Beyond Black, 2010 -, Nano-sized grid on glass, 168 x 84 cm A grid is perceivable only on a nanometer scale; otherwise, the surface of the glass plates appears as a black, reflective, monochrome image.


Beyond Black, 2010 -, Nano-sized grid on glass, 168 x 84 cm
A grid is perceivable only on a nanometer scale; otherwise, the surface of the glass plates appears as a black, reflective, monochrome image.

 
 
 
Resonance, 2006 - 2008, 2 mobile phones, pressure sensor, audio amplifier, loudspeakers, Variable dimensions The artist’s pulse relayed in real time and with no sense of its actual geographical location, as a repetitive, unidentified beat.


Resonance, 2006 - 2008, 2 mobile phones, pressure sensor, audio amplifier, loudspeakers, Variable dimensions
The artist’s pulse relayed in real time and with no sense of its actual geographical location, as a repetitive, unidentified beat.

 
 
Untitled (Monument), 2013, Wood, 150 x 75 x 50 cm A three-dimensional replica of one of the first shapes drawn using the computer program Sketchpad developed by computer scientist Ivan Sutherland in 1963. 


Untitled (Monument), 2013, Wood, 150 x 75 x 50 cm
A three-dimensional replica of one of the first shapes drawn using the computer program Sketchpad developed by computer scientist Ivan Sutherland in 1963. 

 
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Winking Girl, 2013, HD video (black & white, silent), 12 seconds, looped The cartoon girl “Nefertiti” winks periodically in subtle defiance. Taken from the pages of Ivan Sutherland’s 1963 PhD thesis titled “Sketchpad, A Man-Machine Graphical Communication System”, the image of “Nefertiti” is an early illustration of the creative convenience of copying an image or parts of it, instantly, multiple times with the aid of a computer program. 

Winking Girl, 2013, HD video (black & white, silent), 12 seconds, looped
The cartoon girl “Nefertiti” winks periodically in subtle defiance. Taken from the pages of Ivan Sutherland’s 1963 PhD thesis titled “Sketchpad, A Man-Machine Graphical Communication System”, the image of “Nefertiti” is an early illustration of the creative convenience of copying an image or parts of it, instantly, multiple times with the aid of a computer program. 

 
 
 
.- / , 2014, Book, 24 x 19 cm, 255 pages  The book, Point and Line to Plane (1926) by Wassily Kandinsky, translated into Morse code.


.- / , 2014, Book, 24 x 19 cm, 255 pages 
The book, Point and Line to Plane (1926) by Wassily Kandinsky, translated into Morse code.

 
 
Untitled (Marbles), 2014, 12 Meteorite marbles (each 2.5 cm in Dia.), coated aluminium sheet , 90 x 87 cm 12 playing marbles made from meteorites found in Northwest Africa.


Untitled (Marbles)2014, 12 Meteorite marbles (each 2.5 cm in Dia.), coated aluminium sheet , 90 x 87 cm
12 playing marbles made from meteorites found in Northwest Africa.

 
 
 
Order Is Numbers, 2013, HD video (black & white, stereo), 84 minutes, looped Darren Aronofsky’s 1998 science fiction film Pi plays back as a continuous, black image, interrupted only by frames corresponding in number and order to the exponential growth rate of the Fibonacci numbers.


Order Is Numbers, 2013, HD video (black & white, stereo), 84 minutes, looped
Darren Aronofsky’s 1998 science fiction film Pi plays back as a continuous, black image, interrupted only by frames corresponding in number and order to the exponential growth rate of the Fibonacci numbers.

 
 
 
Exhibition poster, A Volume, However Small, Will Have an Infinite Number of Planes, Design with Lesley Moore


Exhibition poster, A Volume, However Small, Will Have an Infinite Number of Planes, Design with Lesley Moore

 
 
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Sources, 2009 - 2012, 15 gelatin silver prints (each 27.5 x 21 cm), stroboscopic lamps, DMX controller, sound performance, Variable dimensions Radio signals from astronomical objects are transformed as a series of 15 images, a live sound performance, and a light sculpture. Sound performance by Stefan Nemeth and Bernhard Breuer. 


