allerArt Bludenz
Group exhibition ‘3d analog -/- digital’
A loose group of artists - Lidia Atanasova (D), Kathrin Dörfler (A), Fridolin Welte (A), Marco Palma (I) and Gregor Titze (A) - are bringing the 2022 exhibition year at Galerie allerArt Bludenz to a close.
Artistic objects are conceived and produced using digital tools and in collaboration with partners and robots. These computer-defined works are juxtaposed with a series of analog sculptures with a deceptive kinship.
Opening: Thursday, 10.11.2022, 8 pm
Exhibition duration: 12.11.-30.12.2022
Curator: Manfred Egender
Compass #2 (2021)
Digital and analogue fusion of three Austrian mountains (Schesaplana, Schöpfl, Kahlenberg)
Materials from Vorarlberg, Lower Austria, and Vienna
This work unites the mountains Schesaplana, Schöpfl and Kahlenberg in a digital recreation. The mirroring and recombination of these geographically separated elevations creates a fictional place that dissolves the boundaries between Vorarlberg, Lower Austria and Vienna. Analogous to the virtual fusion, materials from all three regions also combine in the physical realization of the work to form a new unity. Through this double transformation – both digital and material – a post-topographical space emerges that reflects the constructedness of our landscape perception and oscillates between cartographic precision and imaginary topography.
Traces #37 (2022)
Reclaimed Lower Austrian barn wood, ceramic tile, tension strap, hook
This installation explores the relationship between material and movement. The ceramic tile, positioned at an angle atop reclaimed timber, bears inscriptions of the routes traveled to source each component of the work. By repurposing a 3D printer as an etching tool—displacing rather than depositing material—the process subverts technological convention.
The work challenges our understanding of creation processes, suggesting that the journey of materials might become intrinsic to an object's identity. Suspended by a tension strap, the installation mirrors the journey of its materials—held in place yet suggesting movement, just as the ceramic surface captures paths traveled.
Infinite Terrain (2021)
Mixed media installation
AI-generated video loop, LCD screen, paper frame, 3D printed ceramic
Variable dimensions
This installation explores the relationship between physical and digital representations of landscape. At its core, a custom AI model trained on 60 original mountain photographs generates an endless visual journey that zooms through synthetic alpine terrain. The perpetual movement between micro and macro perspectives challenges our understanding of scale and spatial orientation.
Atop the monitor sits a ceramic sculpture—a three-dimensional topographic map physically coiled into itself. This material manifestation creates a dialogue with the digital imagery below, questioning how we navigate between tangible and virtual cartographies. The ceramic form gives permanent physical presence to data that otherwise exists only as ephemeral pixels.
The object examines how contemporary technology simultaneously expands and collapses our experience of landscape—allowing us to traverse vast distances while never leaving a fixed point. Through this juxtaposition of traditional craft and algorithmic creation, the installation interrogates how digital systems transform our perception and representation of natural environments.
