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Unfolded (Branch), Spiros Hadjidjanos, 2019
Spiros Hadjidjanos
2019
This work starts from a 3D-scan of a sculptural object, which is then ‘unfolded’ digitally. This leads to a new series of digital images which are then sent to a laser cutter, creating a new ‘unfolded’ version of the original sculptural object.
Entropy, Terike Haapoja, 2004
Terike Haapoja
2004
The video installation Entropy shows in life size the cooling down of a horse’s body after its death, recorded with an infrared camera. The original recording of 9 hours has been edited to a 25 minutes loop.
Radiance, Mustapha Azeroual, 2019
Mustapha Azeroual
2020
Radiance is a work on the recording of colour in photography, based on the assumption that the photographer has only a limited control over the colours he records and reproduces photographically due to the very nature of the medium.
Echo#1, Mustapha Azeroul, 2015
Mustapha Azeroual
2017
The Echo series is a continuation of the ELLIOS project conducted in partnership with LESIA (Pôle d’Observation du soleil de l’Observatoire de Paris-Meudon) on a photographic study of the sun.
Echo/ Corps Noir #1, Mustapha Azeroual, 2017
Mustapha Azeroual
2017
Through this work, Mustapha Azeroual tends to materialize the light, condition of the visible, paradoxically invisible.
The Radiance of Sensible Heat, Sema Bekirovic, 2016
Sema Bekirovic
2016
Filmed with a thermal camera we see a hand touching objects in the plaster sculpture depot of the Rijksakademie in Amsterdam. Focusing on the transference of body heat from hands to objects, bringing them into focus as they light up with the heat.
Unfixed Galaxies, Sema Bekirovic, 2018
Sema Bekirovic
2013
Unfixed analogue photographic prints (80×60cm), framed behind red glass. A photogram is developed but purposely left unfixed, so the print remains sensitive to light.
While weaving a Liar’s cloth (contact prints), Gwenneth Boelens, 2017
Gwenneth Boelens
2017
While reading on the history of textiles, the artist came across a small reproduction of a ‘liar’s cloth’ from the late 19th century made by the Ashanti (Ashanti Empire 1701–1957, present-day southern Ghana).
Glued Eye, Peter Bogers, 2020
Peter Bogers
2020
The installation Glued Eye consists of two black and white video images, one video projector and two thin (2 mm) illuminated fibre lines. A large projection shows images of moving objects or people that are fixed in one place on the wall by means of a sophisticated tracking technique.
Phantom Power, Yoichi Kamimura, 2019
Yoichi Kamimura
2019
In 'Phantom Power' various types of glass containing water stand together on top of a metal plate. The water is ice collected by Kamimura from drift ice when he was making field recordings of it in the Sea of Okhotsk from February to March 2019, and which has been artificially melted.
Core 4, digital animation, Nicolas Sassoon & Rick Silva, 2019
Nicolas Sassoon & Rick Silva
2019
CORES is a collaborative project initiated in 2019 by artists Nicolas Sassoon (Vancouver, BC) and Rick Silva (Eugene, OR) focusing on 3D renderings of altered geological specimens.
Hiryczuk / Van Oevelen Elodie Hiryczuk Sjoerd van Oevelen
2021
The photographic work Gaze Multiple – Hawthorn (2021) comprises five vertical panels presented parallel to each other in a composition inspired by East Asian folding screens.
Frank Bloem
2021
The Embassy of the North Sea commissioned fragrance designer Frank Bloem to collect 40 scents from and around the North Sea.
The Reflection of the Man, video still, Martine Stig, 2021
Martine Stig
2021
In "The Reflection of the Man" —a video essay—, I grapple the meaning of Human in a hybrid world. Deploying and reflecting on ubiquitous technologies like face recognition software, I explore the act of seeing, beyond the explorative and embodied act.
Return or reflux, Murat Yildiz, 2020
Murat Yildiz
2020
In the process of ‘Non-eye centric’ drawings I put myself in a passive state by closing my eyes. I close my eyes because I want to get away from the dominance of my eyesight and let other eyes join and make decisions.