NOOR NUYTEN
NOOR NUYTEN
Noor Nuyten (1986, NL) creates conceptual works that appeal strongly to the imagination of the viewer. Nuyten is artistically akin to the movement of conceptual artists from the late 1960’s, however at the same time her work is undeniably contemporary. Her conceptual works often provide new ways to engage in a critical but humorous relationship with rationally structured systems such as time, language and units of measurement. Nuyten’s practice is characterised by merging disciplines without any form of hierarchy. To develop her work, she collaborated with various specialists and mastered several crafts over the past decade; from clockmaking and shoemaking to glassblowing. In the past years, Nuyten dove into the world of electrodes and 3D printing.
Nuyten lives and works in Amsterdam. She studied at the HISK in Gent (BE) and at the Academie Minerva (Groningen). Her conceptual works often provide new ways to engage in a critical but humorous relationship with rationally structured systems such as time, language and units of measurement. In 2013 she had her first solo exhibition at Upstream Gallery: The Palm at the End of the Mind. Her second solo exhibition took place in the spring of 2016: Rehearsing the Future Nuyten’s works are regularly included in exhibitions in the Netherlands and abroad. In the summer of 2013 she did a residency in GlogauAIR, Berlin and in 2015 she took part in a guest residency at the Rijksakademie in Amsterdam.
Personal Hotspot (2022)
Melted and 3d printed (rejected) product of designer Joris Laarman
70 x 89 x 12 cm
Low Power Mode On (2022)
Melted and 3d printed (rejected) product of designer Joris Laarman 70 x 89 x 12 cm
GAZING BITFLIPS
While scrolling on your smartphone a cosmic ray can strike the Earth’s atmosphere, creating cascades of subatomic particles including energetic neutrons, muons and pions, beating your screen to create a bitflip, manifesting in a glitchy phone. Without realizing it, you have experienced a cosmic ray attack, creating a bitflip in your smartphone. In the future, cosmic bit flipping will happen more often because processors become smaller and more energy efficient.
For Gazing Bitflips (2023) Nuyten started to detect and collect bitflips with a smartphone turned into a pocket detector, discovering lit pixels caused by cosmic rays on a daily basis. It is a first attempt to get bitflips off the screen, by melting and solidifying the exact moment of a cosmic strike on a smartphone. The outcome reminds one of a dazzling galaxy; the home of the cosmic rays. Providing us with an interesting insight in the overlap of the physical and the digital.
This new body of work is made of shredded, melted and pressed production waste of Dutch designer Joris Laarman and e–waste, developed in collaboration with Stefania Petroula and circular company van Plestik. In imagining a transition towards more liveable futures, inspired by thinkers like Donna Haraway, Nuyten believes in the power of rethinking materials. By blending used materials, mundane objects and gestures, her aim is to spark the imagination of the viewer, evoking new thoughts, questions and realities.
Gazing Bitflips - 14:55 (2022)
Shredded, melted and pressed e-waste and production waste of Dutch designer Joris Laarman
Gazing Bitflips - 00:05 (2022)
Shredded, melted and pressed e-waste and production waste of Dutch designer Joris Laarman 90 x 70 cm
90 x 70 cm
Gravitational Screen - iPad (2019)
Handmade glass
38,4 x 21,5 x 4,5 cm
Swiped Horizon - dawn (2019)
Photoprint on plexiglass 120 x 80 cm
Daily Landscape - dusk (2019)
Diptych, photoprint on plexiglass
2 x 30 x 20 cm
Not only time and consciousness, but also place perception is shifting by the use of screens. Screens could be seen as (virtual) landscapes, carried inside the palm of our hand. Fingerprints create new landscapes.
Nuyten photographed these picturesque traces together with brother and filmmaker Thomas Nuijten . The two colorful sceneries in the gallery are exuding the ambiance of the places where they were created - on the seashore of the North Sea and the Aegean Sea.
Swiped Horizon (2020-2021) makes the intangible tangible and lets us rethink how digitalization changes our way of looking at the world.
REHEARSING THE FUTURE
In Rehearsing the Future (2016), Nuyten researches the increasing extent to which language takes shape in the digital environment by using the Oculus Rift; a set of VR-glasses with a wide stereoscopic view, developed especially for gamers. Visitors are guided through a virtual space by means of moving textual instructions that constantly change direction and format. The slightly absurdist text reads about social structures and its prescribed scenarios, while creating a rhythmic choreographic spectacle for viewers standing outside the virtual space. By this, the work also brings together Nuytens research on social and linguistic systems, of which she explores the impact on our actions through physical, virtual and imaginary modifications to everyday objects.
Two Meters was inspired by Ken Alders’ book Measure of All Things (2003) about the original prototype of the meter, the blueprint for all of our measuring instruments. The work consists of two measuring tapes of exactly one meter, cut into pieces of 1 cm and placed in piles. Although the two stacks represent exactly the same unit, they differ in height because the tapes are made of different materials.
Measuring Space (2010) is a cyclic one-day-artwork. The piece consists of a measuring lint that is elevated into space by a helium balloon. During the day, the helium gradually escapes from the balloon, which causes the lint to lower slowly. The work relates time to centimeters; two abstract metric systems that we use frequently in our daily lives without realising what implications these systems have on us. Nuyten’s brings these systems and rules to our attention in a playfull way. And showing us that no matter how hard we try to organize the chaotic world around us, there will always be elements over which we have no control
Exhibition in Your Hand (2013) is an auditory work in which a voice-over describes an exhibition that takes place in your hand. This way, visitors are experiencing an exhibition by means of imagination.
Exhibition in Your Hand (2013)
Text on paper and sound on USB stick, 4:24 min
Measuring Space (2010)
Flexible steel rule, helium balloon, 1,55 m
Offline Timer – One Decade (2021) Glassblown recycled silver, cooled in the wind, a blanket and the oven, recycled acrylate, 10 x 10 cm, edition of 10 unique pieces
Digital Dust (2021)
Shown at Upstream Gallery, duo show with Marinus Boezem in 2021 titled Reading a Wave.
Digital Dust archives the traces that one leaves behind while swiping on a screen as a physical leftover of the infinite online movement. Her work showcases how increasing digitalization is changing our perception of space and time.
The off-white reliefs hanging on the wall in the front room of the gallery are taking the viewer behind the capacitive touchscreen, recreating the patterns of the electrodes.
While swiping on a smartphone, a cascade of actions take place: the touch leaves a pattern of electrodes behind it. Nuyten has looked into how best to capture this movement and found a way to materialize it. After thorough research together with circular company Van Plestik, Nuyten developed a way to 3D print her concept with used electronics, such as computer monitors. These electronics, alluding to the evolution of technology, are shredded, melted and 3D printed.
