Preenchido com uma combinação de hélio e ar, flutuando livremente em uma sala, “ADA” - obra da artista polonesa Karina Smigla-Bobinski,
é um globo transparente composto por uma membrana de silicone e 300
pinos de carvão/carbono espalhados por toda sua superfície, que rabiscam
as paredes, teto e piso, de modo autônomo, embora movida pelo
visitante.
Com a interação do espectador, os riscos pretos criam uma composição de
linhas e pontos, construindo um desenho com padrões que ficam cada vez
mais complexos, conforme o número de espectadores-atores aumenta. Cada
vez que o visitante movimenta a bola, sua reação sofre ação das leis da
física e libera o movimento correspondente. “ADA” é uma "criatura"
pós-industrial, animada pelo visitante, auto-informante - uma
escultura-artista que atua criativamente. Ela se interpreta.
A obra recebeu o nome da matemática inglesa Ada Lovelace, uma condessa
do século 19 e filha do poeta britânico Lord Byron, reconhecida como a
primeira programadora da história - escreveu um programa que poderia
utilizar a máquina analítica de Charles Babbage. Lovelace tentou
conceber uma máquina que fosse capaz de criar como um artista, mas seus
algorítimos eram puramente matemáticos e o computador criativo que a
matemática imaginou nunca foi construído.
Preenchido com uma combinação de hélio e ar, flutuando livremente em uma sala, “ADA” - obra da artista polonesa Karina Smigla-Bobinski, é um globo transparente composto por uma membrana de silicone e 300 pinos de carvão/carbono espalhados por toda sua superfície, que rabiscam as paredes, teto e piso, de modo autônomo, embora movida pelo visitante.
Com a interação do espectador, os riscos pretos criam uma composição de linhas e pontos, construindo um desenho com padrões que ficam cada vez mais complexos, conforme o número de espectadores-atores aumenta. Cada vez que o visitante movimenta a bola, sua reação sofre ação das leis da física e libera o movimento correspondente. “ADA” é uma "criatura" pós-industrial, animada pelo visitante, auto-informante - uma escultura-artista que atua criativamente. Ela se interpreta.
A obra recebeu o nome da matemática inglesa Ada Lovelace, uma condessa do século 19 e filha do poeta britânico Lord Byron, reconhecida como a primeira programadora da história - escreveu um programa que poderia utilizar a máquina analítica de Charles Babbage. Lovelace tentou conceber uma máquina que fosse capaz de criar como um artista, mas seus algorítimos eram puramente matemáticos e o computador criativo que a matemática imaginou nunca foi construído.
A história de Ada Lovelace conquistou os corações, recebendo muitas homenagens na produção artístico-tecnológica, mas depois de tantas as homenagens high-tech, encontramos uma obra que volta aos princípios físicos da movimentação do gás para criar uma instalação interativa: "ADA" - uma máquina de performance vital, com potencial humano, quando o único método de decodificação disponível para seus signos e desenhos é a imaginação de cada um.
Nascida em 1967, em Szczecin, na Polônia, Karina vive e trabalha como
artista em Munique e Berlim, na Alemanha. Estudou artes na Academia de
Belas Artes de Cracóvia, Polônia, e fez mestrado em Munique no ano de
2000. Trabalha com mídia analógica e digital e faz instalações,
intervenções, objetos, vídeos, projetos para o palco e online. Seus
trabalhos foram mostrados em 71 cidades de 29 países em cinco
continentes.
ADA - analog interactive installation / kinetic sculpture / post-digital drawing machine - 2010
Similiar to Tinguely's «Méta-Matics», is "ADA" an artwork with a soul. It acts itself. At Tinguely's it is sufficient to be an unwearily struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas «ADA» by Karina Smigla-Bobinski, is a post-industrial "creature", visitor animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nano biotechnology. It developes the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures.
«ADA» is much larger, esthetical much complexer, an interactive art-making machine. Filled up with helium, floating freely in room, atransparent, membrane-like globe, spiked with charcoals that leave marks on the walls, ceilings and floors. Marks which «ADA» produces quite autonomously, athough moved by a visitor. The globe obtains aura of liveliness and its black coal traces, the appearance of being a drawing . The globe put in action, fabricate a composition of lines and points, which remains incalculable in their intensity, expression, form however hard the visitor tries to control «ADA», to drive her, to domesticate her. Whatever he tries out, he would notice very soon, that «ADA» is an independent performer, studding the originaly white walls with drawings and signs. More and more complicated fabric structure arise. It is a movement exprienced visually, which like a computer make an unforeseeable output after entering a command. Not in vain « ADA» reminds of Ada Lovelace, who in 19th century together with Charles Babbage developed the very first prototype of a computer. Babbage provided the preliminary computing machine, Lovelace the first software. A symbiosis of mathematics with the romantic legacy of her father Lord Byron emmerged there. Ada Lovelace intended to create a machine that would be able to create works of art, such as poetry, music, or pictures, like an artist does. «ADA» by Karina Smigla-Bobinski stands in this very tradition, as well as in the one of Vannevar Bush, who build a Memex Maschine (Memory Index) in 1930 ("We wanted the memex to behave like the intricate web of trails carried by the cells of the brain"), or the Jacquard's loom, that in order to weave flowers and leaves needed a punch card; or the "analytic machine" of Babbage which extracted algorithmic paterns.
