Acute Art brings together renowned international artists, new media and technology to produce and exhibit compelling, cutting-edge visual artworks in Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR).
Discover AR artworks within the comfort of your own home by downloading the free Acute Art app available on the App Store and Google Play.
Acute Art is directed and curated by Daniel Birnbaum. He was most recently Director of Moderna Museet in Stockholm before joining Acute Art in January 2019. Previously, Birnbaum curated the 1st Moscow Biennale (2005), “Airs de Paris” (with Christine Macel) at the Centre Pompidou (2007) the 2nd Yokohama Triennial (2008), and “Zero” (with Tijs Visser) at Martin-Gropius-Bau in Berlin (2015). In 2009 he was director of the 53rd Venice Biennale.
Birnbaum co-authored ‘Spacing Philosophy: Lyotard and the Idea of the Exhibition’ with Swedish philosopher and professor Sven-Olov Wallenstein published by Sternberg Press in September 2019.
She pretended to have a breast augmentation, posting images of herself in a hospital gown and with a bandaged chest, using a padded bra and Photoshop to manipulate her image. Other elements of the makeover were not feigned; she followed the Zao Dha Diet strictly, for example, and went to pole-dancing lessons often.
Through judicious use of sets, props, and locations, Excellences & Perfections evoked a consumerist fantasy lifestyle. Ulman’s Instagram account is a parade of carefully arranged flowers and expensive lingerie and highly groomed interiors and perfectly plated brunches. These images are excessive, but also believable—because they’re so familiar. For many privileged users, social media is a way of selling one’s lifestyle, of building one’s brand. And Ulman went to great lengths to replicate the narrative conventions of these privileged feeds, from her use of captions and hashtags (#simple, #cutegasm), to the pace and timing of uploads, to the discerning inclusion of “authentic” intimate or emotional content (a photo of a lover or a moment of despair).
“Jodi are thus stubbornly out of step with the dominant rhythms of contemporary art. Less obsessed with the cultural or social effects of new media, Jodi orient themselves toward the specificities of hardware and software. The resulting aesthetic is, in this way, not entirely specified by the artists’ subjective impulses. Instead, the texture of code and computation takes over, and computing itself—its strange logic, its grammar and structure, and often its shape and color—produces the aesthetic.”
“In the end, I suspect that Jodi are more interested in the web than Unicode, more interested in the structure of infinity than the classification of universality. The glyphs are adjunct here, a needed ingredient perhaps, but only necessary to facilitate animation and pattern. The true subject of the work is infrastructure—the cables and lines, the standards and protocols, all the industrial transfer technologies that reside in the space beyond the screen.”
“Where does the work reside? Two places. First, Jodi seem interested in isolating certain parts of the screen, even certain parts of the browser. The browser’s address bar, for instance, is treated here as a kind of miniature canvas for slow-motion animation. Like the structural films of Tony Conrad, Jodi create each animation frame by frame from discontinuous elements. A glyph becomes a single frame in a slow-motion film. When the glyphs combine in series, they give the illusion of movement. Like a form of primitive cinema, entire animations appear solely inside the address bar.
But the work resides in a second place as well. The projects in IDN are assembled not so much from discrete web pages as from the negative space existing between such pages. Jodi are interested in HTML, to be sure, but here they also display a penchant for the very standards and protocols of the web itself—how pages are assigned addresses and how servers transfer pages to clients. The “infrastructure” in this infrastructure poetry is thus the agglomeration of server software (Apache), addressing technologies (IDN and DNS), transfer protocols (HTTP), and finally, web browsers and the HTML they are designed to display.”
3D scanningis the process of analysing a real-world object or environment to collect data on its shape and possibly its appearance (e.g. colour). The collected data can then be used to construct digital 3D models.
Many Chairside dental CAD/CAM systems and Dental Laboratory CAD/CAM systems use 3D Scanner technologies to capture the 3D surface of a dental preparation (either in vivoor in vitro), in order to produce a restoration digitally using CAD software and ultimately produce the final restoration using a CAM technology (such as a CNC milling machine, or 3D printer). The chairside systems are designed to facilitate the 3D scanning of a preparation in vivoand produce the restoration (such as a Crown, Onlay, Inlay or Veneer).