Continue < PREV NEXT > Snowcone Dan McCarthy 2018 Ceramic with glaze, gold lustre, gold leaf, acrylic and enamel paint 32 1/4 x 18 1/8 in (81.5 x 46 cm) info close ​ Inquire Inquire

Continue < PREV NEXT > Miguel Angel Salazar Miguel Angel Salazar King Uthal (III), 2017 Bronze fillmaent hand finished 3D print 10.62 x 7.87 x 7.87 each (27 x 20 x 20 cm) info close ​ Inquire Inquire

Continue < PREV NEXT > Lenz Geerk Lenz Geerk X, 2016 Acrylic on wood 13.77 x 9.84 in (35 x 25 cm) info close ​ Inquire Inquire

Continue < PREV NEXT > Figure Eight Oesophagus Hamish Pearch 2022 Bronze 80 x 30 x 10 cm 31.49 x 11.81 x 3.93 in info close ​ Inquire Inquire

Continue < PREV NEXT > Lenz Geerk Lenz Geerk Nudo, 2016 Acrylic on wood 13.77 x 9.84 in (35 x 25 cm) info close ​ Inquire Inquire

Continue < PREV NEXT > Noël Dolla Noël Dolla Tarlatane, 1976 Paint on tarlatan 156 x 50.78 in (396 x 129 cm) info close ​ Inquire Inquire

Continue < PREV NEXT > Red Sundew 2 Otto Piene 1970 Spinnaker cloth, polyethylene, blower, timer 302 × 560 × 122 cm 119 × 220 1/2 × 48 inches info close ​ Inquire Inquire

Prologue: Digital Cenotaphs 1/6 Prologue: Digital Cenotaphs takes on the idea of the traditional cenotaph, a sepulchral monument erected in memory of a deceased person whose body cannot be recovered or found, in order to deepen our understanding of digital materiality. A cenotaph’s physical form creates a memory that is constructed through its association with a body deemed worthy of being remembered. However, this Prologue obscures the interpretive relationship between the form and content of the cenotaph. Miguel Ángel Salazar’s copperfill cenotaphs produce new material objects deriving from the digital files for Moreshin Allahyari’s 3D model of a marble sculpture that was destroyed during an ISIL attack on the Mosul Museum in Iraq. Converting Allahyari’s 3D model and images from .stl to .jpg to .ai to create a new texture in Salazar’s works that allude to the physical obscurity of a digitally produced memory. Once the Digital Cenotaph is printed as a 3D model or rendered as a stand alone digital video file, the object breaks from its original context and takes on a new cultural meaning as a different digital material or physical form. The model’s digital quality loses resolution from the moment it is downloaded or rendered to the moment it is physically reproduced. Every conversion to a new digital or physical format further deviates from the original object’s cultural significance, while every reproduction creates a new and unique material object derived from the memory of its original form. The materiality of this new object remains significant and must be interpreted as its present state through a new materialism defined by its new geopolitical context. However, Salazar’s first reproductions do not erase its association with the original object. Instead, they coexist with it and multiplies its historical context. These digital and physical reproductions carry a new weight and reconfigure the broken materials from a virtual space into a new physical context. Thegeopolitical history of the objects produced for Prologue: Digital Cenotaphs highlights the technological limitations within the new context, determining the size and quality of the printed materials.How many renditions and reproductions will it take to for this object to be free of its association to the original object? Salazar’s Digital Cenotaphs can be first understood as a decentralization of the meaning and context of the broken sculpture. The reproduction of the new object creates another chance to disassociate the material from its original form. Each additional production will have a deeper association to its previous form rather than to the original object. The new material takes on a new form, creating new content that is further disassociated from the original matter.The production of these Digital Cenotaphs forces one to reconsider thematerial association between the past and present. This ‘Prologue’ is the beginning of Salazar’s attempt to deconstruct the materiality of digital objects and give them a new state of being through a physically decontextualized production. Miguel Ángel Salazar (b. 1989) produces objects and videos that derive from a quasi-archaeological search of digital archives and the re-collection of personal memories. These digital and physical reproductions take on new forms as the artist reconsiders their association between the past and the present. Creating a bridge between the physical world and the digital one, with constant crossing from one to the other, Salazar explores the possibility of an interaction between new production processes and traditional ones. The reproduction of each object is an opportunity to fragment both digital and personal memories.

Continue < PREV NEXT > Pierre Jeanneret Pierre Jeanneret Advocate Chair (Leather), c.a. 1955-56 Teak and leather 32.87 x 24.8 x 26.38 in (83.5 x 24.8 x 26.38 cm) info close ​ Inquire Inquire

Continue < PREV NEXT > Adam Mc Gowan Adam Mc Gowan Green Panels, 2019 Gouache on plywood 3 x 11 x 1 in (7 x 30 x 2 cm) info close ​ Inquire Inquire

Continue < PREV NEXT > Ama Laxei Dinner Party Ben Noam 2018 Charcoal on archival cardboard in artist´s walnut frame 61 x 81 cm (24 x 32 in) info close ​ Inquire Inquire

Continue < PREV NEXT > Untitled 24 Roger Herman 2020 Ceramics and glaze 20 x 28 cm (8 x 11 in) info close ​ Inquire Inquire