Art, Richmond, VA. Her photographs can be found in many public and private collections, including the Metropolitan Museum of Art; the Museum of Modern Art, and the Whitney Museum of American Art.

“Few photographers of any time or place have matched Sally Mann’s steadiness of simple eyesight, her serene technical brilliance, and the clearly communicated eloquence she derives from her subjects, human and otherwise – subjects observed with an ardor that is all but indistinguishable from love.”
— Reynolds Price, TIME

http://sallymann.com