I.c.w. Selby Gildemacher, more info and photos come
Size: 255 cm x 150 cm
Material: Wood, Instagram
In Christianity the cross symbolizes eternal life, in our digital age a Selfie remains for centuries. #ImmortalNexusRexInstagram investigates the relation between eternal life in the clerical world and the infinite existence of information in the digital world, which results in an object placed in the physical world. The cross as the object is adjusted to our contemporary Selfie culture.
The audience is invited to actively participate by taking Selfies on the cross, and taking photos of the cross, in order to share them on Instagram.
Flag design for NeverNeverLand, a multi-located art space based in Amsterdam run by Anja Masling and Judith Leysner.
Examples of a continuing series of memorialising selfie related deaths.
Bachelor’s Delight is a project by artist Jasmijn Visser in collaboration with designer S†ëfan Schäfer and historian Tristan Mostert, designed for Museum van Loon in 2015.
The exhibition takes shape of a quadriptych, with the website as the first part, together with a poster, digital installation, and objects from the museum’s inventory. These different elements can be viewed separately, but also inform each other. The poster operates as a guide through the website and the installation.
Bachelor’s Delight follows an extensive historical research on the Atlas van Loon by Visser and Mostert. Schäfer and Visser used the museum’s eclectic interior in order to design the project’s visual identity.
The website can be visited at www.bachelorsdelight.com
and includes a download verison of the poster.
Supported by Mondrian Foundation and AFK
Special thanks to Cato Koole, Philippa van Loon, Tonko Grever, Heerko van der Kooij and Anonymous Production
Photo Credits: Gert Jan van Rooij
I.c.w. Selby Gildemacher.
Materials: 2 laptops, 2 iPhones, 2 robot arms, 2 SparkCore, Skype, IFTTT app
The Selfie Extender devides the act of taking a Selfie from location, which is “traditionally” seen as a whole. A Selfie operates as a proof for being present at a certain place, and we basically become our own watermark. In this project the audience is physically present at one spot and takes a virtual Selfie at any other spot imaginable. By physically pressing a button on one location, the robot arm will take the photo on the other location. The installation was done with a 10.000 km distance selfie between Groningen (NL) and Cape Town (ZA) in 2014.
Extensions of Man Workshop at Mediamatic during „Pret Park“.
Materials: three mirrors, one spy mirror, surveillance camera incl. software, computer
Dimensions: 90 x90 x 200 cm
Exhibited at Mediamatic Amsterdam in July 2014.
Selfie Horror Booth is a mirror cabinet that creates a mise en abyme with oneself taking selfies. The person inside the booth gets multiplied. The booth’s small dimension make people feel comfortable to take selfies. On top a surveillance camera is installed that anyone else can control from a distance on an external computer. After leaving the booth the person will see her/his performance on the external computer and makes then afterwards feel uncomfortable being monitored. It is an allegory to the digitally multiplied self and the loss control online.
True Selfie Horrors is a lecture about one part of my research on selfies; focusing on hidden layers that might have negative impact on one’s virtual and physical life, including accessibility for everybody to change context and identity, a selfies living their own lives online and the potentially chance of one’s selfie becoming an avatar for a bot.
Performed at Mediamatic Amsterdam, OTIS college for Art and Design, World Design Capital 2014 Cape Town.