Marcello Mercado

Variations Van Gogh

2012 – 2014

Grant for Media Art 2013 of the Foundation of Lower Saxony
at the Edith-Russ-Haus for Media Art,
Oldenburg, Germany

ARCHIVE – INSTALLATION

Variations Van Gogh, 2014,
Objects + Books + 7-channel Video/ Sound installation, color
on seven LCD flat panels mounted on shelf, 8 minutes
or
projected on seven walls of a dark carpeted room;
projections unsynchronized; amplified stereo sound.
Continuously running

A. Concept
B. Videos
C. Description
D.Installation scheme

A. Concept

«I imagine the mass as a giant worm, information oozes into the body cavity through its maw, then on through to be excreted (undigested) out of the anus, so that excrement or trash may be recycled and reused as food. Having no memory, the worm does not realize it has already eaten it. The comparision is not so neat because the worm does digest something, whereas the mass remains intact.»
― Vilém Flusser

Keywords: Database, Transduction, Transformation, media-enzyme, Digital-organic, Organic-Digital, Digital-3D, Data gathering with drones, Image as enzyme, recontextualisation, invention, user culture, decontextualisation, performance, software application/program, human-human (artist interaction), human-computer, human-human, mediate, process, store, exchange information, activate, explore, monitor/screen, projection, sound acoustic, speakers, microphone, mass media, data processing, media

The Van Gogh variations are related to different strategies to archive and preserve his seven sunflower paintings.
The artistic perspective uses unlike technologies like Data gathering with drones, topological-mappings and ortho-photography; DNA extraction; DNA performances; Google Earth interface-performance; Code language; 3D-Sound; 3D printing and music notations written by robots on pentagram paper.

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C. Description

1.
Archive Variation: Hexadecimal Compost

All the yellow tones of Van Gogh’s sunflowers paintings were taken with a Photoshop´s pipette, and collected as hexadecimal numbers (RGB values).
The approximately 280 yellow tones were printed out on paper, shredded and composted with worms.
In these humus, sunflower seeds were planted.

fig.02. Hexadecimal compost, Photoshop´s Pipette and Colour Palette

fig.03. Hexadecimal Numbers (RGB-Values)

fig.04. The approximately 280 yellow tones were printed out on paper, shredded and composted with worms.

fig.05. Hexadecimal compost

fig.06. Sunflowers seeds, Hexadecimal compost and Hexadecimal sunflowers

fig.07. Final Installation: Object 1: Copper Box 01 with DNA in test tubes and wraped sunflowers

fig.08. Final Installation: Object 2: Copper Box 02 with 6 “Hexadecimal compost» packets

2.
Archive Variation: Extraction of DNA (Deoxyribonucleic acid)

The DNA from the reared sunflowers was extracted through various enzymes and collected in test tubes.

fig.09. Extraction of sunflowers´DNA

3.
Archive Variation: Van Gogh-Bio-curation (DNA-Performance)

A clandestine performance -that intended to curate Van Gogh- was presented during the Documenta (13) Kassel, in 2012.
The extracted DNA from the «Hexadecimal reared sunflowers» was dropped on different floors inside and outside the Fridericianum Museum.

fig.10. Biocuration: DNA-Performance, Kassel, 2012 (Basement, First floor, Second floor)

4.
Archive Variation: Satellite

The seven sunflowers images were converted to text, and sent by a satellite into the space.

WIRED : Nasa is going to send your drawings and videos to an asteroid 23.03.2016

LUNCH 2016

5.
Archive Variation: Searching the yellow colour: Data gathering with drones, topological-mappings and ortho-photography

This part of the project was realized in cooperation with Skyvision unmanned Aviation(planning and logistics), Azimuth Geodetic (data post-processing)

Location: Soest, The Netherlands:

Latitude: 52° 9’14.63″N
Longitude: 5°17’47.07″

Hardware:

2 Drones: 1 Hexacopter and 1 Octocopter

Software:

GPS
GIS software;
Azimuth software;
Autodesk 3ds Max

fig.11.Soest, The Netherlands: Work zone

The purpose of this variation was the conservation and storage – for future generations of artists – the dutch yellow tones as they might have been perceived by Van Gogh.

