All Over – Samuel Bianchini – 2019
Connected Artwork Net Art. Real-time data – Hard Drive Disk, Samsung Framed Screen. Dimensions écran 109,2 cm (43″), LED, Smart TV, Wifi, Blanc
Edition de 7 exemplaires (2/7)
Samuel Bianchini is an artist and associate professor at the École Nationale Supérieure des Arts Décoratifs—Paris (EnsAD) / PSL University Paris.
Supporting the principle of an “operational aesthetic,” he works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, and sociopolitical organizations, often in collaboration with scientists and natural science and engineering research laboratories.
His works are regularly shown in Europe and across the world: Nuit Blanche Toronto, Waterfall Gallery (New York), Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Art Basel, Institut Français of Tokyo, Stuk Art Center (Leuven), Fiac, Centre Georges Pompidou (Paris), Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), Jeu de Paume (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Centre pour l’Image Contemporaine (Geneva), space_imA and Duck-Won Gallery (Seoul), Museum of Contemporary Art Ateneo de Yucatán (Mexico), ZKM (Karlsruhe), Musée d’Art Moderne de la Ville de Paris, etc.
After defending his PhD thesis (of The Université Paris 1 – Panthéon-Sorbonne) in an art center (Palais de Tokyo in Paris) with a solo exhibition, and, more recently, his accreditation to supervise research, Samuel Bianchini is now the head of the “Reflective Interaction” research group at EnsadLab, the laboratory of EnsAD, and the Co-Director of the Chaire Arts and Sciences recently founded with École Polytechnique and the Daniel & Nina Carasso Foundation. He is a member of the SACRe Laboratory (Sciences Arts Création Recherche – EA 7410) of PSL University and involved in its doctoral program for which he supervise PhD in art and design. He is also member of the Canadian research-creation network Hexagram.
In close relation to his research and artistic practice, Samuel Bianchini has undertaken theoretical work, which has led to frequent publications edited, for example, by Éditions du Centre Pompidou, MIT Press, Analogues, Media-N – Journal of the New Media Caucus, Hermes, Les Presses du Réel, Springer, etc.
He co-edited with Erik Verhagen, Practicable. From Participation to Interaction in Contemporary Art, MIT Press, 2016, https://mitpress.mit.edu ;
with Emanuele Quinz, Behavioral Objects 1 – A Case Study: Céleste Boursier Mougenot, Sternberg Press, 2016 www.sternberg-press.com ;
and, in 2017, with Mari Linnamn, À Distances. Œuvrer dans les espaces publics, Dijon, Éd. Les presses du réel, Coll. “Société des Nouveaux commanditaires”, www.lespressesdureel.com.
À PROPOS DE L'OEUVRE : ALL OVER / ARTJAWS EXHIBITION NEW YORK MAY 1 TO 5, 2019
All Over is a piece of Internet art involving a series of images formed uniquely out of typographic characters, in the manner of ASCII art, made using the display techniques of the first computers. Here, however, the figures and letters composing the images are dynamic and keep changing: they are generated in real time by the fluxes on stock exchanges around the world. Originating fixed photographs, these transformed images are thus dependent on financial movements, which both feed and disrupt them at the same time. Destabilized by the display system, their meaning, in turn, becomes unstable.
Held between the digital and the financial, between two regimes of representation, these pictures without captions seem to be constantly struggling for their visibility and their uncertain reality: demonstration, traders, supporters, a religious or political rally…?
Computer production: Oussama Mubarak
Project produced by the Musée du Jeu de Paume, Paris, “Musée Virtuel” in partnership with Corbis France.