// Alba D'Urbano
//
Main;
Projects() {
Esposizione Impraticabile() {
}
Mare();
The Negated Room();
Hautnah();
Touch Me;
Stoffwechsel;
Il Sarto Immortale();
Die Wunderschöne Wunde;
Tra cielo e terra;
L'età dell'oro();
Venere;
Private Property();
Monitoraggio;
corpo_insegnante();
Natura Morta(); Redden/Erröten; Son_no;
Airbag;
Collaborations();
Net-Works();
History();
Imprint;
Esposizione impraticabile() {
In Vitro;
} //1996
The installation "In Vitro" was developed in 1996 for the Institut für Neue Medien (Institute for New Media-INM) in Frankfurt am Main. For this version of "Esposizione Impraticabile", a concept was worked out that involved the means of reproduction used at the INM. The technology, the rooms, and the presentation tools used to create worlds of electronic images were included in the installation.
The journey through the installation began in a basement room of the institute that was not accessible to the visitors. The pictures were set up in this room, but they could only be seen fromoutside through a small glass window in a locked door. A video camera on a swivelling tripod was installed in the middle of the room, and it transmitted its optical input to another room one storey higher. On the ground floor, visitors could go through different rooms and see the works only as technical reproductions, like tracks left by the artworks: as interactively controllable video pictures transmitted live and projected onto a wall; as a documentary on the monitors of an editor's workplace; in the copy place as an art historical look back at the past of the current installation; as a web camera offering worldwide access to the inaccesible exhibition in the basement room; and as digitally produced slides in the institute's lighted display case. At the end of the hall, the visitors could find an interactive computer simulation of the exhibition in the basement. The visitors could use a space mouse to interactively move around in a virtual room created by the computer. If he approached the virtual pictures, they dissolved first into fuzzy spots and then into the ASCII-coded representation of the picture. These ASCII code pictures were also to be found on the walk through the building. They were printed on paper and put up on the walls of the workrooms, taking the place of the prints normaly on display. Practically every room in the institute and all of its technical equipment was involved in the artwork, and the visitor could move through the different rooms like the stations of a show-jumping course. The absent artwork moved through the institute's technical equipment as a reality that has been obsesssively reproduced and alienated by the media, thus transforming the workshops themselves into a synthesis of the arts.
(Frankfurt 1996)
(Frankfurt 1991)