@ Elsewhere Gallery by Adi Dahan | Herzliya Museum of Contemporary Art
Elsewhere Gallery is a temporary gallery founded by Adi Dahan under the exhibition "Rising Star" in the Herzliya Museum of Contemporary Art. The gallery itself operates outside the museum walls and is being broadcasted back to museum through a web video call.
The work is making use of two machines built by Segal; the first (Heart for the tin man, 2012) is a painting machine, dropping acrylic paint on the surface below it at precise amounts and positions. The machine was used for painting in response to voices and music that surrounded it. This work results in a series of paintings, each one originated by a different source of information. While the paintings seem chaotic they actually have structure. As in many cases, the alleged randomness is a result of a sequence of strict choices.
By minor changes to the machine settings and replacing its painting device with a macro lens camera, the painting machine transforms into a scanner, scanning its own former outputs. This second machine results in the video work. The scanner navigates along the paintings as if they were a map and the paint drops were a topographic landscape. The macro lens reveals details that are invisible to the naked eye, some of which look as if they were taken by a lab’s microscope.
The new system works in interaction with museum visitors. Visitor’s motions are captured by video, affecting in real time the scanner’s navigation as a physical-human remote control.
The flow in this work is circular. Digital data gets a physical-mechanical manifestation, then sampled back into the digital world.
The name of the work “Microfilm” implies the analogue data storage mechanism that was in use before today’s digital data storage systems. Segal’s machine gives a strong association to the movements, magnification visuals and sounds of the old school microfilm reader.
Elsewhere Gallery is a temporary gallery founded by Adi Dahan under the exhibition "Rising Star" in the Herzliya Museum of Contemporary Art. The gallery itself operates outside the museum walls and is being broadcasted back to museum through a web video call.
The work is making use of two machines built by Segal; the first (Heart for the tin man, 2012) is a painting machine, dropping acrylic paint on the surface below it at precise amounts and positions. The machine was used for painting in response to voices and music that surrounded it. This work results in a series of paintings, each one originated by a different source of information. While the paintings seem chaotic they actually have structure. As in many cases, the alleged randomness is a result of a sequence of strict choices.
By minor changes to the machine settings and replacing its painting device with a macro lens camera, the painting machine transforms into a scanner, scanning its own former outputs. This second machine results in the video work. The scanner navigates along the paintings as if they were a map and the paint drops were a topographic landscape. The macro lens reveals details that are invisible to the naked eye, some of which look as if they were taken by a lab’s microscope.
The new system works in interaction with museum visitors. Visitor’s motions are captured by video, affecting in real time the scanner’s navigation as a physical-human remote control.
The flow in this work is circular. Digital data gets a physical-mechanical manifestation, then sampled back into the digital world.
The name of the work “Microfilm” implies the analogue data storage mechanism that was in use before today’s digital data storage systems. Segal’s machine gives a strong association to the movements, magnification visuals and sounds of the old school microfilm reader.
