on Paper

Postcards from Google Earth - Redmon

Clement Valla

USA, 2010 ongoing.

Set of 10 offset postcards. 4 in x 6 inch, Screenshots from Google Earth, postcards and postcard racks, inkjet on paper, website.

Clement Valla is an Brooklyn-based artist who makes work in a wide range of media including photography, sculpture,software, and the internet.

The Dictionary of the Analogue // The Dictionary of the Digital

Jonathan Hanahan

USA, 2014.

Print-on-demand hard cover book. 6.125 in x 9.25 inch, 304 pages.

A book about language in both physical and digital environments, collecting words which contain alternative meanings in each world.

Jonathan Hanahan is a creative technologist and educator who loves the internet but is equally terrified by it. He uses technology to critique technology. His speculative practice explores the physical, cultural, and social ramifications of digital experiences and the role technology plays in shaping our everyday realities. He makes Thick Interfaces. These are tools, devices, software, artifacts, websites, and videos that agitate the digital facade and reveal the complexity existing underneath the thin veneer of our devices.

The Black Book

Jean Keller

France, 2013.

Print-on-demand, perfect bound, soft cover. 5 in x 8 inch, 740 pages.

Ink used for digital printing is one of the most precious substances in the world. A single gallon of ink costs over four thousand dollars and this is one reason why digitally printed books are so expensive.
However, the price of a book is not calculated according to the amount of ink used in its production. For example, a Lulu book of blank pages costs an artist as much to produce as a book filled with text or large photographs. Furthermore, as the number of pages increases, the price of each page decreases. A book containing the maximum number of pages printed entirely in black ink therefore results in the lowest cost and maximum value for the artist. Combining these two features, buyers of The Black Book can do so with the guarantee that they are getting the best possible value for their money. (Jean Keller)

BANGed: A Monopoly on Truth

Angela Washko

USA, 2015.

Book III

Jan an der Til

Niederlande, 2014

297 x 210 X 115 mm
250x A3, gefaltet, Clairefontaine DCP 120g Papier
500x A4 Discovery 75g Papier

The future is stupid

Jenny Holzer

1997

Bildschirmschoner auf Computerbildschirm und CD ROM sowie Kickstand TM.

Homage to Malewitsch

Frieder Nake

Deutschland 2018/20

Computerprogramm /Computer application

Mittels einen Computerprogramms erzeugt Frider Nake innerhalt eines auf dem Bildschirm abgebildeten Rahmens Quadrate, die sich in unterschiedlichsten Farben und Größen vermehren. Sie streuen sich innerhalb des gesetzten Rahmens vermeindlich willkührlich über die Fläche, werden kleiner und größer, verlassen dabei aber nie ihre horizontale/vertikale Ausrichtung.

Der abgebildete Rahmen und das Passepartout sind dabei dem Schwarzen Quadrat des russischen Avantgardisten Kasimir Malevitsch nachempfunden und bilden die Grundlage für Nakes Hommage. Das Zersplittern des schwarzen Quadrats in viele kleine und kleinere Quadrate und das Aufspalten in alle möglichen Farben hebt das Malewitsch-Quadrat in die Computerzeit der RGB-Darstellung und der digitalen Fragmeltierungen, bleibt dabei aber in den engen Grenzen, die das Bildschirmpixel als technische Grundlage vorgibt.

Using a computer application, Frider Nake creates squares within a frame displayed on the screen, which multiply in various colors and sizes. Within the frame they are scattered over the area in a seemingly arbitrary manner, becoming smaller and larger, but never leaving their horizontal/vertical alignment.

The illustrated frame and passepartout are based on the Black Square of the Russian avant-gardist Kasimir Malevich and form the basis for Nake's homage. The splitting of the Black Square into many small and smaller squares and the splitting into all possible colors lifts the Malevich Square into the computer age of RGB representations and digital fragmentation, but remains within the narrow limits set by the screen pixels as the technical basis.