Evelina Domnitch
Dmitry Gelfand
Witteveen+Bos Art+Technology Award 2019
Evelina Domnitch
Dmitry Gelfand
‘Our common ground was light and time — both quintessential to film and still not fully philosophically explicated. The ephemerality of both forced us to abandon recording media, including language, in favour of staging real-time physical interactions between light and matter. Needless to say, to actuate our nearly untamable experiments, some expertise became necessary in physics, chemistry, and the biological sciences. What happens in physics today has long ago outfantasised the most far-fetched science fiction. Unfortunately, such research is highly specialised and is accessible only to a small community of experts. Our intention is to bring some of this research to the scale of the human senses, rendering it tangible, rather than explained.’
Foreword
The work of Evelina Domnitch and Dmitry
not always seen as having potential. Take
Gelfand is characterised by an in-depth
for instance their experiments with
focus on fundamental phenomena like
sonoluminescence (phenomenon whereby
black holes, force fields and wave
light flashes can occur in a fluid under the
behaviour. Their installations aim to make
influence of ultrasound), which was
these phenomena visible through the
regarded as one of the blind allies of
inventive use of a range of techniques. In
science.
doing so, they harness insights from quantum mechanics, physics, chemistry
Witteveen+Bos appreciates the unusual
and philosophy. The duo combines a
perspectives that artists offer us. We also
background in philosophy, phenomenology
work with insights from technology and
and film.
science, whereby creativity is required to achieve the best solution. Evelina and
For their research, they often work closely
Dmitry allow invisible physics principles to
with scientists from all over the world,
be observed by presenting them in a
which gives them access to high level
magnified form in their installations. This is
expertise and laboratories with non-
the same kind of transformation that we
everyday materials. Evelina and Dmitry
increasingly perform in our work. We use
study the physics process of their interest,
new technologies to enable stakeholders to
aimed at achieving total understanding.
experience engineering solutions, for
Through experimentation, they create
example by allowing them to move through
installations that transform the studied and
a design or to experience the effect of a
often previously invisible phenomenon into
new noise barrier in a VR environment.
a sensory experience for the public. With this approach, they challenge our
We look forward to promoting the
perception as well as science. Evelina and
interaction with the winners of the
Dmitry also analyse phenomena that
Witteveen+Bos Art+Technology Award, for
scientists have ignored, because they are
example by joining forces in developing a
new work of art for one of our offices. Who knows what that mutual inspiration will bring. Board of Directors of Witteveen+Bos Karin Sluis Stephan van der Biezen
Performing
with
For a long time, science and art have each
director Prof. Jaap van der Graaf and former
existed in search of the invisible. And more
jury chairman Prof. Petran Kockelkoren
and more, this search exposes us to an idea
expressed its aim in 2002 as mapping and
that has always existed in nature: All living
exploring ‘the interactions between
matter influences evolution and is
technology and art as a source of
interconnected via continuous feedback
inspiration for both artists and engineers’3.
systems. Whether we label this concept
With this intent as our guide, we’ll take a
biomimicry, Building with Nature, or
look at the work of 2019’s winners, Evelina
feedback dynamics, it poses an engineering
Domnitch (1972) and Dmitry Gelfand (1974).
challenge. Simply put, in order to innovate
Working as a duo since 1998, Domnitch and
responsibly, we must proactively seek out
Gelfand make connections between art,
the unintended consequences of our
science, and technology that give us new
actions, and welcome them as new
ways of seeing and understanding the
problems to be solved.
world.
