office: [email protected] t: +43 1 71133 2640 www...

PRESS CONTACT / INFORMATION

Prof. Ruth Schnell

University of Applied Arts Vienna

Department of Digital Art

Sterngasse 13, A-1010 Vienna

Office: [email protected]

T: +43 1 71133 2640

www.digitalekunst.ac.at

PRESS IMAGES

www.digitalekunst.ac.at/bits-press

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A PROJECT BY THE FACULTY MEMBERS OF THE DEPARTMENT

OF DIGITAL ARTS, UNIVERSITY OF APPLIED ARTS VIENNA

5th MOSCOW BIENNALE OF CONTEMPORARY ART – SPECIAL PROJECT

ARTISTS

Wolfgang Fiel with Florian Rist and Denizhan Sezer,

Katharina Gsöllpointner, Margarete Jahrmann, Nicolaj Kirisits,

Peter Koger, Bernd Kräftner, Martin Kusch, Jan Lauth, Max Moswitzer,

Niki Passath, Tom Schneider, Ruth Schnell, Roland Schöny, Franz Schubert,

Romana Schuler, Rini Tandon, Peter Weibel, Stefanie Wuschitz

ORGANISERS

Wolfgang Fiel and Ruth Schnell

CENTRAL HOUSE OF ARTISTS

PREVIEW: September 17 2013, 7 p.m.

OPENING: September 18 2013, 2 p.m.

DURATION: September 18 – October 1 2013, daily from 2 to 8 p.m.

ADDRESS: Krimsky Val, 10/14, Moscow, Russia, 119049

Supported by

the University of Applied Arts, Vienna

and the Austrian Cultural Forum, Moscow

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Bits To PiecesDR. GERALD BAST

RECTOR

The opening of new spaces for discovery and design for creative researchers has minimized

the old opposition between art and science both with respect to the methods of these two

areas of design and their foundations. The focus in either area turns on the resources of the

new and the innovative. It is not paths followed along the beaten track in already developed

mountain landscapes, but new paths across new peaks of the mountains of truth, which are

now discovered and traversed with such pioneering elan. Generally speaking, the encounter

with new technologies as a source of design and as means of developing new artistic fields

is of elementary importance for the further development of art. This principle is practiced

to the full in the Department for Digital Art at the Angewandte [University of Applied Arts

Vienna].

The present exhibition is the next step of an ongoing research project in which teachers

from associated disciplines close to the Department of Digital Art at the University of

Applied Arts Vienna have entered a field that has until now found little attention in the

practice of fine art. With the use of generative manufacturing practices – generally known

under the term “Rapid Prototyping” (3D printing methods), and until know applied chiefly

in architecture and product design – new forms of design and work have opened up in

the sphere of digital art. Through the three-dimensional representation of experimental

and research processes, which go beyond visualization on the computer screen, there

now emerge extremely fascinating and, above all, new forms and extensions of collective

work and design. Such works are very much in accord with the guiding principles of the

Angewandte as a site of free artistic and scientific articulation – as a place for open discourse

and dispute, and as a developmental laboratory of artistic vision.

In complex and heterogeneous societies, now more than ever it is the task of art academies

to establish important connections and synergies between diverse scientific and artistic

disciplines, between theory and practice and artistic techniques, and between artistic

production and mediation.

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Printing Sculptures and Objects? From 2D to 3D Printing: A Revolutionary TechniquePETER WEIBEL

The technological foundations for mass-production and mechanical reproduction have

been in place since the nineteenth century. Art has also been affected by this. While art

theory has acknowledged this impact (see Walter Benjamin, “The Work of Art in the Age

of Technological Reproduction”, 1936), the art world has taken a long time to recognize it,

denying, for example, the artistic character of photography for about 100 years (see Man

Ray, La Photographie n’est pas l’art, 1937). And yet, beginning with photography, the media

arts of film, video, and computer have so radically researched the technological foundations

for a potential new art that art as a whole was transformed.

