Nieves de la Fuente Gutiérrez
Edited by Karin Lingnau
16 pages, Offset, 23,5 x 16,5 cm
Variant covers in Pantone 873 & 875
Weinspach, Cologne, April 2017
Edition of 350
Supported by the Academy of Media Arts Cologne
Euro 10,00 (plus shipping) | Via lingnau( )khm( )de
"No habrá servicio los domingos ni en el cumpleaños de la Reina Victoria" is an installation composed by samples of my investigation in an old mining complex in southern Spain. The analog and digital elements interact and influence each other in uncontrolled and sensory detached ways.
This project delves into the history of an old open-pit mine in Southern Spain. After its nearly more than 5000 years of activity, digging the soil, cutting up the forests, exposing the minerals to the top and flattening the landscape, some kind of alien territory has been produced. Precisely, during the 19th century, the top of the mountain was mined away under the leadership of one of the biggest mining companies in the world: The Rio Tinto Company Limited. Filled the cavities by layers of superstitions, Rio Tinto was involved in worker strikes, natural catastrophes and post-colonial processes.
This is an installative video-game-based project, half-documentary, half-fantastic and developed for Virtual reality glasses, the HTC Vive, allowing the player to move on a 3D Scan-based landscape. In the installation we have a couple of stones or other elements related to the mine. The interaction with those objects in the real world will have a repercussion in the game field and the other way around.
This project was possible thanks to loads of people whiling to help. I want to mention here two characters appearing in the video game: Rafael Mayorga and Pablo Fernández. Many thanks also to La Fundación y el Museo Minero de Rio Tinto and to Aquilino Delgado and Paco Alcázar, a priceless source of information and help.
An artist book which meditates on the power of objects in Postcolonial collections of the Global North. Are objects agents of their own movement? What are the implications of the increasing verisimilitude of digital reproductions?
A book by: Sam Hopkins and Simon Rittmeier
Photography: Hannes Wiedemann
3D Artist: Nieves de la Fuente Gutierrez
3D Production: Urs Fries / KHM
Essay: Kitso Lynn Lelltiott
Graphic Design: Studio Carmen Strzelecki
The two pieces I show, “Caracaballo” and “Oculus nebulosus” are metaphors dealing with the breeding of an “ideal horse” and its social meaning during the 17th and 18th century. Horse keeping was an integral part in court culture because of its representative function. It was supposed to meet the demands of “high-art” classic baroque equestrianism. These demands were not only related to the choice of different horse ideals based on their constitution, but also on the appearance of these animals, depending on the beauty standards of this period. In this time, Claude Bourgelat (the director of the first veterinary school in the world in 1761) created a system of measurement that every horse should complete in order to be considered perfect.
If we observe the compact “Ross”, a typical baroque horse race, in some of the paintings from Rubens, interesting human-animal-body related elements could be discovered. For example, in “The Rape of the Daughters of Leucippus”, can't we just realize that these female bodies are really similar to the equine ones? Thomas Martin writes in “La beauté équestre” about a parallelism between the beauty ideals from women and horses in the 16th, 17th and 18th century. He makes the reader attentive to the the new trend of wasp-waisted women on the 18th and how did this change of taste also transformed the preferences on horses, now more oriented to the thinner english thorough bred.
I work with the head of a monster; half 3D scanned female, half ideal horse of the 18th century. One did believe that stars and stellar constellations influenced human and horse in their behavior, character and medication like a divine oracle.
Reliquia de las disciplinas geográficas is an installation with a hologram, a sculpture from a dingo and a video game. It deals with the visualisation of fantastic worlds that are just possible on a digital sphere and tries to place them on a real and existing place.
Originally this project is based on the story “Del rigor en la ciencia” by Borges, the Argentinean writer. He describes a kingdom in which the art of the cartography was so spread that the scale of maps on paper got really close to the scale on real life; so the one from a province got as big as a regular city. The next generation of inhabitants decided not to take part in such a lunacy, so the existing maps were abandoned on the desert surrounding the city. They started to get damaged and fold, offering shelter to hobos and beasts of the desert of the west.
Based on this story I found myself on Google Earth, searching for the desert of the west were the ruins of this map could still get dusted. I produced this territory as a 3D terrain, which structure, standardize and constraint, is the product of a computer language. I tried to break this entity by modifying the digital code of the data with the poetic language from Borges' story, so I got transformations on the surface of the object, based on a misunderstanding between computer and writer. The computer just can not understand the poetic language smuggled into its real code, so in produces pyramids and folded structures that remind of this old abandoned map.
I made a hologram, that works for me as the ghost of an image, to present this imaginary poetic place in the room. Another element that completes the installation is a video game, to find yourself in this place and observe the animals that may live there.