Two drones flown over an area of 20 hectares near Soest, The Netherlands. About 1 terabyte of aerial ortho-photography was collected to generate the 3D mapping-project.

It was not only about the yellow tones, but also the about the colours saturation, light values, the vibration and contrast of the entire environment. (Trees, soil, water, reflective surfaces, etc)

The yellow tones were scanned and filtered by the drones that were programmed to relate a particular altitude with a specific hexadecimal color from the color palette of Van Gogh’s sunflowers:

Example:

Altitude / hexadecimal numbers

10cm ……………. # 8B8B00
20cm ……. ………# EEEE00
30cm ……………. # FFD700
etc.

The combination of ortho-photography and landscape mapping produced a 3D archive Model which contains a topographical depiction of yellow tones.

The soundtrack was performed by a synthetic voice reading the 280 hexadecimal numbers of the Van Gogh´sunflowers palette.

Example: # 8B8B00

Number sign is a name for the symbol # (in german Doppelkreuz (#) «Raute»)

The 3D digital file was stored as a «Van Gogh Perceptive File» which can be called upon in case of climate change, planetary disasters or large changes in light.

About Orthophotography:

«An orthophoto, orthophotograph or orthoimage is an aerial photograph geometrically corrected («orthorectified») such that the scale is uniform: the photo has the same lack of distortion as a map. Unlike an uncorrected aerial photograph, an orthophotograph can be used to measure true distances, because it is an accurate representation of the Earth’s surface, having been adjusted for topographic relief,[1] lens distortion, and camera tilt.
Orthophotographs are commonly used in the creation of a Geographic Information System (GIS). Software can display the orthophoto and allow an operator to digitize or place linework, text annotations or geographic symbols (such as hospitals, schools, and fire stations). Some software can process the orthophoto and produce the linework automatically.»
http://en.wikipedia.org/wiki/Orthophotography

fig.12.Soest, The Netherlands: Work zone: Drones view

fig.13.Drones and control equipment

fig.14.Drones parameters

fig.15.Ortho-photographic 3D Model and mapping

fig.16.Ortho-photographic 3D Model and mapping

fig.17.Ortho-photographic 3D Model and mapping

6.
Archive Variation: Virtual tour of the cemetery of Auvers-sur-Oise, France (Google-Earth Interface-Performance)

This variation is about a visit to Van Gogh’s grave through the Google Earth interface.

Cemeteries are generally not photographed by Google.
A virtual wall blocked the entire area of the cemetery. Van Gogh’s grave is adjacent to the wall.
The interface-performance had as a goal to break through this wall.

During this experiment appeared Google street glitches or news of the Google Robots like «The user (Van Gogh) has not updated his profile»
Also the surfing through the town of Auvers-sur-Oise showed a park, a public swimming pool, a bakery, etc all named Van Gogh.

The soundtrack was created by the algorithmic conversion of the Van Gogh’ sunflowers images into text, and performed by a synthetic voice.

fig.18.Van Gogh’s grave. Auvers-sur-Oise, France

fig.19.Van Gogh’s grave. Auvers-sur-Oise, France

fig.20.Google street glitches

7.
Archive Variation: Conversion to Sound and 3D Print

A.
The seven Van Gogh’s sunflowers images were scanned with a sonogram software and converted into seven sound archives.

fig.21.Software: Virtual ANS: A Software simulator of Synthesizer ANS

fig.22.The sound archives. Schema

B.
The seven sound archives were brought together and transformed in a 3D object by the OpenFrameWorks software in real time.