«ADA» uprose in nowadays spirit of biotechnology. She is a vital performance-machine, and her paterns of lines and points, get more and more complex as the number of the audience playing-in encreases. Leaving traces which neither the artist nor visitors are able to decipher, not to mention «ADA» herself either. And still, «ADA's» work is unmistakable potentially humane, because the only available decoding method for these signs and drawings , is the association which our brain corresponds at the most when it sleeps: the truculent jazziness of our dreams.
© ADA - analoge interactive installation by Karina Smigla-Bobinski written by Arnd Wesemann
Press
> A Giant Bouncing Ball That Draws On Every Wall It Touches by James Gaddy > Fast Company's Co.Design
"The sculpture's name, Ada, references Ada Lovelace, who, in the 19th century, wrote a series of notes to Charles Babbage about his idea for an “analytical engine."
Some interactive, kinetic sculptures, like Olafur Eliasson’s Weather Project or Roman Ondák’s Measuring the Universe, require the viewer to also help complete it. Others, like AnL Studio’s Lightwave, interact in order to take on anthropomorphic, animated qualities. Well, Karina Smigla-Bobinski’s Ada, an interactive sculpture (...) does both.
The Ada – analog interactive installation is a transparent helium balloon about three feet in diameter with 300 charcoal sticks stuck on the balloon, each about 10 inches apart, using a technique that Smigla-Bobinski developed especially for this artwork. What people do when they come into contact with the floating, membrane-looking spiked globe as it floats around the gallery space is where it gets interesting.
In the video above, some people approach the orb gingerly; other times they grab the charcoal sticks like handles and try to bend it to their will. Some people bounce it around like a beach ball at a baseball game. About halfway through, an old man tries to actually draw something, only to have it wrestled away by the laws of physics. Every time it hits the wall, the charcoal scratches its mark along the walls, turning the alien-looking, transparent membrane into an automatic art-making machine. In this, the sculpture references her namesake, Ada Lovelace, who, in the 19th century, wrote a series of notes related to a paper on her friend Charles Babbage’s “analytical engine,” i.e., computer, which they hoped would also make works of art as well.
Smigla-Bobisnki hints that she's fine with not necessarily even knowing the extent of what she's created: “What here is exactly the work of art?" she wrote in an email to me. Ada? Or the drawing on the wall? ... Or both?” What she begins, the audience completes, and the result is an interesting look at the balance of power in what is essentially a rigged collaboration. “Once you set her into motion, she just works away,” Smigla-Bobinski continues. “The blacker she gets from the charcoal and the more she is handled by visitors, the more she seems to be some kind of alive. Even I, who built her, sometimes gets the illusion of her being a living thing.”
http://www.smigla-bobinski.com/english/works/ADA/index.html
| Karina
Smigla-Bobinski lives and works as a freelance artist in Munich and
Berlin in Germany. She studied painting and visual communication at the
Academy of Fine Arts in Krakow, Poland and Munich, Germany. She works as
an intermedia artist with analog and digital media. She produces and
collaborates on projects ranging from interactive and mixed reality art
in form of installations, objects, in-situ&online-art-projects, art
interventions and multimedia physical theater performances, to digital
and traditional painting, analog interactive installations or kinetic
sculptures. She is also an lecturer in the Department of Art and Design
at the University of Applied Sciences in Augsburg (Germany). Her works has been shown in 35 countries on 5 continents at festivals, galleries and museums internationally, including GARAGE Center for Contemporary Culture in Moscow (Russia), ZERO1 Biennial in Silicon Valley (US), FILE Electronic Language International Festival in São Paulo and Rio de Janeiro (Brazil), FACT in Liverpool (UK), Videoarte en mOvimiento in Lima (Peru), VideoAKT Biennal in Berlin (Germany), LOOP – Video Art Fair in Barcelona (Spain), Busan Biennale (South Korea), Museo al Aire Libre in Ciudad de la Escultura in Mérida (Mexico), GAK - Gesellschaft für Aktuelle Kunst in Bremen (Germany), Bangkok University Gallery (Thailand). Her collaborative performances has been shown at the Festival Montpellier (France), Festival in Ramallah (Palestine), Grand Théâtre (Luxembourg), Fundação Calouste Gulbenkian Lisbon (Portugal), Festival in Kabul (Afghanistan), GoDown Art Center Nairobi (Kenya), National School of Drama in Delhi (India), Festival Caracas (Venezuela), Alaz De La Danza in Quito (Ecuador), Fadjr-Festival in Tehran (Iran), Art Festival (South Korea), Festival in Amsterdam (Netherlands), Haus der Kunst in Munich (Germany), Teatro Sesc in São Paulo (Brazil), Biennale de la danse in Paris (Frankreich), Berliner Festspiele (Germany) and BIENNALE di VENEZIA - Arsenale, Venice (Italy). |
http://www.smigla-bobinski.com/english/biography/index.html
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