One aspect of mass-production is the division of labor, the separation between conception

and implementation. When considering the period from Marcel Duchamp’s readymades

through to the Concept art of the 1960s, we witness the consequences of such an extended

framework in the division of labor.

One further aspect of mass-production is the democratization of the means of production,

also observed in culture as a whole, namely, the search for a cultural democracy, as this

first become noticeable in the revolutionary art of the 1920s in Russia. New materials,

new practices, new media, new spaces reaching out beyond the confines of the individual

author and feudalistic galleries or museums were developed. The expansion of the

technical foundations of art, its production (as in photography) and distribution (as in wall

newspapers, magazines), served the ends of cultural democratization.

In the main, the history of art has been read as a history of production, namely, the production

of less for the few. (Note the example of court painters, who produced portraits for royal

families.1) In reality, this history was always accompanied by a side story, a sub-history of

reproduction and multiplication. The few, for example, Albrecht Dürer had already sought

to work for the many. The technical printing process, from the letterpress through to

screen printing, from woodcut to copperplate engraving, from etching to offset printing,

from lithography to photography, are all early examples of the technical foundations on

which artists attempt to achieve production, a shift away from the unicum towards the

distribution of multiplicates, namely, not only to think in terms of technical production, but

also the technology of distribution. This is because distribution requires the availability of

many multiplicates, requiring mass-production for the masses.

From a historicizing perspective, these main streams and tributary streams have been falsely

read as a history of the original and the copy. With photography, where originals no longer

existed, but rather the negative from which many copies of equal value can be made, multiple

image media began to take the lead. Through photography, film and video, the status of

the copy began to change, and art entered into an age of universal reproduction. However,

reproduced art does not amount to an encounter between original and reproduction.

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One switched the terms original and unicum. Technical advances in reproduction, from

handcrafted serigraphy and the photo-mechanical printing press through to the digital

series production, from the copy to the clone, have altered the character of art itself setting

a series of transformation processes in motion that rendered historical categories and

criteria for the definition of the work doubtful and ambivalent. Through the emancipation

of collective rather than individual, and industrial, instead of hand crafted processes, the

multiple, edition art, brought about fundamental transformations in twentieth century

art. These multiple objects have nothing to do with the concept of original and copy.

Multiples are not multiplicates of originals, but multiplicates without originals. Multiples

are originals, but not unicums. It is in these that the democratic claims of modernity are

realized as aesthetic.

Thus, an art of multiplication has long been in existence, not only in painting and graphics,

but also in sculpture. From a contemporary perspective, multiplication means nothing more

than that the emphasis has now shifted from art production to art distribution. Multiplicates

are the beginnings of a new art of distribution. The idea of distribution led to reproduction

methods of the two-dimensional art of the surface, such as graphics and drawing. But with

the method of casting the three-dimensional art of space, the plastic arts and sculpture,

developed into reproduction. Sculpture is one of the oldest arts of production in cultural

history. The scope of the materials applied extends from classical materials, such as stone,

wood, ivory, metal, clay and plaster, wax, glass through to diverse synthetic materials

and to textiles and paper. Here, the artistic process often appeared as follows: the artist

elaborated his idea on paper in the form of a drawing. He concluded by working out a form,

then modeled it or formed a model from which he then produced a cast or print – since

the sculptor also thought about the distribution of his work. Rapid prototyping is nothing

other than an extended form of this sculptural process. The only difference here, being that

the artist does not produce his drawing on paper but on the computer, as digital model.

The model can also be based on a scan, which is, for all intents and purposes, a digital cast.

He can then shape the model either by way of a sculptural, subtractive process, or print

it three-dimensionally by way of a plastic, additive method, through successive layering.

Whereas the artist would have formerly chiseled his idea by hand in stone, today, with the

aid of algorithmically controlled machines, he is able to realize his idea directly from the

drawing to the sculpture.