Technology, it’s often said, is neither good
Rather than considering the technology
nor bad – but that’s not to say that it is
that artists use, this award is about how
neutral. Any technology must be evaluated
they research technology on their own
on what it is observed to do1. It does what
terms and push boundaries in doing so.
we make it do, and is therefore a
To Domnitch and Gelfand, technologies are
materialisation of our thinking, like a self-
tools with which to extend our human
portrait of humanity
senses and, in this way, evolve. Their work
2.
merges physics, chemistry, and computer The past winners of the Witteveen+Bos
science to create temporary installations
Art+Technology Award comprise a long list
that allow us to experience the universal
of technological pioneers – hardly
phenomena that otherwise exist beyond our
surprising, given the motivation behind the
sensorial reach – literally making the
award’s creation. Former Witteveen+Bos
invisible visible.
nature
A new breed of explorers
What does it mean to be creative in a modern industrial economy4? Exactly 100 years ago, architect Walter Gropius founded the Bauhaus school of art and design in Weimar, Germany to answer precisely this question. He set out to educate a new breed of explorers to conceive artefacts that could be made by machines. Nowadays, we live surrounded by radical new technologies that shape our day-to-day lives: the smartphone, the Internet of Things, augmented reality, digital fabrication, blockchain, automation, machine learning, and artificial intelligence to name but a few. We also live in a time in which humans have become such a significant geophysical force on planet earth that we are directly responsible for reduced biodiversity; deforestation; and a warmer, wetter, windier climate. In other words, a complete restructuring of System Earth is going on around us. The question Gropius asked in 1919 remains relevant, but the diversity and complexity of technology has greatly increased. This Ten Thousand Peacock Feathers in Foaming Acid
demands new approaches towards innovation
– approaches that require visionary technologists, engineers, artists, and
marking a new era in the history of exploration6.
scientists alike. That is to say, a time of radical technologies demands a generation of radical technologists5. We need a new
Domnitch and Gelfand can be seen as artonauts, as could be the engineers of the
hybrid, multidisciplinary breed of explorers
future. They make the extraordinary out of
– one working at the intersection of science,
the ordinary, and the simple out of the
engineering, and art to push the boundaries of our senses and understanding. The most important skills for this new breed
complicated7.
Design Principles
As artonauts, Domnitch and Gelfand explore
of explorers will involve the ability to identify
unknown territories, using a set of design
problems before they arise by using
principles as moral and ethical compasses
imagination, (artistic) intuition, and
in developing their work.
experimentation. In short, they’ll have to combine equal measures of complex problem
Their first principle deals with constraints.
solving, critical thinking, and creativity.
Domnitch en Gelfand probihit themselves from working with of solid media, fixative or
Throughout the years, of course, there have
recording media, and representations or
been many different types of explorers. But
simulations. As a result, they focus on wave
where the aeronauts, aquanauts, and
phenomena such as light, gases, liquids, and
astronauts of the past explored the
acoustics.
boundaries of our biosphere and gave us new perspectives on the earth, this new breed of explorers realises that 21st century
A second principle is the necessity of
expeditions must explore our relationship to
before performing with them. They believe that
the earth. Hence, the artonauts are explorers
what we choose to do with our technologies
who merge art, science and technology,
should be the result of a process of learning
understanding the complexity of phenomena
from nature before engaging with it. Some call this integral awareness8, others wisdom9 or
Power of persistence
Domnitch and Gelfand apply the above
simply our responsibility. To resist the
design principles to elevate their work far
temptation to control a natural phenomenon,
beyond aesthetic translations of known
we must understand its complexity before
phenomena; indeed, the scale of their
resonating with it.
experiments is often unprecedented. By overcoming the technological and practical
This leads to the third principle, design for
challenges this approach imposes, the pair
meandering. With this in mind, Domnitch
often produce works that are new objects of
and Gelfand allow the forces of nature and
scientific study in and of themselves,
the unforeseeable twists and turns of their
thereby pushing technological and scientific
experimentation to shape the creative
boundaries through art.
process. It could be said that had Domnitch and The fourth principle deals with art-science
Gelfand given up on their intuition each time
collaboration by default. Domnitch and
an expert told them their endeavour was
Gelfand always work closely with scientists
crazy, a fantasy, or outright impossible, they
to realise their work. Their ideas offer
would never have completed a work of art.
