TimeMap H:M:S
Transformation d’une ville en montre
Transforming a city into a clock
Transformation d’une ville en montre
Transforming a city into a clock
“(…) The impression of digital pictorial production is inevitably evoked in the large patterns installed on the floor. In this case, the transformative principle of addition, the efficient repetitive gesture of copy and paste, would be within grasp were it not for the hands-off effect of the fragile engineering of the artist’s complex installations. The three-dimensional ornament, although spread out at our feet, cannot be seen all at once. In contrast to a pattern on a surface, the spatial structure changes with every change in vantage point. Every view of the installation, every static perception reveals new contiguities and therefore new semantic relations and insights. The pattern can be animated with a single gaze although it does not move. The act of seeing is in itself indeed an act. Skull, needle, egg and nail, cookie and CD-ROM accumulate on cardboard plates, in plastic cups and on placemats in extensive repetition of the same things, becoming not a surreal but rather a trans-real scenario. Looking, we traverse mental landscapes revealed in constantly changing panoramas. (…)”
Hans Rudolf Reust in “Swapping surfaces“
“(…) Face aux grandes installations ornementales qui couvrent le sol, l’impression d’une production d’image numérique est inévitable et immédiate. On pourrait presque toucher du doigt le principe transformateur de l’addition, le geste rapide et répétitif du “copier/coller”, si la statique fragile des constructions complexes ne nous tenaient à distance. L’ornement tridimensionnel interdit alors, même s’il se déploie à nos pieds, la vue d’ensemble. Contrairement à un dessin sur une surface, la structure spatiale change ici selon chaque point de vue. Chaque examen visuel de l’installation, chaque vue statique, communique de nouvelles situations de proximité entre les choses et, par voie de conséquence, de nouveaux contextes significatifs et de nouvelles connaissances. Avec un seul regard englobant, le motif s’anime sans qu’il ne bouge. Le simple fait de voir devient un acte. Crâne, seringue, œuf et clou, cookie et CD-ROM s’associent sur des assiettes en carton, des gobelets en plastique et des sets de table, autant de répétitions du même qui donnent lieu à une scène moins surréelle que transréelle. En regardant, nous traversons des paysages mentaux qui s’ouvrent selon les divers points de vue. (…)”
Hans Rudolf Reust in “Échanges de surfaces“
This series shows two surfaces which are cut together at the same time and the cut ups are exchanged
Échanges de surfaces, 1992 – papiers de couleur, découpage, collage / coloured paper, cut up and collaged – (2 x) 50 x 70 cm.
Échanges de surfaces, 1992 – papiers de couleur, découpage, collage / coloured paper, cut up and collaged – (2 x) 50 x 70 cm.
Échanges de surfaces, 1990 – armoires, découpage, collage / wardrobes, cut up and collaged – 176 x 48 x 190 cm.
Échanges de surfaces, 1992 – cartes postales, découpage, collage / postcards, cut up and collaged – (2 x) 24 x 30 cm.
Related texts:
Hans Rudolf Reust “Swapping surfaces” / “Échanges de surfaces” / “Oberflächentausch”
Hervé Laurent “Tableaux (monochromes) d’une exposition (informatique)” / “(Monochromes) pictures at a (computerized) exhibition”
Pixels, 1991 – punaises colorées sur toile / coloured thumbtacks on canvas – 24 x 33 cm.
Pixels, 1993 – punaises colorées sur toile / coloured thumbtacks on canvas – 30 x 40 cm.
Pixels (monochrome), 1993 – punaises blanches sur toile / white thumbtacks on canvas – 20 x 30 cm.
Game over (I, II, III, IV), 2004 – punaises sur toile / thumbtacks on canvas – 20 x 20 cm.
Head III, 1992 – punaises colorées sur sagex / coloured thumbtacks on sagex – 35 x 20 x 20 cm.