Sources, 2009 - 2012, 15 gelatin silver prints (each 27.5 x 21 cm), stroboscopic lamps, DMX controller, sound performance, Variable dimensions
Radio signals from astronomical objects are transformed as a series of 15 images, a live sound performance, and a light sculpture. Sound performance by Stefan Nemeth and Bernhard Breuer. 

 
 
 
.0, 2010, HD video (color, silent), 3 minutes, looped A recorded image of a glass cube appears to be static and two dimensional until it suddenly implodes to reveal the temporal and three dimensional hidden nature of the predefined image.

.0, 2010, HD video (color, silent), 3 minutes, looped
A recorded image of a glass cube appears to be static and two dimensional until it suddenly implodes to reveal the temporal and three dimensional hidden nature of the predefined image.

 
 
Untitled, 2014 -, Folded colored paper, 32 x 25 cm Sheets of colored paper whose creases are the result of the airplanes they once were as well as a template for the airplanes that they could become again.


Untitled, 2014 -, Folded colored paper, 32 x 25 cm
Sheets of colored paper whose creases are the result of the airplanes they once were as well as a template for the airplanes that they could become again.

 
 
 
Composition, 2006, Software projection, black/white, sound, Variable dimensions A series of vertical and horizontal lines is rendered as perpetual motion through an interactive, generative process.


Composition, 2006, Software projection, black/white, sound, Variable dimensions
A series of vertical and horizontal lines is rendered as perpetual motion through an interactive, generative process.

 
 
On The Probability of An Irregularity, 2010, Aluminium, steel, air compressors, solenoid valves, electric motor, micro switches, confetti, 150 x 150 x 100 cm As part of a continuous and reconfigurable series under the same title, On The Probability of An Irregularity takes the form of a geometric metal structure that fires prismatic confetti from four holes at random intervals and in random sequences.


On The Probability of An Irregularity, 2010, Aluminium, steel, air compressors, solenoid valves, electric motor, micro switches, confetti, 150 x 150 x 100 cm
As part of a continuous and reconfigurable series under the same title, On The Probability of An Irregularity takes the form of a geometric metal structure that fires prismatic confetti from four holes at random intervals and in random sequences.

 
 
 
Double, 2014, Aluminium, Variable dimensions


Double, 2014, Aluminium, Variable dimensions

 
 
 
Empty Form, 2008, 16mm film, (black & white, stereo), projection screen 66 x 90 cm., 5 minutes A 16mm film projects only a black frame onto a small screen during a recitation in Russian of Kazimir Malevich’s essay “Художник и кино” (“The Artist and The Cinema”) as the soundtrack.


Empty Form, 2008, 16mm film, (black & white, stereo), projection screen 66 x 90 cm., 5 minutes
A 16mm film projects only a black frame onto a small screen during a recitation in Russian of Kazimir Malevich’s essay “Художник и кино” (“The Artist and The Cinema”) as the soundtrack.

 
Between Forms of Representation and Interpretation, 2012, published by Ram Publications


Between Forms of Representation and Interpretation, 2012, published by Ram Publications

 
 
 
 
Modal Patterns, 2006, Double video projection, (black & white, silent), Variable dimensions Two different phrases — “more than the sum of its parts” and “a misshape of truth torments”— are offered as translated visual animations based on the Gestalt principles of perception. The first appears recurrently in different contexts and in different guises. It derives here from Roy Behrens’ Design in the Visual Arts (1984, 49), which discusses Gestalt theory and its influence on modern art and design. The second phrase is an anagram of the first.


Modal Patterns, 2006, Double video projection, (black & white, silent), Variable dimensions
Two different phrases — “more than the sum of its parts” and “a misshape of truth torments”— are offered as translated visual animations based on the Gestalt principles of perception. The first appears recurrently in different contexts and in different guises. It derives here from Roy Behrens’ Design in the Visual Arts (1984, 49), which discusses Gestalt theory and its influence on modern art and design. The second phrase is an anagram of the first.