opportunities for scientific imagination, and
Art intuition is strong, but experimentation
are based on artistic intuition. After all, it is
is necessary. Their work depends on the
by logic that we prove, but by intuition that
willingness of scientists to experiment
we discover10. What Domnitch and Gelfand
without a goal-oriented approach or promise
see and imagine is the possibility to
of application – exploration for the sake of
perform, as in a play, with natural
exploration. But to gain commitment from
phenomena at scale (in order that we may
collaborators and trigger their intrinsic
experience it). ‘Almost anything is scalable’,
motivation, the duo learned that they needed
they say. ‘It is often a question of inventing
to clearly define their vision and focus on
the right equipment.’
the concrete knowledge gaps that would
need to be bridged. For this approach to work, just as when pursuing the implementation of an innovation, they need a ‘champion’ – that is, someone who brings the knowledge, network, or resources required to take an idea to the next level – to collaborate out of sheer curiosity. In the work Camera Lucida: Sonochemical Observatory (2003-2008), the power of a champion is clearly illustrated. In this piece, Domnitch and Gelfand set out to see sound in 3D. They asked themselves, ‘Is it possible to create a sonic rainbow? And if so, is it possible to scale it into an immersive art installation that allows people to see, hear, and feel sound?’ Their artistic intuition told them it would be. But many experts tried to convince them to pursue something else. Finally, the duo coincidentally met German physicist Prof. Werner Lauterborn in the hallway of a Japanese conference. Prof. Lauterborn became the champion Domnitch and Gelfand were looking for as he directed them to relevant researchers and experiments. Together with Russian physicist Alexander Miltsen, another important champion, they realised not only Camera
Transit of Venus
Lucida, but an entire series of ultrasonic
phenomena such as optical levitation and
artworks exploring phenomena from
macroscopic analogues of quantum
acoustic levitation to sonoluminescence11,
entanglement through their art installations
paving the way for the pair’s most
– pushing and blurring the boundaries of art
challenging and multi-disciplinary effort to
and science all the while.
date: Luminiferous Drift (2016). Luminiferous Drift brings together synthetic
Creating societal value
Having explored the interactions between
biology, fluid dynamics, molecular
art and technology inherent in the work of
engineering and planetary science in an art-
Evelina Domnitch and Dmitry Gelfand, what
science collaboration. Together with
inspiration does their story hold for
research groups across the globe, Domnitch
engineers and artists alike?
and Gelfand created bioluminescent
‘protocells’12 after having studied the
First, and perhaps foremost, Domnitch and
behaviour of bioluminescent plankton.
Gelfand show how persistence and
Bioluminescence holds great promise for
dedication contribute to developing a solid
radical innovations – with potential
career in which one stays true to one’s own
applications identified in areas as diverse as
design principles. For over twenty years, a
biology (biosensors), medicine (brain
strict adherence to their own principles has
imaging, cancer detection) and light
allowed Domnitch and Gelfand to remain
production13.
loyal to the future, developing technologies as tools for evolving both individually and as
These stories are far from one-offs.
a society, thereby showing what is possible
Throughout their career, Domnitch and
on the long term when design principles are
Gelfand have been searching and finding
put at the heart of decision making.
champions to collaborate with on many other pursuits as well, allowing us to extend
Secondly, the duo’s career can be seen as a
our sensory abilities and experience
story about cultivating and nourishing a
network that guides curiosity – one in which
Where Walter Gropius asked what it means
both the initial visions and external
to be creative in a modern industrial
champions are equally important for success.
economy in 1919, we could ask ourselves
Only then, can they create an artistic
what it means to be creative in an economy
experience that brings the viewer into a state
that requires radical transformations in the
of transcendence – that is, taking someone
here and now. It is by embracing the
from their normal way of experiencing the
perspective of the artonaut that societal
world, ‘upgrading’ their sight, hearing, smell,
value can be created. The new breed of
touch, and taste, and enabling them to reach
explorers, be they artists or engineers, use
entirely new levels of extended sensory
the power of creation to develop platforms
perception. By using creativity and creating
for engagement, cultivate a network of
sensitivity, Domnitch and Gelfand are
champions and guide curiosity through
applying their skills to show how technology
honesty and principles for ethical design.
can extend our humans senses. In their own words: ‘If we stop developing our senses, that doesn’t make sense.’ And lastly, throughout all their explorations, Domnitch and Gelfand value honesty and ethics. They want to be transparent in the pursuit of knowledge, while creating profound experiences. Through their performances and installations, they present a platform for engagement – one that opens the eyes of the visitors and enables a discussion about what is at stake. Such a strong appreciation for ethics is rare, yet perhaps ever-more necessary.
