超设计——Osman Khan(India)印度
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最后更新：2006/08/16 06:44:56 by
初看这个作品你会觉得它很美，但是你并不了解它的内容。当你看着这些美丽的图像，听到的却是一则手纸广告的宣传词时，你就会去思考。媒体无处不在，而各种信息构筑了这个世界。人们不应该被节目淹没，而应该去质疑它。而且从另一个角度来看电视确实也十分有趣。
静物流光
Sur la table Mixed Media Variable 2004
Osman Khan
Sur la Table 静物流光 (2003)
《静物流光》以贴近生活的方式让观众感受物形的基本存在：将桌面上的静物，由摄像机撷取之后再投射到桌面上，于是实体的静物解构成光点，如溪流般不断流泻。科技的进化，快速改写撷取影像的能力，影像拟真的定义变成光点的堆积密度。作品以流域循环来呈现实体与数位光点的关系，对于最基础的线条、结构与色彩持续进行实验，藉由光点而结合的数码影像，再度解构为数码光点、实体变成流体，压缩成时间的小河后，抽象的时间，转换成具象的河流。
Sur la table Mixed Media Variable 2004
Osman Khan
Sur la Table 静物流光 (2003)
《静物流光》以贴近生活的方式让观众感受物形的基本存在：将桌面上的静物，由摄像机撷取之后再投射到桌面上，于是实体的静物解构成光点，如溪流般不断流泻。科技的进化，快速改写撷取影像的能力，影像拟真的定义变成光点的堆积密度。作品以流域循环来呈现实体与数位光点的关系，对于最基础的线条、结构与色彩持续进行实验，藉由光点而结合的数码影像，再度解构为数码光点、实体变成流体，压缩成时间的小河后，抽象的时间，转换成具象的河流。
"Osman Khan: Scanners"
2004-07-31 until 2004-08-21
Dangerous Curve
Los Angeles, CA, USA United States of America
Dangerous Curves exhibition in August is for Osman Khan's new media extravaganza "Scanners". For someone with a B.S. in Mechanical Engineering interested in expressing how technology has changed the social fabric, art was the only avenue for Osman Kahn. Osama had taken plenty of more traditional art courses, but that type of artmaking just didn't do the trick. So he turned to new media.
While a Design/New Media M.F.A. candidate at U.C.L.A., Kahn extended his curriculum to steep himself in art history. So he knew how Conceptual Art had extended what art could be. However, he went straight to the heart of the matter and asked if the purchase of the artwork itself could be the art. Here, the part becomes the whole. In his piece "Kahn Artist," he lets the user swipe their credit card for whatever amount they want. The artwork is the resulting charge listed on the user's monthly statement. Oh, there's also a receipt that gets generated, but that's only for legalities, not documentation. The statements are readymades, if you will, appropriated from the consumer world, pointing to how art gets "value" from its purchase price.
In Kahn's interactive new media, the spotlight on the process, not on immediate visual feedback, as in video games. In "Net Worth," Kahn's scanner reads your name off your credit card and ranks it among previously input names according to how many times they all come up in a Google search. The feedback is vernacular: can we really trust information gathering? What about false positives, i.e., when you rank high simply because you have a common name?
Really, though, it's largely only when we're assigned numbers that we can have a unique ID. This is not lost on Kahn. In his "Art Dispensing Machine," he uses scanned credit card numbers to print out unique combinatorial characters. Sometimes, though, for those very lucky people, he prints out a little surprise.
Dangerous Curve is committed to supporting visionary established and emerging artists of all ages, by emphasizing one-person shows of risky, intelligent work that is not necessarily commercially viable nor currently popular. In a time when other spaces have reduced their performance art programming, Dangerous Curve is a new venue for performance artists, with performance installations, monthly performance art events, and an annual performance art festival planned.
2004-07-31 until 2004-08-21
Dangerous Curve
Los Angeles, CA, USA United States of America
Dangerous Curves exhibition in August is for Osman Khan's new media extravaganza "Scanners". For someone with a B.S. in Mechanical Engineering interested in expressing how technology has changed the social fabric, art was the only avenue for Osman Kahn. Osama had taken plenty of more traditional art courses, but that type of artmaking just didn't do the trick. So he turned to new media.
While a Design/New Media M.F.A. candidate at U.C.L.A., Kahn extended his curriculum to steep himself in art history. So he knew how Conceptual Art had extended what art could be. However, he went straight to the heart of the matter and asked if the purchase of the artwork itself could be the art. Here, the part becomes the whole. In his piece "Kahn Artist," he lets the user swipe their credit card for whatever amount they want. The artwork is the resulting charge listed on the user's monthly statement. Oh, there's also a receipt that gets generated, but that's only for legalities, not documentation. The statements are readymades, if you will, appropriated from the consumer world, pointing to how art gets "value" from its purchase price.
In Kahn's interactive new media, the spotlight on the process, not on immediate visual feedback, as in video games. In "Net Worth," Kahn's scanner reads your name off your credit card and ranks it among previously input names according to how many times they all come up in a Google search. The feedback is vernacular: can we really trust information gathering? What about false positives, i.e., when you rank high simply because you have a common name?
Really, though, it's largely only when we're assigned numbers that we can have a unique ID. This is not lost on Kahn. In his "Art Dispensing Machine," he uses scanned credit card numbers to print out unique combinatorial characters. Sometimes, though, for those very lucky people, he prints out a little surprise.
Dangerous Curve is committed to supporting visionary established and emerging artists of all ages, by emphasizing one-person shows of risky, intelligent work that is not necessarily commercially viable nor currently popular. In a time when other spaces have reduced their performance art programming, Dangerous Curve is a new venue for performance artists, with performance installations, monthly performance art events, and an annual performance art festival planned.
