Running Code to Control Sculptures in Installation Art
Code, algorithms, interactivity, electronics, biology, genetics, physics, engineering and many more attributes or fields are increasingly becoming an intrinsic component of contemporary art. These fast developing innovative technologies and methods are rapidly consolidating their place in this realm. However, a synergy between these new pioneering fields with the more conservative traditional disciplines are consequently provoking necessary and constructive transformations. Throughout my work, an extensive research has been conducted to find strategies to bridge the gap between those traditional disciplines and technology driven methods and concepts. Coding and algorithms integrated through electronic controllers and interactivity are playing an increasingly important role to achieve this. The final outcome never targets a predetermined result, but rather envisions a hybridity of interlinking different time periods, different technologies and disciplines of art, science and its sphere of ideas. New avenues are thus explored to control sculptural driven installations through digital manipulations, connecting sound, visuals, tactility, interactivity, materiality and space into an all immersive experience.
Adorable and clumsy looking inanimate objects are coded as to mimic recognizable emotional content, affecting a viewer to project her own psychological imprint as well her inevitable shortcomings. Traditional media like painting are released from their rigid and static framework through process-based coded animation techniques. These are some of the issues that set the context and form the building blocks of the works and concepts to be further explored.
Keywords: contemporary art, hybridity, digital, traditional, synergy
Anton Dragan Maslic has been working in a multitude of various media and disciplines. Throughout his work he has explored the relationship of space with politics, social economics, psychology, urbanism, pre- and post war social conflicts, violence, propaganda, cultural identity, group behavior, consumerism, effects of Capitalism and the dichotomy between digital art and physical objects. He has participated since 1994 in 40 group exhibitions 3 solos, collaborative projects, art biennials and events in Holland, Serbia, Canada, Mexico, Cyprus, Slovenia, Croatia, Belgium, Germany, Iceland, Czech Republic, Italy, Canada and Austria. Recently he participated at the Venice Biennale of Architecture in 2014 presenting Cyprus. At the moment he has a show in Vienna, at the museum Quartier.
Maslic initiated, organized and curated 9 international multidisciplinary exhibitions and events in several European countries. In addition he formed an international underground network for artists, 'Noise of Coincidence', which provided for starting artists a platform for exhibitions, theory & discussions, and collaborations. For the last 9 years he has been teaching at universities in Nicosia and Famagusta in the fields of Architecture, Design, Interior Architecture, and Visual Arts & Visual Communication.