Rodolfo and Lija Groenewoud van Vliet
1 _ Greenfield, Adam, Radical Technologies: The Design of Everyday Life, 2017 2 _ Mensvoort, Koert van, Next Nature: Why technology is our natural future, 2019 3 _ Witteveen+Bos Art+Technology Award, 2002 4 _ Whitford, Frank, Bauhaus Anniversary Edition, Thames & Hudson world of art, 2019 5 _ Greenfield, Adam, Radical Technologies: The Design of Everyday Life, 2017 World Economic Forum Report, New Vision for Education, 2016 6 _ Jacobs, Ruben, Artonauten: op expeditie in het Antropoceen, 2018 7 _ Morris, Desmond, The Artistic Ape, ‘Where science is considered the quest to understand our existence (making the simple out of the complicated), art is often understood as the act of making the extraordinary out of the ordinary (or to entertain the brain)’- P.12, 2013 8 _ After Philosopher Marshall McLuhan who said in 1964: ‘The artist is the person in any field, scientific or humanistic, who grasps the implications of their actions and of the new knowledge in their own time. The artist is the person of integral awareness.’ 9 _ Harari, Yuval Noah, Homo Deus, ‘It is our responsibility to act based on wisdom (understanding) rather than power (manipulation without understanding), 2018 10 _ Henri Poincaré, The Foundations of Science, 1946 11 _ The emission of short bursts of light from imploding bubbles in a liquid when excited by sound, Wikipedia page on sonoluminescence, 2019 12 _ They succeeded in creating a cellular structure that envelopes a light-emitting chemical reaction in an oil membrane. These cells are then released into a rotating bath of water where they trace a hexagon modelled on Saturn’s northern polar vortex 13 _ European Commission Independent Expert Report, 100 Radical Innovation Breakthroughs for the future, 2019
Evelina Domnitch
(1972, Minsk, Belarus) holds a master’s degree in philosophy from Belarusian State University. Probing the fringes of perceivability, her installations and performances merge physics, chemistry and computer science with uncanny phenomenological practices. Working in unison with Dmitry Gelfand since 1998, she is the recipient of the Japan Media Arts Excellence Prize (2007), the Meru Art*Science Award (2018) and five Ars Electronica Honorary Mentions.
Dmitry Gelfand
(1974, St. Petersburg, Russia) creates immersive artworks that simultaneously comprise scientific experiments, multi-sensory environments and philosophical inquiries. He graduated with a bachelor’s degree in filmmaking from New York University. Research into fundamental physics largely takes place in a world of data and laboratories. In their work Dmitry and Evelina make this world sensorially experienceable. To actuate these ephemeral processes the duo has collaborated with pioneering research groups, including LIGO (Laser Interferometer Gravitational-Wave Observatory), the Atominstitut (TU Vienna), and the EU Quantum Flagship.
On ER=EPR
The installation ER=EPR, comprises a
one is familiar with the spacetime warping
hydrodynamic analogue of entangled black
predicted by general relativity, one explicitly
holes. As a means of documentation, large-
experiences the winding of laser light
scale rayograms (fotogram in Dutch) of
around the mouth of a vortex. This bending
ER=EPR are created. These cameraless
of light is analogous to the lighttraced
prints result from direct exposures of
distortion of spacetime in the vicinity of a
photosensitive paper to the installation’s
real spinning black hole. Just as an observer
iridescent fluid projections. The rayograms
cannot peer beyond an event horizon into
allow viewers to contemplate in close detail
the interior of a black hole, in ER=EPR there
the fleeting optical behaviour near the center
is no leakage of information from within the
of a vortex. Evoking superradiance, Hawking
black vortex shadow. There is no way to
radiation, and photon spheres, surges of
catch a glimpse of a black hole’s innards
laser light form thin halos that encircle the
without being dragged inside! In the
shadows of a double whirlpool.