 
-./, 2005, Video, (black & white, stereo), 6 minutes, looped The index for the book, Point and Line to Plane(1926) by Wassily Kandinsky, is delivered as an audio-visual image via Morse code. 


-./, 2005, Video, (black & white, stereo), 6 minutes, looped
The index for the book, Point and Line to Plane(1926) by Wassily Kandinsky, is delivered as an audio-visual image via Morse code. 

 
 
 
ar_td_ep, 2001, 4 laser projectors, microphones, electronics, Variable dimensions A single horizontal laser line circles the exhibition space and vibrates based on the level of sound produced in that same designated space.


ar_td_ep, 2001, 4 laser projectors, microphones, electronics, Variable dimensions
A single horizontal laser line circles the exhibition space and vibrates based on the level of sound produced in that same designated space.

 
 
Modal Patterns, 2006, published by Landesmuseum Joanneum GmbH


Modal Patterns, 2006, published by Landesmuseum Joanneum GmbH

 
 
 
Modal Patterns @ Kunsthaus Graz Façade


Modal Patterns @ Kunsthaus Graz Façade

 
  Translation, 2013, 2 Inkjet prints on paper, each 32 x 24 cm The phrase "Thus this attempt to interest Wiener, who seemed so ideally equipped to consider the problem, failed to produce any real result" is taken from a memorandum titled simply Translation written by Warren Weaver on July 15, 1949 and run through a popular machine-translation service from its original English source language into other languages using the results of every translation as the starting text for the next translation, before translating the text back into English, resulting in "Therefore this experiment is interesting Wiener, who sees more opportunity to explore the problem without any concrete results."

 

Translation, 2013, 2 Inkjet prints on paper, each 32 x 24 cm
The phrase "Thus this attempt to interest Wiener, who seemed so ideally equipped to consider the problem, failed to produce any real result" is taken from a memorandum titled simply Translation written by Warren Weaver on July 15, 1949 and run through a popular machine-translation service from its original English source language into other languages using the results of every translation as the starting text for the next translation, before translating the text back into English, resulting in "Therefore this experiment is interesting Wiener, who sees more opportunity to explore the problem without any concrete results."

 
 
 
0., 2007, HD video (color, silent), 4 minutes, looped A recorded image of a glass cube appears to be static and two dimensional until it suddenly implodes to reveal the temporal and three dimensional hidden nature of the predefined image.

0., 2007, HD video (color, silent), 4 minutes, looped
A recorded image of a glass cube appears to be static and two dimensional until it suddenly implodes to reveal the temporal and three dimensional hidden nature of the predefined image.

 
 
 
 
Between Forms of Representation and Interpretation, 2010, LED light tubes, DMX controller, custom electronics, Variable dimensions The press release of the exhibition is delivered only as an encoded series of light patterns.


Between Forms of Representation and Interpretation, 2010, LED light tubes, DMX controller, custom electronics, Variable dimensions
The press release of the exhibition is delivered only as an encoded series of light patterns.

 
 
 
Andrés Ramírez Gaviria, 2008, published by Metroverlag  

Andrés Ramírez Gaviria, 2008, published by Metroverlag
 

 
 
 
Line, 2005, Wood, paint, Variable dimensions


Line, 2005, Wood, paint, Variable dimensions

 
Order Is Numbers (Storyboard), 2015, 25 Silver Gelatin Prints (each 22 x 33 cm) Darren Aronofsky’s 1998 science fiction film Pi in 25 frames.


Order Is Numbers (Storyboard), 2015, 25 Silver Gelatin Prints (each 22 x 33 cm)
Darren Aronofsky’s 1998 science fiction film Pi in 25 frames.

 
 
 
 
Andrés Ramírez Gaviria, 2006, published by Medienturm


Andrés Ramírez Gaviria, 2006, published by Medienturm