Virtual Cities is a critical, interactive reflection on urban space.
Curator: Angelique Spaninks, artistic director of the STRP festival and gallery MU (Eindhoven).
In the Robot Skies: A Drone Love Story – Liam Young
As the world’s first ever narrative work entirely filmed using autonomous, pre-programmed drones, this film by British artist Liam Young is a commentary on the culture of surveillance and control in urban areas. Through the eyes of the drones, we see two teenagers who have been ordered by police to stay within the boundaries of their council estate. Drones keep an eye on the two.
We see how they send each other notes, using their own hacked and decorated drones, how they scribble messages on paper with ballpoint pen, wad them up and stuff them in their drone. In the near future, drones are the guardians of the government, and simultaneously the system through which two teenagers can be in love.
Rectilinear Displacement - Marnix de Nijs
The installation Rectilinear Displacement places the viewer in a 40 meter motion through the exhibition space. He or she will be surrounded by a virtual space, which is projected on a circular screen. Those images are a combination of a laser scan of the exhibition space, and a dynamic, real-time laser scan of the surrounding area. In other words: during the 40 meter ride, the viewer sees his surroundings pass him by in an abstracted form. This installation uses the so-called travelling shot, where a camera is mounted on a moving object, so it can simultaneously record the action and the passing landscape. Rectilinear Displacement plays with this technique, by not using the images of a travelling shot, but letting the viewer himself take the position of the camera.
To Be Reproduced – Bram Snijders / Dframe
To Be Reproduced is an interactive video installation that offers a new introduction to the classic painting Not to be Reproduced (La réproduction interdite) by René Magritte.
The installation is a reflection on the ubiquity of virtual spaces, which have become an integral part of our daily social life, and the way in which data trails are used to establish a refined reproduction of the user. In To Be Reproduced, the viewer enters a space in which the physical and virtual worlds are closely intertwined. Faced with a reflecting surface, the viewer meets a faceless digital reproduction of themselves. While other participants are reflected correctly, the viewer takes on the role of the person who is depicted in Magritte’s painting.