thingWorld: International Triennial of New Media Art, National Art Museum of China, June 11 – July 9, 2014.May 30, 2014
Humanoid robots Wakamaru, produced by Japan’s Mitsubishi Heavy Industry, named Momoko (R) and Takeo (L) in the performace, take part in a drama for the world’s first robot and human experimental theatre, written and directed by Japanese playwright Oriza Hirata, at Japan’s Osaka University in Osaka, western Japan on November 25, 2008. (YOSHIKAZU TSUNO/AFP/Getty Images) #
The Hosts: A Masquerade Of Improvising Automatons extends Wade Marynowsky’s development of custom-built robotics and interactive, performative media. In this installation, Marynowsky explores roboticist Masahiro Mori’s theory outlined in The Uncanny Valley (1970), which suggests that in designing humanoid robots one should not aim for total human likeness, but for an alternative to an uncanny appearance.
Media artist/artistic director; Wade Marynowsky, Electrical engineer; Aras Vaichas, Programmer; Jeremy Apthorp, Lighting; Mirabelle Wouters Costume; Sally Jackson, Photos; Garth Knight.
14 August – 12 September 11am – 5pm (Tues – Sat) and evenings, 6:00 -8:00pm when Performance Space has other events on. Performance Space at the Carriage Works, 245 Wilson Street, Sydney.
Carnivorous art, man-animal-machine hybrids, mechanical drawing machines, subliminal installations, pole dancing robots, light sculptures and cybernetics are just some of the exhibits to be found at Kinetica Art Fair, the UK’s first art fair dedicated to kinetic, robotic, sound, light and time-based art which opens in London on Friday 27 February.
Kinetica Art Fair is developed by Kinetica Museum in partnership with P3 and supported by the Contemporary Art Society.
More than 25 galleries and organisations specialising in kinetic, electronic and new media art are taking part with over 150 exhibiting artists. The Fair will be like no other with living, moving, speaking and performing art.
The Fair provides unparalleled opportunities for the public and collectors alike to view and buy work from this thriving international movement and to participate in the programme of talks, workshops and performances.
Wade Marynowsky; The Discreet Charm Of The Bourgeoisie robot.
Electrical engineering: Aras Vaichas, Software design: Mr.Snow, Dress maker: Susan Marynowsky, Supported by the University of Western Sydney.
The Insitute of Contemporary Art Newtown (I.C.A.N). 5th – 21st of December, Thursday to Sunday 12 – 5 pm. Opening Friday 5th, December, 6-8pm.
By appropriating the title of the film The Discreet Charm Of The Bourgeoisie (1972) I pay homage to the surrealist film director Luis Buñuel. The film is about a group of upper middle class people attempting, despite continual interruptions to dine together. So what is Bunuel trying to say? That the bourgeoisie are charming because they have nothing to worry about except how and when they will dine together? Or that they are in fact hideous creatures with nothing better to do than waffle about?
Taking this question into the gallery, the bourgeoisie robot is operated by invited mystery guests over the internet, for the duration of the exhibition. The charming robot avatar waits for visitors to enter the space and then converses with them in a polite and pleasant manner. The robot is interested in talking about food, robots, dancing and other general bourgeois banter. In doing so the robot questions the role of the gallery as a place of contemplation.
The robot wears a hooped dress, which recalls the beginnings of automata, the 18th century. For example: Jacques de Vaucanson’s mechanical flute player and defecating duck (1738). Vaucanson’s automata stunned European eyes of the era producing the first uncanny moments in robotic art.
The fact that bourgeois robot’s voice is male and that he wears a dress highlights the camp sensibility of robots. As Steve Dixon states in his essay Metal performance (2005) “Robotic movement mimics and exaggerates but never achieves the human, just as camp movement mimics and exaggerates but never achieves womanhood”.
The robots head, consisting of a camera inside a plastic dome, references the now common place surveillance (CCTV) domes in shopping centres and other public spaces. Through physical inhabitation of a real-life avatar the work is concerned with the evolution of mediated communication technologies and their influence on the nature of the conversation.
more images here http://marynowsky.net/
My favorite machine art work at Cockatoo island for the Sydney Biennale.
air tank, pressure regulator, distributor, timer, electrovalve, plastic cables and whistle
National Art Museum of China (NAMOC)
No. 1 Wusi Street Dongcheng District
Beijing 100010 P.R.China
Jun 10, 2008 -July 3, 2008
The dynamic sculptures by Henrik Menné are basically about process, (im)balance, and organizing matter by means of rigid systems on the one hand and chance on the other.
The majority of Menné’s production consists of machines or arrangements temporarily put to work when exhibited. The visible process is always silent, controlled, and structured by repetitive movements as the machines transform a single material – plastic, wax, metal or stone – into distinct objects. The objects are seldom treated as autonomous works of art. They are destroyed or the material recycled after the exhibition.
Although closed and often self-referring, the system of Menné’s processual sculptures both change the environment and is sensible to changes in the environment. The instability of the exhibition space is what causes the important marginal variations in the almost identical objects produced by a particular machine.
The process of 56L seems self-evident, and, like other works by Henrik Menné, 56L displays an immense effort and obsessive trait by putting forces such as gravity and the well-known qualities of a material into play.
56L (2004) consists of solid glue, a fan, iron, a heating element, and an engine. The dimensions of the work are variable (machine 180x150x150 cm).
56L produces a white web of glue. The machine heats up solid glue, which then flows down in thin threads in front of a fan that blows the strings in different directions. As a temporary result in which the history of the white structure is contained, the web takes the shape of the object or surface on which it settles.
The intriguing low-tech and analogue character of Henrik Menné’s works illustrates the principle behind the organization of the particular sculpture. Despite this rational transparency, works by Menné almost always appear logically impossible and tremendously beautiful.
Henrik Menné (born 1973) lives and works in Copenhagen (Denmark). He graduated from the Royal Academy of Fine Arts in 2002 and is represented by Galleri Tom Christoffersen (Cph).