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Pinta Miami
10th Edition – Crossing Cultures
NOV 30th – DEC 4th at the Mana Wynwood Convention Center.
Blowjob 400 milisegundos y el proyecto Just Tech formarán parte de la próxima edición de Pinta Miami – Electronic project .
BLOWJOB (400MS)*
*400 milisegundos hace referencia a la duración de 1 parpadeo.
Videoinstalación. 2013. Edición limitada, (1 de 3), 30″ loop (metraje).
130 x 130 x 160 cm. aprox.
Loop de video sincronizado mediante microcontroladores con un ventilador sobre la que se retroproyecta.
[Se compone de circuito de sensores, microcontroladores Arduino programados para interactuar con programa de la plataforma software Processing instalada en pc, y proyector de video].
El ventilador extiende la acción de soplar, en sincronía con la acción representada “soplar” (blowjob), más allá de la pantalla.
Videoinstallation, 2013. Limited edition, (1st of 3), 30” loop (footage).
*400 milliseconds: estimated duration of a blink.
130 x 130 x 160 cm. aprox.
Video loop projected on fan wings, sinchronized through microcontroller.
Components : Electronics, Sensors, Arduino, Processing, Pc, Video projector & Visitors Blinks.
Blowjob (400ms) is about the emphasis of contemporain culture on visual attention, but stressing the opposite side of light: those micro-disconnections from the visually saturated surroundings that happends semi-unconsciously when we blink, that allow us rejoining with ourselves in the darkness of our bodies for a fraction of a second. A video footage of a mouth is projected in-sync over a fan wings movement while it blows on the eyes of the beholder. 400 milliseconds makes reference of the estimated duration of the blinking of an eye.
The artwork explores experimentally the way to sinchronize using a couple of arduino cards, a processing sketch (pc) and a solid state relay; a video footage depicted action, and a a.c. motor acceleration, proyected over the translucent wings of a fan.
Electronic Project – Pinta Miami
Constructive Interferences
EXHIBITING ARTISTS
– Martin Reiche
– José Sánchez
– Ian Flitman
– PolakVanBekkum
– Arturo Moya Villén
EX is a non-profit organization born in 2012 and located in Spain. Its aim is to promote electronic and experimental art, support its practice, and motivate a reflection about it. We focus on experimental practices that enables room for criticism about medium, and that is capable of identifying and regaining its own theoretical and practical heritage. EX also collaborates with Lavagne & Asociados Projects.
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EX is one of the few initiatives fully devoted to electronic art in Spain, and in spite its short trajectory, has already managed to establish itself as a reference in Spanish New Media. A proof of this it’s the success obtained by the electronic and experimental art international open call. 2016’s is its third edition. For EX’s first exhibition in the States, it’s been selected a collection of works with a common discourse on negation and interference as medium recoding mechanisms.
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Martin Reiche’s work consists on a connective structure placed between two signals, that produces a systemic interference. By questioning its functionality, the piece emerges as a sculpture that reflects on the promise of a over connected world. José Sánchez also turns to negation. In his piece a fan, like a broken screen, attacks the eye causing its retreat to the blind labyrinth of the human body, allowing another constitution of the image. Ian Flitman’s algorithmic narration reflects on a language that oscillates between an absent writing, a speaking action and the potential definition of electronic as a diffuse path for self-constitution. PolakVanBekkum’s work is a landscape originated from both the interference and coupling of two different media estrategies, a binaural microphone and a gps. The spectator is shown into a virtual walk through a distorted scenario, caused by the cooperation and distance between both devices. Lastly, it shall be presented Arturo Moya’s work. His practice explores the violence and alienation of a word that vanishes through media. His work proposes a negative interactivity that forces the spectator to deny the work to enable its meaning.
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