What we now experience is a combination of these two methods, namely, of graphic

typography and the plastic casting; in other words, the possibility to print or to mill

three-dimensionally. With personal printers (for example, Makerbots) and FabLabs2 rapid

prototyping is available to everyone as artistic form of expression. On a home 3D printer,

everyone can now plastically materialize ideas, designs, and models. Data, models and scans

of persons, products, works of art etc., are freely available on the Net, are shared and thus

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undergo vast multiplication. Consequently, a democratization of technology takes place,

which then completes the shift from the analog age to the age of digital distribution.

We live in an age of digital distribution. Authors, such as Jeremy Rifkin, Neil Gershenfeld

and Chris Anderson even refer to a new, third industrial revolution. They proclaim the

end of mass-production, since new technologies, such as rapid prototyping, are destined

to define the future.3 In the case of rapid prototyping, everyone can digitally draw on

computer models or download and manipulate already existing data from scans, or digital

models distributed worldwide in the Net. Afterwards, with the aid of 3D printers and laser

cutters, everyone can then produce individual, three-dimensional objects. Furniture and

items of clothing from synthetic materials, dental implants and metal machine parts, food

and human tissue can be produced.

Until now, the means of industrial production were only available to big companies.

However, if everyone can produce three-dimensional objects, and if the designs for these

are freely available on the Internet, as is taking place with 3D printers, FabLabs and Direct

Digital Manufacturing in the “Maker movement”, then the economic structure of our society

will change. Chris Anderson thus maintains that the third industrial revolution will become

a combination of digital, computer-controlled and personalized, manual production and

atoms and new bits, namely, that an industrialization of the Maker Movement will take

place whereby the circle of potential producers will be considerably extended.4

Jeremy Rifkin is of the view that the Maker Movement is not a cause but rather the

consequence of the transformation of the communication structure and the energy

generation of our society. In his assessment, the third industrial revolution will replace the

conventional top-down organization, which characterizes society based on a fossil fuelled

industry, with a decentralized, collaborative networking in an era of renewable energies.

The distribution of data and decentralized production will inevitably lead to a change in the

hierarchal distribution of power to a lateral power structure.5

As can be seen, it is through new technologies such as the 3D printer or rapid prototyping

in the age of distribution that we find ourselves at the threshold of new social possibilities,

and thus also of new challenges. It is now the task of contemporary art to grapple with

these new technologies and the subsequent social consequences which emerge as a

consequence.

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FOOTNOTES:

1 Martin Warnke, Hofkünstler. Zur Vorgeschichte des modernen Künstlers,

DuMont, Köln, 1985; Ursula Frohne, Maler und Millionäre. Studie zur sozialen

Stellung des amerikanischen Künstlers im späten neunzehnten Jahrhundert

(1860–1910), Freie Univ., Diss., Berlin, 1993.

2 Die FabLabs entwickelten sich aus dem Center for Bits and Atoms, das 2001

von Neil Gershenfeld im MIT Media Lab gegründet. Mittlerweile sind die

FabLabs eine globale, soziale Bewegung (frühe FabLabs wurden beispielsweise

in Ghana und Indien gegründet).

3 Jeremy Rifkin, Die dritte industrielle Revolution. Die Zukunft der

Wirtschaft nach dem Atomzeitalter, Campus Verlag, Frankfurt, New York,

2011; Neil Gershenfeld, Fab. The coming revolution on your desktop – from

personal computers to personal fabrication, Basic Book, New York, 2005;

Chris Anderson, Makers. Das Internet der Dinge: die nächste industrielle

Revolution, Hanser, München, 2013.

4 Vgl. Chris Anderson, Makers. Das Internet der Dinge: die nächste

industrielle Revolution, Hanser, München, 2013, S. 53.

5 Vgl. Jeremy Rifkin, Die dritte industrielle Revolution. Die Zukunft der

Wirtschaft nach dem Atomzeitalter, Campus Verlag, Frankfurt, New York, 2011.