In this project I produce objects that are able to be part of two worlds. These are objects that seem to be obtained in a lab research. Inspired in the form of Petri dishes I recreate an environment for growing bacterias where actually no bacterias are involved and the aim of the investigation is not to obtain useful information about/for the world, but to produce something beautiful. I try to stay critical with the pictures that "decorate" the scientific research, we believe in what they tell us. I like to think that something such as scientific photography doesn't exist as an independent genre, but it is a part of the so called arts and involved in a system of beliefs.
"Ode on a grecian urn" by John Keats
"Thou still unravish'd bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know."
This project has been developed in collaboration with Goethe-Institut Montreal and Tag (Technoculture, Art and Games) as a result of a 10 days artistic residency.
Urnas a una oda, (english: Urns on an ode) consists on the visual representation of the poem “Ode on a grecian urn” by John Keats. It deals with the translation between different systems of representation, from text to sound, and from sound to object, not in a illustrative way, but in a reflective one.
The passages graved in the urn that Keats describes take form in the room when the poem is properly read. This frozen time, deals with a future never reached and love never consummated. I asked people to read this poem for me and worked with the sound waves generated by this recitation. The sound waves turned raw graphic material that I transformed into a 3D object, a new urn by a process of digital revolving process. The final piece is a vase, an unusual one, but achieves its aim of containing a substance, it contains a poem in its form.
For this second work in the series “Topologie in 2 Medien” the artist Raffael Seyfried and I decided to scan the gallery room in Baustelle Schaustelle in Essen. We captured the tracks of the previous exhibition in the gallery and created a 3D impression of the space.
As it has been in the first work of “Topologie in 2 Medien”, for us was important to create some kind of communication between two different representation systems, sound and 3D. Thanks to its digital structure, the code of the 3D object that was the room, allows us to develop a program that transforms the coordinates of every point into different parameters of a sound. The sound tries to modify again the three-dimensional structures and in this process the room starts to vanish. This will be repeated until the communication between both is not possible anymore and the program breaks down.
This project is a collaboration with the artist Raffael Seyfried that we developed during an artist residency in Montepulciano, Italy.
It is a game based on the different structures of language. We play with the unpliable physic form of an “analogic” rock, that stays there for ages, uttering inaudible murmurs of History. This rock was found on the walls of Montepulciano and has been translated into its digital form to gain a malleable structure which makes it fold in the room.
As it starts to fold, so it starts to sound, so you can listen now the mute speech of the rock.
“A robotic voice sounds from the receiver of a classical telephone. A letter is recited, written by Hugo von Hofmannsthal as his alter ego Lord Chandos to Francis Bacon in 1902.
A video installation composed of three screens shows early twentieth century recordings - short sequences of a coach journey, a river, and a landscape reminiscent of England. Hofmannsthal retreated to the British province to understand the language of nature and escape the confusion of his occupation with language and literature. A few seconds later, the black and white image starts to flicker, colorful codes run across the screen. Just like when fast-forwarding a videcossette, and the needed data is not rendered in time, the clips show contortions, flickers and pixels in foreign colors.
In her work FEHLERFAKTOR the young artist Nieves de la Fuente Gutiérrez generates glitches in the rendering processes of analog and digital data.
A hex-editor-Software allows her to view the collected data and to access their inner structure. similar to biology, de la fuente Gutiérrez understands the digital image as a system with a phenotype and genotype. She decoded the genotype of the three video clips of fehlerFaktor and inserted the code into a text. This second text is also a letter with the title “an lord Chandos, ein Fax aus der Zukunft (To Lord Chandos, a fax from the future)” written by Durs GRünbein in 2002. In this letter to hofmannsthal’s alter ego he addresses the natural changes of language in the course of time.
The errors in FEHLERFAKTOR originate from a misinterpretation of data are determined by the system and can be compared to a mistake that occurs in a translation of literature or a misinterpretation of a daily situation due to unfamiliar parameters.
The artist creates errors and glitches that provoke and challenge the viewer’s perception. The work addresses the dificulties and sheer endless possibilities of interpretation of the complex digital system
(...)” Julian Schneider
Imaginarium is a work related with the idea of producing fake astronomical pictures in order to place them in the private sphere.
We believe in the pictures that show us the new discoveries of humanity because we do not own the instruments needed to produce these pieces of evidence. What we own, on the other hand, are the tools to produce those pictures, not in a documentary, but in an artistic way. I just make use of the “sientific themes” in photography to re-think it as an ornament.
Origamazing! is an application created on processing that reflects on the transformation or translation from text into an object, a 3D object. The process of translation starts with the understanding of the structure of 3D data. Every point that builds the object is placed on space, being its position described by 3 coordinates, X, Y, Z. Every point exists just in the virtual space, like the one that is created between the speakers in a conversation, where the words that are already said, live.
Through the writing of different words and constellations of sentences, 3D objects fold, floating in the digital space. In this project I think of the moment in which the common language, or slang and scientific language meet. By scientific language I mean the one from the computer, with a closed structure of numbers and coordinates where poetry has no place to be. When they meet, a conflict is created, a tension for the position-in and possession of the room provided.