‘ergosphere’ outside the unobservable region of the rotating black disc, the ceiling
Without any need for translational
projection provides a two-dimensional slice
simplifications of exotic concepts, audiences
of light’s warped passage – which can even
directly submerge their senses in the warped
unveil the ‘wormhole’ connecting the vortex
light-scape forming around co-rotating liquid
pair, rarely observable in the aquarium itself.
vortices. As these vortex pairs emerge, akin
Coincidentally, the equations describing the
to light waves in a double-slit experiment, an
mutual gravitational field of a black hole pair
observer attentively follows their
are solved only for two dimensions.
meandering journey until the vortices collide with the walls of the aquarium or with each
Evelina and Dmitry: ‘The project is made in
other, and collapse. The analogue is so
collaboration with William Basinski, Jean-
perceptually dense that one can purely
Marc Chomaz and LIGO (Laser
‘experience the experiment’ devoid of verbal
Interferometer Gravitational-Wave
or mathematical engagement. Whether or not
Observatory), during a residency at CalTech
division LIGO in the winter of 2016. The
pool after kindly requesting everyone to
residency led us to a vertiginous theoretical
leave the water – even the slightest
upheaval concerning the cosmological
undulation can disturb the experiment. Over
nature of non-locality. While searching for a
the course of the following months we
fluid analogue of black hole pair collision
fervently developed ER=EPR along a
(twice detected by LIGO), we attended a
trajectory of pivotal discussions with LIGO
crowded lecture of esteemed cosmologist
researchers, wanderings with composer
Juan Maldacena. He sketched a pair of
William Basinski through the audible
distantly separated eternal black holes and
frequencies of black hole collisions, and
vividly explained how they might be quantum
vortex pair experiments with physicist Jean-
entangled ‘through the interior, via a
Marc Chomaz at the Hydrodynamics
wormhole, or Einstein-Rosen Bridge
Laboratory of École Polytechnique. While we
[Maldacena, J., Susskind, L., Cool Horizons
delight in the new astrophysical sensitivities
for Entangled Black Holes].’ Maldacena
enabled by LIGO, dispelling any doubts as to
radically conjoined two seemingly unrelated
the reality of Kerr-like black holes, a parallel
papers written by Einstein and colleagues in
effort has long been underway to create
1935: the legendary ‘spooky action at a
black hole analogues in a laboratory setting.
distance’ article ‘EPR’, and the lesser known
LIGO has thus far only detected rotating
‘ER’ Einstein-Rosen paper. By equating ER to
black holes, accurately predicted by Roy
EPR, formerly irreconcilable paradigms of
Kerr’s solutions for general relativity in 1963.
physics have the potential to converge: the
Whirlpool analogues of black holes reveal
phenomenon of gravity is imagined in a
features that are closely associated with the
quantum mechanical context.’
ergosphere of a Kerr black hole, such as intersecting wave fronts, windings, and a
‘In the wake of Maldacena’s lecture, a liquid
variety of interference phenomena. In
analogue of entangled black holes appeared
ER=EPR, for the first time a liquid analogue
to Evelina in a dream. Shortly afterward we
enacts an entangled pair of co-rotating black
enacted the dream at the CalTech swimming
holes.’