C.
The created 3D object was printed in plastic by a 3D printer

fig.23. 3D-Sound-Object produced in real-time

fig.24. 3D-Sound-Object printed on plastic

fig.25.3D-Sound-Object printed on plastic

fig.26.3D-Sound-Object printed on plastic

fig.27.Sunflowers images transformed into sound and then transformed back into images

fig.28.Final Installation: Object 3: Copper Box 03 with a 3D-Sound-Object and 3 sound-glitches-photos

8.
Archive Variation: Notations

Music notations were written by robots on pentagram paper: “The Variations Van Gogh Opera”

“Van Gogh Variations: Compositions for small Motors and Robots”,
82 pages, 20,5 cm x 25,5 cm, 500g, 2014

fig.29.“Van Gogh Variations: Compositions for small Motors and Robots”,
82 pages, 20,5 cm x 25,5 cm, 500g, 2014

01.Das Gelb in der Ferne. Larghissimo
(01.The yellow in the distance)

02.Ich sehe Zeichnungen. Andante
(02. I see drawings)

03.Charles Bargue und Jean-Léon Gérôme Duett. Appassionato
(03. Charles Bargue and Jean-Léon Gérôme Duet)

04.Arie der Besucher. Agitato
(04. Aria of the visitor)

05.Vincent Monolog. Pesante
(05. Vincent monologue)

06.Abschied von Arles. Lacrimoso
(06.Farewell to Arles)

07.Todesmotiv. Lento
(07.Death motif)

08.Finalterzett. Trionfante
(08.Final trio)

9.
Archive Variation: Language – Code

In this variation the seven sunflowers paintings were algorithmic transformed into text and then translated into my own invented language.

I have created a language to delete the alphabetic convention; the operating systems; the algorithmic wastes that can´t be destroyed
by hammers.

“Seven sunflowers deleted”,
60 pages, 25,5 cm x 20,5 cm, 500g, 2014

fig.30.“Seven sunflowers deleted”, 60 pages, 25,5 cm x 20,5 cm, 500g, 2014

10.
Archive Variation: Van Gogh´sunflowers: 115 Variations

The variation is about a book with 115 hand painted variations (in acrylic, ink and oil) from the seven original sunflower paintings.
Archive Method: Scriptorium

fig.31.“Van Gogh´sunflowers: 115 Variations”, hand painted, 115 pages, 54 cm x 39 cm x 3 cm (1,08 m open), 900g, unique item, acrylic, oil, ink, pigment and paint on paper, On the reverse signed and dated , 2014

fig.32.“Van Gogh´sunflowers: 115 Variations”, hand painted, 115 pages, 54 cm x 39 cm x 3 cm (1,08 m open), 900g, unique item, acrylic, oil, ink, pigment and paint on paper, On the reverse signed and dated , 2014

fig.33.“Van Gogh´sunflowers: 115 Variations”, hand painted, 115 pages, 54 cm x 39 cm x 3 cm (1,08 m open), 900g, unique item, acrylic, oil, ink, pigment and paint on paper, On the reverse signed and dated , 2014

fig.34.“Van Gogh´sunflowers: 115 Variations”, hand painted, 115 pages, 54 cm x 39 cm x 3 cm (1,08 m open), 900g, unique item, acrylic, oil, ink, pigment and paint on paper, On the reverse signed and dated , 2014

fig.35.“Van Gogh´sunflowers: 115 Variations”, hand painted, 115 pages, 54 cm x 39 cm x 3 cm (1,08 m open), 900g, unique item, acrylic, oil, ink, pigment and paint on paper, On the reverse signed and dated , 2014

11.
Archive Variation: Drawings

Three sunflowers were drawn by 6 robots and small motors.
Archive Method: Semi autonomous robots

fig.36.Sunflower 01
behind glass with 2 cm wide wooden frame, 75 cm x 65.5 cm x 4 cm, pencil on paper,
unique item, signed and dated on the front, 2014

fig.37.Sunflower 02
behind glass with 2 cm wide wooden frame, 75 cm x 65.5 cm x 4 cm, pencil on paper,
unique item, signed and dated on the front, 2014

fig.38.Sunflower 03
behind glass with 2 cm wide wooden frame, 75 cm x 65.5 cm x 4 cm, pencil on paper,
unique item, signed and dated on the front, 2014

fig.39. Final Installation: 3 Sunflowers: Drawings

12.
Archive Variation: Diary

Book with the documentation of the project.