E-bone, 2004 – punaises sur sagex / thumbtacks on sagex – 16 x 87 x 16 cm.
vertical pattern non-square black I, 2006 – display cabinet, sundry objects – 132 x 154 x 32 cm.
vertical pattern square black I, 2009 – display cabinet, sundry objects – 102 x 102 x 25 cm.
vertical pattern square black I, 2009 – detail
vertical pattern square gold I, 2009 – display cabinet, sundry objects – 102 x 102 x 25 cm.
vertical pattern square grey I, 2008 – display cabinet, sundry objects – 102 x 102 x 25 cm.
vertical pattern square grey I, 2008 – detail
Vertical Pattern Square Orange, 2007 – view Centre Pasquart, Bienne (photo: Daniel Muller)
Lampes code RGB, 1998 – lampes, multiples interrupteurs / lamps, multiple switches – dimensions variables
Anyone who wants to illuminate Hervé Graumann’s lamp with its four switches in series must first solve a problem of Boolean algebra, as it applies to digital circuits. Each switch has two positions, 1 or 0, on or off. From the position of the switch – up or down (u/d) – you cannot tell with Graumann’s lamp whether the switch in question is allowing the current to flow or not. To produce light, every possible variation of switch combinations must therefore be worked through in a systematic way, to avoid unnecessary repetitions: d-u-u-u, d-d-u-u, d-u-d-u, d-u-u-d, d-d-d-u, d-u-d-d, d-d-u-d, u-d-u-u, etc. It may take a while. George Boole established his logical calculus in 1847.
Hervé Graumann (1963*) lives and works in Geneva. Since the middle of the 1990s he has been exploring aspects of digital aesthetics and culture in his work. In 1997 he participated in documenta X in Kassel with some of his early online works.
http://www.digital-art-collection.net/collection/collection_e.html
Lampe code 24, code sheet
Hard on soft, 1993 – ordinateur, imprimante à aiguilles, socle en mousse / computer, dot matrix printer, foam base – 145 x 50 x 40 cm.
audio file of one of the 7 compositions
View: Andata Ritorno Gallery, Geneva, 1994
Green plant entertainment, 1994-95 – dispositif informatique, interface, logiciel, son, eau, lumière, plante verte computer device, interface, software, sound, water, light, pot plant – dimensions variables
Exhibition view – “White noise”, Kunsthalle Bern, 1998
grey zone pattern, 2007 – installation, sundry objects – app. 480 x 480 cm. | Fondation Salomon art contemporain (photo: m. domage)
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Pattern – Vanité 2b, 2003 – (detail)
pattern vanité 2b, 2003 – installation, sundry objects – 400 x 500 cm.
Pattern – Vanité 2b, 2003 – installation, objets divers / installation, sundry objects – 400 x 500 cm. – installation view, mamco geneva
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oriental gold pattern, 2006 – installation, sundry objects – appr. 350 x 800 cm. (exhibition view villa Oppenheim, Berlin)
oriental gold pattern, 2006 – (detail)
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fish & bone w. emerald flower, 2007 – installation, sundry objects – appr. 600 x 900 cm. (exhibition view centre pasquart, Bienne)
fish & bone w. emerald flower, 2007 – installation, sundry objects – appr. 600 x 900 cm.
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encrypted rosa pattern, 2005 – installation, sundry objects – 230 x 250 cm. (coll. Fondation Salomon art contemporain)
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synth field pattern, 2005 – (detail)
synth field pattern, 2005 – installation, sundry objects – appr. 400 x 400 cm.
synth field pattern, 2005 – installation, sundry objects – appr. 400 x 400 cm. (exhibition view gallery 1000eventi, milano)
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India Jamaica mix pattern, 2007 – installation, sundry objects – appr. 600 x 900 cm. (exhibition view centre pasquart, Bienne)
India Jamaica mix pattern, 2007 – installation, sundry objects – appr. 600 x 900 cm.
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garbage chic L.A. pattern, 2010 – installation, sundry objects – appr. 220 x 200 cm.
garbage chic L.A. pattern, 2010 – installation, sundry objects – appr. 220 x 200 cm.
garbage chic L.A. pattern, 2010 – installation, sundry objects – appr. 220 x 200 cm. (CompactSpace Los Angeles)
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b. rhythmaschine pattern, 2006 – installation, sundry objects – 280 x 775 cm. (exhibition view villa Oppenheim, Berlin)
b. rhythmaschine pattern, 2006 – installation, sundry objects – 280 x 775 cm.
b. rhythmaschine pattern, 2006 – installation, sundry objects – 280 x 775 cm.
Patterns links / Vertical / Photographs