ER=EPR Orbihedron Camera Lucida: Sonochemical Observatory Memory Vapour Photonic Wind Hydrogeny Mucilaginous Omniverse Sonolevitation Ten Thousand Peacock Feathers in Foaming Acid Luminiferous Drift Force Field Ion Hole Quantum Lattice Implosion Chamber X
ER=EPR
Orbihedron
Camera Lucida: Sonochemical Observatory
Memory Vapour
Photonic Wind
Hydrogeny
Mucilaginous Omniverse
Sonolevitation
Ten Thousand Peacock Feathers in Foaming Acid
Luminiferous Drift
Force Field
Ion Hole
Quantum Lattice
Implosion Chamber
X
An ER=EPR A dark Orbihedron Camera Lucida: Sonochemical Observatory Memory Vapour Shining into a vacuum chamber, a laser Photonic Wind Emanating from an array Hydrogeny MSound waves Mucilaginous Omniverse Sonolevitation Ten Thousand Peacock Feathers in Foaming Acid The polar vortex of a Luminiferous Drift In an audiovisual performance acoustically levitated water droplets reveal the Force Field Suspended by electric fields, ionised lycopodium Ion Hole Quantum Lattice High frequency Implosion Chamber X
expanded laser beam shines from below a liquid vortex pair, creating a projection of two co-rotating black holes encircled by shimmering halos. vortex in the middle of a water-filled basin radiates swirls of light — a liquid analogue of the luminous ergosphere around a spinning black hole. In a water-filled chamber sound waves are transformed into light emissions through a phenomenon known as sonoluminescence. After vanishing in the darkness, visitors gradually perceive an undulating cosmos of glowing sound fields. Above a bath of sublimating liquid nitrogen, prismatic cascades of subatomic particle trails surge through a frosty cloud of ethanol vapour. beam levitates and propels diamond dust. Forming starry jets and languorous vortical clouds, the diamond dust evokes light’s pervasive flow. of electrodes in a water-filled chamber, strings and strata of microscopic hydrogen bubbles meticulously trace their emergent surroundings. upwardly propagating through a bath of silicone oil, prevent falling oil droplets from coalescing with the bath. The droplets offer analogues of quantized orbital motion, wave-particle duality and quantum tunneling. In an audiovisual performance gold leaves are levitated and spun by an acoustic standing wave. As a multi-colour laser beam enters soap film — the chemical ancestor of a living cell’s lipid membrane — it creates a 360° projection of soap bubbles’ molecular dynamics. hypothetical planet is traced by bioluminescent protocells - synthesised precursors of living cells that are composed of non-living chemistry. three-dimensionality of sound while spinning nearly devoid of shear and evoking the rotational dynamics of celestial and subatomic bodies. spores self-assemble into a Coulomb crystal. A pulsating laser transforms the spore’s ceaseless ‘breathing’ motion into a large-scale projection. In a high-voltage ion trap levitating glass microspheres form a cascading latticework outlining square-shaped orbital motion. sound waves propagate through a waterfilled cylinder, prompting naturally diffused air bubbles to implode as they unveil the sonic environment. A series of radiographic prints created by irradiating diverse forms of biogenic and non-biogenic matter with x-ray light.
Jury report
The jury is delighted to present the winner
to science. They manage to preserve the
of the Witteveen+Bos Art+Technology Award
mystery of virtually unknown phenomena
2019: the artist duo Evelina Domnitch and
and present them to us. All their work can be
Dmitry Gelfand. Their work presents us with
enjoyed without prior knowledge. It
a serious study of quantum mechanics and
demonstrates the beauty of the processes in
philosophy — expressed in aesthetic,
all their simplicity, not in a spectacular or
immersive works — with experience at its
explosive way, but in an extremely subtle
heart. In their art, what often only manifests
and elegant manner.
itself in data, in science becomes ‘sense data’. Their work provides access to a reality
The jury is impressed by the precision of
that we know in theory, but which usually
their work, the research on which it is based
escapes our senses. The viewer never has to
and their perseverance to keep
know anything about the scientific
experimenting with the greatest dedication
background of the installations. Domnitch
and work on the best possible installation to
and Gelfand’s artworks display magical,
demonstrate a certain phenomenon or
purely sensorial phenomena.
process to the public. Installations that are perfectly aligned to the senses and
The installations that they create often seem
challenge and expand our observations. In
to resemble alchemistic laboratories, in
their work, they make use of equipment in
which phenomena in fluid are made visible
scientific labs and enter into a dialogue with
and in which material is transformed. This
scientists, learning about the technology
gives the work a mysterious edge, yet their
that they use in their experiments. In this
work never makes reality more mysterious
respect, it is interesting to note the tension
than it already is.
between the scientific view of the world and human cognition and sensory perception.