fig.40.“Variations Van Gogh : Diary”, 34 pages, 12 cm x 16 cm x 0,8 cm (20 cm open), 150g, unique item, On the reverse signed and dated , 2014

D. Installation Scheme

Variations Van Gogh, 2014,
7-channel Video/ Sound installation, color
on seven LCD flat panels mounted on shelf, 8 minutes
or
projected on seven walls of a dark carpeted room;
projections unsynchronized; amplified stereo sound.
Continuously running

A. Scheme of the installation:

Version.01

Videoinstallation x 7 channels (screens or TV monitors):

1. 7 TV monitors:

7 TV monitors LED, Full HD, 16:9, 46″
7 Headphones
7 DVD players or similar
white walls

fig.41. Monitores de TV versión 01A (Paralelo)

fig.42. Monitores de TV versión 01B (Circular)

2. 7 pantallas:

7 pantallas
Altavoces
7 reproductores de DVD o
paredes negras similares

fig.43. Versión de 7 pantallas

B. Schema der Installation (Objetos + video):

Version.02

4 Vitrinen:

Buch 01: “Van Goghs Sonnenblumen: 115 Variationen”, 54cm x 39cm x 3cm (1,08m geoffnet), 880g, Unikat, Auf der Rückseite signiert und datiert, 2014

Libro 02: “Das Gelb in der Ferne (Orig.)”, 22 cm x 30,5 cm, 0,3 cm (geoffnet de 44 cm), 200 g, Unikat, Auf der Rückseite signiert und datiert, 2014

Buch 03: “Blick über Arles”, 16cm x 21cm (geoffnet de 32cm), 200g, Unikat, Auf der Rückseite signiert und datiert, 2014

Buch 04: «Variaciones Van Gogh: Tagesbuch», 12 cm x 16 cm (geoffnet de 20 cm), 150 g, Unikat, Auf der Rückseite signiert und datiert, 2014

Buch 05: «Variationen Van Gogh: kompositionen für kleine Motoren und Roboter», 20,5cm x 25,5cm (40cm geoffnet), 500g, Massenware, Auf der Rückseite signiert und datiert, 2014

Buch 06: “Sonnenblumen: Löschen”, 25,5cm x 20,5cm (51cm geoffnet), 500g, Massenware, Auf der Rückseite signiert und datiert, 2014

Videoinstalación:

12 minutos: Aumento: 5 Kopien (+ 3 Künstlerexemplaren)

3 Objekte:

Objeto 1: Kupferkiste 01 mit DNA en Reagenzglas und Sonnenblumen : Unikat

Objeto 2: Kupferkiste 02 mit 6 «Hexadezimal» Kompostpäkchen : Unikat

Objeto 3: Kupferkiste 03 con 3D Objeto : Unikat

3 Zeichnungen:

Zeichnung 1: Sonnenblume01 hinter Glas con 2cm breiten Holzrahmen, 75cm x 65,5cm x 4cm, Bleistift auf Papier, Unikat, Auf der Vorderseite signiert und datiert, 2014

Zeichnung 2: Sonnenblume02 hinter Glas con 2cm breiten Holzrahmen, 75cm x 65,5cm x 4cm, Bleistift auf Papier, Unikat, Auf der Vorderseite signiert und datiert, 2014

Zeichnung 3: Sonnenblume03 hinter Glas con 2cm breiten Holzrahmen, 75cm x 65,5cm x 4cm, Bleistift auf Papier, Unikat, Auf der Vorderseite signiert und datiert,

fig.44. Schema der Installation mit Projektoren

fig.45. Schema der Installation mit Projektoren

fig.46. Schema der Installation mit Projektoren

fig.47. Schema der Installation

fig.48. Schema der Installation

fig.49. Schema der Installation