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WOLFGANG FIEL

Born in Alberschwende, in 1973, studied architecture in Vienna and in

London. He is co-founder of tat ort, and has realised numerous exhibitions,

publications and projects both within Austria and abroad, since 2002.

www.tat-ort.net

KATHARINA GSÖLLPOINTNER

Is a university lecturer and freelance scholar in the field of media art

and aesthetic communication with a special focus on the cybernetics of

art and media aesthetics. Since the 1990s, she has carried out several

research projects on the above topics, e.g. ‘AESTHETIC KNOW-HOW. Language

– Technology – Media’ (2007 – 2009) or ‘Digital Synesthesia’ (2013 – 2016)

(together with R. Schnell & R. Schuler). From 1991 to 1995, she was the

manager of Ars Electronica Festival in Linz (together with P. Weibel). Since

1985, she has published internationally on digital art and media theory, as

well as on the trans-disciplinary character of the arts and sciences. She is

also an active artist – when time permits.

MARGARETE JAHRMANN

Works at the interface of game, arts, performance and arts based research.

She publishes and exhibits internationally. Exhibitions, among others are:

Prix Ars Electronica 2003 and 2012 (Linz); A Maze. Games Culture Circle

(Berlin); ISEA Game, fashion performance, 2011 (New Mexico); Electronic

Avenue, installation with livestream (Vienna); interactive performance with

coded fashion, Galapagos Art Club (NYC).

www.ludic.priv.at

NICOLAJ KIRISITS

Born in Vienna, in 1967; studied architecture at the TU Vienna and electro-

acoustic music at the University for Music and Performing Arts Vienna;

works freelance on architectural projects and projects on the interface of

space, sound performance and generative forms; part-time lecturing at the

University of Applied Arts Vienna since 2002; realised architectural and

media art projects.

www.nicolajkirisits.at

PETER KOGER

Born in 1968, the trained sound engineer has been working since the

beginning of the 1990s as visualist, programmer, and interaction and

animation designer in numerous art projects; in recent years his work has

increasingly focused on video and performing arts. His most recent works

are: Interesse: Toys to Enter the World (performance with Otmar Wagner),

BodyParcours (performance mediaOpera with Akos Hargitay and Gammon), live

visualisation at the opening celebration of the Austrian pavilion at the

Biennale di Venezia 2011.

BIOGRAPHIES

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BERND KRÄFTNER, SHARED INC.

Artist and researcher. He has realised numerous transdisciplinary research

projects on the interface of science, society and art. He is founder of the

research group SHARED INC. [Research Centre for Shared Incompetence] and

teaches at the University of Applied Arts Vienna in the Deptartments of Art

& Science and Digital Art.

www.sharedinc.net

MARTIN KUSCH (KONDITION PLURIEL)

Martin Kusch is a media artist; he lives and works in Berlin and Montreal,

and studied art history, painting and philosophy in Berlin, and media art

under Peter Weibel at the University of Applied Arts Vienna, where he

has taught since 1997. He is founder and artistic director of the group

kondition pluriel, which he directs together with Marie-Claude Poulin since

1999. Installations and performances, among others are: Ars Electronica

(Linz); transmediale (Berlin); ISEA (Nagoya und Helsinki); Transcodex

(Rome); SAT (Montreal); CynetArt (Dresden); ZKM | Center for Art and Media

Karlsruhe; Curtis R. Priem Experimental Media and Performing Arts Center

(EMPAC, Troy); Neue Ruine (Okayama); ZAIM (Yokohama); Interatividades (São

Paulo); Institute of Contemporary Arts (London); ménagerie de verre (Paris)

and Galerie Winter (Vienna).

www.konditionpluriel.org

JAN LAUTH

Initiator and co-founder of the mediaOpera.org, organisation for the

development of a permanent venue for media art; founder of the collective

for a visual music pool; co-curator of the exhibition V_port at the so-

called MuseumsQuartier Wien. Developer of the events series of the Wiener

Visualisten equalEYES. Founding of the formation eYeM. Co- coordinator of

the frameOut festival and the Parliaments of ARTS; staging and performances,

among others at Amerling Galerie (Vienna); Ars Electronica (Linz); Burning

Man; CynetArt (Dresden); Life Ball (Vienna); MAK – Austrian Museum of

Applied Arts / Contemporary Art (Vienna), paraflows – Festival for Digital

Art and Cultures (Vienna); sound:frame Festival (Vienna); teaching since

2000: University of Applied Arts Vienna, Department of Digital Art under

Ruth Schnell. Numerous additional teaching activities, among others at

Donau- University Krems, SAE-International. Jury member at departure.

