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nettime-nl: UITNODIGING OPENING KCMYK PARK VR25/06 19u OP STENEN HOOFD
art architecture on Tue, 22 Jun 1999 11:11:04 +0200 (CEST)


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nettime-nl: UITNODIGING OPENING KCMYK PARK VR25/06 19u OP STENEN HOOFD


PARK KCMYK IN STENEN HOOFD

OPENING FRIDAY 25 JUNE 19u

EXHIBITION FROM 25/6 TILL 24/7
WITH CHILDREN ANIMATION

HET STENEN HOOFD LIGT IN HET IJ BIJ WESTERDOKSDIJK TE AMSTERDAM, TUSSEN 
IJ-MARKT EN DE GRAANSILO'S EN IS TE BEREIKEN MET BUS 35 VANAF HET CENTRAAL 
STATION, HALTE BARENTZPLEIN.  HET STENEN HOOFD IS TOEGANKELIJK VAN 
ZONSOPGANG TOT ZONSONDERGANG.

HTTP://ART-ARCHITECTURE.WEBJUMP.COM (INCLUDING VRML MODELS)

CONCEPT:

     In former times city and countryside were obvious opponents, which 
reflected the contrast between these two realities. Nowadays tracks of 
rationality evade from the ‘jungle’ of the contemporary city,which becomes 
the natural environment for human beings.  In the meantime the countryside 
gets industrial and a battlefield for   landscape-design.

     Although by this evolution the border between the artificial and the 
natural grows into a more complex configuration, they definitely stay 
strangers speaking a different language.  Misunderstandings are far from 
being excluded and trigger continuously new ideas to be explored.

     Besides the notion ‘future’ is more and more reaching the point of 
absolute relativity. Before it took centuries to complete a cathedral, 
nowadays more complex designs wouldn’t need more than  some years to be 
built.   The same is true for travelling, (technological) innovations, … Our 
notion of time speeds up. What is future today, will be past tomorrow..

     As a consequence the definition of a ‘park of the future’ enriches 
itself with new possibilities and questions : How radical a park can be in 
its artificiality?  How capable is a park to answer the speed of our 
society? In my proposal I tried to focus on these issues.

     Considering the aspect of speed this ‘park’ shouId be almost portable.  
So it can be easily transported from one place to another, depending on the 
local needs of the city.  Moreover only its structure could be permanent, 
its further appereance should always being able to change.  I designed the 
park as a small piece of architecture made of paintings.   However the 
frames of the painting are independent of the main structure and can be 
easily replaced.

     In this ‘park’ all nature is replaced by the extremely artificial 
colors of fluoricent paint. Not trees, bushes, grass, … are the main actors, 
but cyan, magenta, yellow and black (cmyk).   The pittoresk walk from scene 
to scene as in English park design is reduced to one painting. The ‘park’ 
consists of five parallel paintings (+/-3x2,4m2), placed with a certain 
distance (+/-1,2m) from eachother.  By consequence four corridors emerge 
where people can pass.

     As the colors (cmyk) are monochromely applied on transparant canvases, 
they don’t only mix gently with each other, but also the color palette gets 
different on both sides for each corridor.   The process of mixing is not 
static like in fullcolour print, but is      continuously changing by every 
little move of the spectator.  Even the shapes and colors of the environment 
(static) and the public (dynamic) will interfere.  The painting has become 
unstable.

     Black is the colour of the two outside paintings, which act like a 
‘poussoir’ for the total painting.  Each monochome painting seem very 
structured in relation to the whole, but not comprehensible.  To achieve 
this effect I designed the paintings on the computer, which allowed me to 
get already a certain feeling about the mixing of the colours.

     Afterwards they were painted by hand.  The result is undefinable: it’s 
nor a painting nor a computergraphic. Combining these two different systems 
opens a new dimension, just like the different position of our eyes causes 
depth.  The twilight zone between computer (artificial?) and human beings 
(natural?) fascinates, because of the obvious torsion between the desire of 
the intended and the    unexpected.



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