Pagina 5

08/18/2016

Inhye Lee

Plus Belle Haleine

inhyelee-plusbellehaleine-3s

Animated Gif. Based on: Man Ray, Belle Haleine, 1920

With my limited French language knowledge, I decided that the woman in the branding was called “Haleine” and she could be more beautiful. (Although I don’t think that’s her name…, sometimes, it’s good to be ignorant so I can get lost. Is that Duchamp in disguise? )

These days, beautifying or changing our external appearances is easily achievable with just a few clicks on a mobile app. I wonder what the dada/conceptual artists of 100 years ago would think about today’s technology and its implication on ready made.

For this work, I wanted to take on the ready made concept, so I mostly used freely available mobile apps and their effect. I was quite amazed how much I was able to get done on mobile apps only…!

Following is the list of software I used to create the work.

1. Photoshop (Mac) – Edited the original text to “Plus Belle Haleine”

2. Snow (Mobile app) – Added animated filters to her face. Haleine’s face was recognized via Snow app’s face recognition technology. I displayed an edited image from photoshop on a computer screen, then fixed my mobile phone (with a front facing camera) to detect the face. Since only one filter was applicable at a time, I filmed several times with a same angle.

3. Splice (Mobile app) – Composited multiple videos together, changed the overall color tone of the video and sped it up

4. Video Crop (Mobile app) – The original video taken via “Snow” app shows its logo on the bottom, so I used this app to crop the logo and other unwanted parts out.

5. Giphy.com (WebSite) – Created a logo-free gif file

Inhye Lee

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08/11/2016

Tyler Kline

|_\\|_\_\

dadaania

Animated Gif. Based on: Man Ray, Non euclidean object, 1932; Lazlo Moholy-Nagy, Untitled, 1927, and Self-Portrait 1926; Magazine Cover: 391 New York, March 1917.

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“Grenade fired into the bunker of Cartesian thought, using the platonic tools of measurement employed by the Empire. Non Euclidean, Absurdist Dance of Afro-Quantum Futurism“. Tyler Kline

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08/09/2016

José Irion Neto

Untitled

ifs62601_450

Glitch Art work based on corrupted IFS representation. Based on Magazine Cover: Le cœr à barbe Paris, April 1922

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08/01/2016

Monthly Feature

Patrick Lichty

Catcus (I am not really confident, but I think it’s a group of men sitting next to a cat.)

lichtydadacats72_450

JPG file. Based on: Man Ray, Cactus, 1943

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Patrick Lichty chose Man Ray’s 1943 Cactus, and with the switching of two letters, updated it for the internet as “Catcus”, also referring to Kurt Scwitters’ 1923 “DadaCats”. The subtitle is the resulting image’s results on Microsoft’s CaptionBot, which seemed amazingly suited to the piece.

Patrick Lichty is an Intermedia artist, curator, and theorist exploring how media shape our perception of reality. He is best known for his work with the virtual reality performance art group Second Front, and the animations with the activist group, The Yes Men. He is a CalArts/Herb Alpert Fellow and Whitney Biennial exhibitor as part of the collective RTMark. He has presented and exhibited internationally at numerous biennials and triennials (Yokohama, Venice, Performa, Maribor, Turin, Sundance), and conferences (ISEA, SIGGRAPH, Popular Culture Association, SLSA, SxSW). His recent book, “Variant Analyses: Interrogations of New Media Culture” was released by the Institute for Networked Culture, and is included in the Oxford Handbook of Virtuality.

voyd.com

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07/28/2016

Esther Miquel

Handmade Stereopticon Slides (digital version)

Digital video. Based on: Marcel Duchamp, Handmade Stereopticon Slides, 1918.

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07/26/2016

Domenico Barra

belie\/e_your o\/\/n eyes

dom-barra-believe-your-own-eyes_800

Animated Gif, databending + screen recording + file format conversion. Based on: Man Ray, Belle Haleine, 1920

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07/21/2016

Ed Fornieles

Explorer

84_Ed_Fornileles

To be read by a financial trader. Based on: Dada Phone, Tristan Tzara, March 1920

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07/19/2016

Od Niwr

Poetic Mute

Layout 1

Modified WordPad Glitch. Based on: Man Ray, The Poet, 1938

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“Twisted and digitized by the onslaught of technology, the poet has been rendered mute”. Od Niwr

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07/15/2016

Elena Romenkova

Strange mood

unbenannt_72

3D, glitch with notepad. Based on: Paul Citroen, Alannah, 1931; Man Ray, Masque Kiki, 1962.

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07/14/2016

bituur esztreym

1[non 2]|_⠀⠀⠀dédicace é à tout Dada

dedicacerayee_poinl1_450

photo_image_dé/re|doublement. Based on: Man Ray’s artworks.

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07/12/2016

Marco Lonati

391 The Dada Punisher

punisher_rosso_final_450

Digital Collage. Based on Magazine Cover: 391 N.3, New York, 1 March 1917

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“With this work, inspired by one of the picabia’s drawing, i tried to remake an image cover of a magazine. I adapted this cover on Punisher’s comics”. Marco Lonati

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07/08/2016

Ightpre

VI

decanter_800

Digital image. Based on: Man Ray, Decanter, 1926

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07/07/2016

Andreas Agam

Murder on the Screen

my16lores_450

Digital image. Based on: László Moholy-Nagy, Mord auf den Schienen, 1925.

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“I took László Moholy-Nagy Mord auf den Schienen, 1925 and reused the circular spaces to accentuate the feeling of being a murder target, adding imagery of my own projects. I like to investigate how images are able to re-condition attitudes towards politics and morality. The shift of meaning from ‘Schienen’ towards “Screen” adds another layer of semantic ambiguity to it”. Andreas Agam

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07/05/2016

Simone Gilberti

How we work on Dada

Gilberti_dada work2_450

Digital Collage. Based on: Man Ray, Decanter, 1926

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“How every net artist should work on Dada 100”. Simone Gilberti

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07/01/2016

Monthly Feature

IOCOSE

Moving Dada Forward

DADAfwd_Mongolfiera_A

Animated GIF. Based on Magazine Cover: Le cœr à barbe, Paris, April 1922

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View the complete series

“In this series IOCOSE take the objects of the DADA magazine cover Le cœr à barbe (Paris, France, 1922) and move them forward. It is part of a larger series of works in which IOCOSE move the world forward, one object at the time”.

IOCOSE are a collective of four artists and have been working as a group since 2006. IOCOSE’s art investigates the after-failure moment of the teleological narratives of technological and cultural development, in regards to both their enthusiastic and pessimistic visions. They have been exhibiting internationally at several art institutions and festivals, including Venice Biennale (2011, 2013), Tate Modern (London, 2011), Science Gallery (Dublin, 2012) Jeu de Paume (Paris, 2011), FACT (Liverpool, 2012), Transmediale (Berlin, 2013, 2015), and featured in publications such as Wired magazine, The Creators Project, Flash Art, Neural, Liberation, Der Spiegel, El Pais.

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