The jury praises the way in which Evelina
On the one hand, mathematics fails to
and Dmitry enable us to experience
understand how we as humans experience
processes with which we are familiar thanks
the world and give it meaning. On the other
hand, our senses do not give us direct access to the reality as described in quantum mechanics. That tension provides the basis for Evelina and Dmitry’s investigations and experiments. Their method reveals a deep engagement with science and with the technology that facilitates the journey of exploration of science. For them, scientific research is a compelling process of discoveries in which human imagination is tested to its limits. Furthermore, the insights of science do not need to be popularised because reality is shown in its simplest and most elegant form. Internationally, Evelina and Dmitry’s work receives great acclaim. The list of scientific institutions with which they work worldwide is growing. They can lay claim to a carefully accumulated oeuvre, in which no work is compromised in terms of meaning or beauty. The jury is therefore delighted to nominate this duo, a special duo that deserves to be the winner of the Witteveen+Bos Art+Technology Award 2019.
About the members of the jury
Maria Verstappen (Chair) was the winner of
Arie Altena is affiliated with Sonic Acts and
the Art+Technology Award in 2013, together
V2_ Lab for the Unstable Media. He studied
with her collaborator and life partner Erwin
literary theory and criticism and has written
Driessens. Driessens & Verstappen have
about the interfaces between art and
worked together as an artist duo since 1990,
technology since 1993. He is the author of
and were trained at the Maastricht Academy
What is Community Art? and (co-)editor of
of Fine Arts and Design and then at the
various Sonic Acts publications including
National Academy of Fine Arts in Amsterdam
Travelling Time, The Dark Universe and The
from 1988 to 1991. They are leaders in the
Geologic Imagination. Altena also served as
field of generative art, both in the
co-curator of the Dark Ecology project. His
Netherlands and internationally. Their work
texts have appeared in Metropolis M, Open,
has been included in the collections of
De Gids, Gonzo (Circus), Neural and
various museums, including most recently
Mediamatic Magazine, as well as various
the Centre Pompidou in Paris, as well as the
catalogues. Altena regularly gives
Museum fĂźr Moderne Kunst in Frankfurt,
presentations and lectures at art academies
Museum Boijmans Van Beuningen in
and other institutes of higher education. He
Rotterdam, Stedelijk Museum in Amsterdam,
previously worked as a lecturer in the
and Centraal Museum in Utrecht.
Interactive Media masters programme of the Frank Mohr Institute in Groningen, and as editor of the magazine Metropolis M.
Robbert Roos has served as director and chief curator of Kunsthal KAdE in Amersfoort since its establishment. KAdE opened in 2009 and does not have a permanent collection, but houses a wide range of solo and group exhibitions in the field of art, architecture, design and contemporary culture, showcasing the work of both Dutch and international artists. It is housed in a striking building on the Eemplein square in Amersfoort. In addition to his activities for KAdE, Roos works as an art consultant for the Mondriaan Fund and the Council for Culture, among other institutions. He was chief editor of Kunstbeeld magazine for eight years, and worked as an art critic for many years after completing his studies in journalism.
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Editing Witteveen+Bos Photography Portrait by Philippe Vogelenzang Christopher Wormald Kinoshita_Wataru Konstantin Guz Martin Argyroglo (Lieu Unique) Miran Kramar Stéphane Pecorini Tasha Orlova With thanks to Anna Daneri GaMEC In4Art Graphic design Houdbaar Print Zwaan Printmedia Binding Boekbinderij Brepols Paper Papyrus G-Snow / Fuego Stone Coal Black
© 2019 Witteveen+Bos Art+Technology Award www.witteveenbos.com ISBN 978-90-807789-0-0