Tommy St酶ckel: Superadapter
Water and gas pipes, and cables for data, electricity, and sound have taken over O鈥擮vergaden with the total installation SUPERADAPTER created by Danish artist Tommy St酶ckel. Though they usually run in their own designated circuits, in this exhibition water, gas, data, electricity, and sound are connected to one joint network through 鈥渟uper adapters鈥 鈥 the ultimate transformer, invented by St酶ckel. As a completely unrealizable, DIY-generated fantasy, the super adapter illustrates humans鈥 constant, techno-utopian dream of improving tomorrow with new technology.
St酶ckel鈥檚 sculptural network is mainly constituted of 3D-rendered, geometric figures collected from open-source files, but in between the pixelated shapes, sculptural processings of local architecture from Christianshavn turn up. Affected by the idea of the infinite copies made possible by digital ready-mades, St酶ckel imitates architectonic, technological, and virtual objects from our surroundings and revives them within the context of the art institution. At the same time SUPERADAPTER winds itself as a coherent network from the back room and out through the windows to the fa莽ade of O鈥擮vergaden in order to actively engage with the physical world outside.
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Water and gas pipes, and cables for data, electricity, and sound have taken over O鈥擮vergaden with the total installation SUPERADAPTER created by Danish artist Tommy St酶ckel. Though they usually run in their own designated circuits, in this exhibition water, gas, data, electricity, and sound are connected to one joint network through 鈥渟uper adapters鈥 鈥 the ultimate transformer, invented by St酶ckel. As a completely unrealizable, DIY-generated fantasy, the super adapter illustrates humans鈥 constant, techno-utopian dream of improving tomorrow with new technology.
St酶ckel鈥檚 sculptural network is mainly constituted of 3D-rendered, geometric figures collected from open-source files, but in between the pixelated shapes, sculptural processings of local architecture from Christianshavn turn up. Affected by the idea of the infinite copies made possible by digital ready-mades, St酶ckel imitates architectonic, technological, and virtual objects from our surroundings and revives them within the context of the art institution. At the same time SUPERADAPTER winds itself as a coherent network from the back room and out through the windows to the fa莽ade of O鈥擮vergaden in order to actively engage with the physical world outside.
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