Creation of a study entitled Wiener VisualistInnenkultur (2011).

MAX MOSWITZER

Max Moswitzer lives and works in Vienna and Zurich. He works as an artist

on collaborative virtual worlds, exhibitions (among others at the Centre

Pompidou, 2012 (Paris); Prix Ars Electronica, 2003 (Linz)) and the

construction of playful situations. Dérive and détournement represent a

method for the rededication and change of networked computer games

and art systems.

mosmax.wordpress.com

NIKI PASSATH

In his work Niki Passath focusses on the relationship between man, machine

and the surrounding natural environment. Born in Graz, in 1977, he lives

and works in Vienna and teaches at the University of Applied Arts Vienna.

Passath studied violoncello, architecture and gained his degree in

digital art.

BIOGRAPHIES

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TOM SCHNEIDER

Painting and film studies in Linz and Vienna, Stadtwerkstatt Linz 1978–85,

exhibitions, presentations and media projects in Africa, Australia, China,

Europe, the Middle East, the Russian Federation, and the USA. Fields of

work: painting, video, film, communication.

RUTH SCHNELL

She is a media artist, head of the Department of Digital Art at the

University of Applied Arts Vienna. Exhibitions, among others at: Aperto, 44.

Biennale di Venezia, 1990; Artec, Biennale of Nagoya, 1991; 46. Biennale

di Venezia, Austrian Pavilion, 1995; mumok: museum moderner kunst stiftung

ludwig wien, 2000; Kunsthaus Bregenz, 2002; California Science Center,

2004 (Los Angeles); Akademie der Künste, 2004/05 (Berlin); ZKM | Center

for Art and Media Karlsruhe, 2008 and 2010; Bienal Internacional de Arte

Contemporáneo de Sevilla, 2009; Moscow Biennale of Contemporary Art, 2011.

www.ruthschnell.org

ROLAND SCHÖNY

He is a cultural scientist, author and curator of contemporary art. Between

2004–07 implemented Kunst im öffentlichen Raum Wien (now KÖR); 2002–05

curator at the O.K. Centrum für Gegenwartskunst Linz; numerous exhibitions,

among others: sounds&files – visuelle Aspekte elektronischer Musik, k-haus

Vienna 2000; publications in springerin, Spike Art Quaterly, skug, IDEA,

artmagazine.cc.

FRANZ SCHUBERT

Studied at the University of Applied Arts Vienna; teaching position at the

University of Applied Arts Vienna and at St. Pölten Polytechnic. Exhibitions

and projects at home and abroad. In his works Franz Schubert reflects on the

mechanisms of medial constructability by way of interventions in digital

media. Lives and works in Vienna.

www.schbrt.com

ROMANA SCHULER

Lecturer at the Deptartment of Digital Art at the University of Applied

Arts Vienna. Studied art history, philosophy, and aesthetics in Innsbruck

and Vienna; main focus of research is the artistic research of apparative,

experimental perception and synaesthetic phenomena in digital art.

www.romana-schuler.at

RINI TANDON

Born in India, has lived and worked in Vienna since 1978. Her unique

position in approaching sculptural space has taken her to noteworthy

exhibitions at institutions such as the Kunsthalle Oslo (1986); Aperto,

Venice Biennial (1988); Anina Nosei Gallery, New York (1989); Austrian

Sculpture, Generali Foundation/ Secession, Vienna (1990); Visionary

Positions, Fundacao Calousto Gulbenkian, Lisbon (1998); Positions of Women

Artists from 1945 till Today, Kunsthalle Krems (2003); Lentos, Kunstmuseum,

Linz (2006); The Content of Form, Generali Foundation (2013), or to solo

exhibitions, such as at Grita Insam Gallery, Vienna (1986); Mindy Oh

Gallery, Chicago (1993); Chemould Gallery, Bombay (1993); Landesmuseum

Joanneum, Graz (2000); Nature Morte Gallery, Berlin (2009), and Raum Mit

Licht Gallery, Vienna (2010).

BIOGRAPHIES

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PETER WEIBEL

Born in Odessa in 1944, Peter Weibel studied literature, medicine, logic,

philosophy and film in Paris and Vienna. Since 1984 he has been professor

at the University of Applied Arts Vienna. From 1984 to 1989 he was

head of the digital arts laboratory at the Media Department of New York

University in Buffalo, and in 1989 he founded the Institute of New Media

at the Städelschule in Frankfurt am Main, which he directed until 1995.

Between 1986 and 1995, he was in charge of Ars Electronica in Linz, and

he commissioned the Austrian pavilions at the Venice Biennale from 1993

to 1999. From 1993 to 1998 he was chief curator at the Neue Galerie Graz,

Austria, and since 1999 he has been chairman and CEO of the ZKM | Center

for Art and Media Karlsruhe. In 2002 he was awarded the Große Ehrenzeichen

für Verdienste um die Republik Österreich, in 2007 an honorary doctorate by

the University of Art and Design Helsinki, and in 2008 he was awarded the

French Order Officier dans l’Ordre des Arts et des Lettres (order of Arts and

Literature). In 2008 Peter Weibel was the artistic director of the Biennial

of Sevilla (Biacs3), and in 2011 the artistic director of the Fourth Moscow

Biennial of Contemporary Art.

STEFANIE WUSCHITZ

Born in 1981, researcher, teacher and artist in Vienna. Graduated with

honours from the Department of Transmedia Art, at the University of Applied

Arts Vienna between 2008 and 2010. MA program ITP, New York University

(USA). Digital Art Fellow of the HUMlabs in North Sweden. Founded the

feminist hacker space Miss Baltazar’s Laboratory in 2009. University

research assistant at the Department of Digital Art at the University

of Applied Arts Vienna. Johanna- Dohnal Prize, 2011. Participation in:

Harvestworks, 2010 (NYC); Ars Electronica, 2010 (Linz); transmediale,

2011 (Berlin); Taipei Artist Village, 2011; Coded Cultures, 2011 (Vienna);

TEDx 2011 (Bratislava); Platform 4, 2011 (Aalbor); Frankfurter Kunstverein,

2012; Schauraum MuseumsQuartier Wien, 2012; Sinopale, 2012 (Istanbul)

among others.

www.grenzartikel.com

www.mzbaltazarslaboratory.org

BIOGRAPHIES

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MOCKUP MODEL

RUTH SCHNELL / VERONIKA SCHNELL

Polymer Plaster, 23 Carat Gold Leaf

3D Plaster Print

200 x 120 x 120 mm

2012

ИГРУШЕЧНАЯ МОДЕЛЬ

РУФЬ ШНЕЛЬ И ВЕРОНИКА ШНЕЛЬ

Гипсовый Полимер, 23-кратное сусальное золото

Послойное Распределение Клеящего Вещества по

Гипсовому Порошку

200 х 120 х 120 mm

2012

DARWIN’S EYE

KATHARINA GSÖLLPOINTNER

White polymer plaster, milled walnut wood

3D-print on wooden pedestal

200 x 200 x 250 mm

2013

ГЛАЗ ДАРВИНА

КАТАРИНА ГСОЛЬПОИНТЕНЕР

Белый гипсовый полимер, измельчённое ореховое дерево

3D объект на деревянной подставке

200 x 200 x 250 mm

2013

EXHIBITED WORKSSelection

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HYPERMEMORY

WOLFGANG FIEL AND SOPHIE-CAROLIN WAGNER

Cooling Box, Membrane Air Pump, Acrylic Glass Vitrine,

Plaster Print, “Bristle Bot”

200 x 300 x 350 mm

2012

СУПЕРПАМЯТЬ

ВОЛЬФГАНГ ФИЕЛЬ + СОФИ-КЕРОЛИН ВАГНЕР

Охладительная коробка, Оболочка Насоса, Акриловый Шкаф

со Стеклянной Дверью, Послойное Распределение Клеящего

Вещества по Гипсовому Порошку, «вибророботы».

200 x 300 x 350 mm

2012


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REFLECTION BOARD

RINI TANDON

ABS, wood, metal, rubber. FDM Print and mixed techniques

550 x 400 x 200 mm

2013

ОТРАЖАЮЩАЯ ДОСКА

РИНИ ТАНДОН

АБС-пластик, дерево, металл, резина. Печать при помощи

моделирования расплавленным пластиком и смешанные техники

550 х 400 х 200 mm

2013


|14

WHITE NOISE 2.0

MAX MOSWITZER

Polymer Plaster and Epoxy Infiltrate

3D Plaster Print

250 x 250 x 250 mm

2012

БЕЛЫЙ ШУМ 2.0

МАКС МОСВИЦЕР

Гипсовый Полимер и Заливка Эпоксидной

Смолой, Послойное Распределение Клеящего

Вещества по Гипсовому Порошку

250 х 250 х 250 см

2012

CYBERNAUTIC SAIL

MARGARETE JAHRMANN

Silver/Stainless Steel Selective Laser Sintering (SLS)

210 x 160 x 40 mm

2012

КИБЕРНАВТИЧЕСКАЯ ФЛОТИЛИЯ

МАРГАРЕТ ЯРМАН

Серебро/Нержавеющая Сталь, Селективное Лазерное Спекание (СЛС)

210 x 160 x 40 mm

2012


|15

THE MOLLUSC

FRANZ SCHUBERT

Polymer plaster, hardened

3D plaster print

265 x 136 x 163 mm

2013

МОЛЛЮСК

ФРАНЦ ШУБЕРТ

Уплотнённый гипсовый полимер

Послойное Распределение Клеящего Вещества по Гипсовому Порошку

265 х 136 х 163 mm

2013


|16

DAS “ZÖLLNER” CHAMÄLEON

ROMANA SCHULER

Polymer plaster, infiltrate,

polished 3D plaster colour print,

American linden

1x 240 x 200 x 140 mm

2x 303 x 215 x 140 mm

2013

DAS “ZÖLLNER” CHAMÄLEON

РОМАНА ШУЛЕР

Гипсовый полимер, цветовая,

отшлифованная печать при помощи

моделирования расплавленным пластиком,

американская липа

1x 240 x 200 x 140 mm

2x 303 x 215 x 140 mm

2013


|17

INEVITABLE BEAUTY

MARTIN KUSCH (KONDITION PLURIEL)

Polymer Plaster, Infiltrated with Polyurethane,

White, UV Resistant 3D Plaster Print

236 x 93 x 97 mm

2012

НЕИЗБЕЖНАЯ КРАСОТА

МАРТИН КУШ (KONDITION PLURIEL)

Гипсовый Полимер, Пропитанный Полиуретаном,

Устойчивое к Ультрафиолетовым Излучениям

Послойное Распределение Клеящего Вещества по

Гипсовому Порошку

236 х 93 х 97 mm

2012


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SCANNED SCULPTURES

PETER WEIBEL

ABS, untreated

FDM Print

6-part Object

Variable dimensions

2013

ОТСКАНИРОВАННЫЕ СКУЛЬПТУРЫ

ПЕТЕР ВАЙБЕЛЬ

АБС-пластик, Необработанные Материалы, Печать

при Помощи Моделирования Расплавленным Пластиком

6-частный объект

2013


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