Information
Uršula Berlot >
»OBSERVATORY: CARBON NANOTUBES«, 2016
Co-Workers & Funding:
Scanner – Robin Rimbaud (sound)ElektroNeon Vovk; UGM Maribor Art Gallery
Sound-kinetic diorama
exterior: acrylic object in crystalloid like form; interior: relief , turntable, light, sound
dim: 115 x 72 x 70 cm
Technology
Hardware
Scanning Electron MicroscopyMethod
3D digital modelling, laser cut technology, light, turntable, loudspeaker
Descriptions & Essays
Uršula Berlot 20-04-2020
The kinetic diorama submerged within and enhanced by the audio environment observed through an opening in the surface of a crystal-shaped object imitates the structural makeup of carbon nanotubes visible through a microscope. A hub of tubes creates a nano-topographic simulation, whose technical attributes reveal another specific characteristic uncovered within the domain of light technology: carbon nanotubes, which represent a compelling potential, since they allow, indeed facilitate the transformation of electrical energy into light with virtually no heat loss. – Uršula Berlot, 2016
'There are two installations at the gallery entrance (UGM Studio, Uršula Berlot, 'Polymorphic Imprint'), black shining geometric objects which visitors look into through little holes. Inside, they find a simulation of the external appearance of nanotubes: these are not real nanotubes, but models that mediate their appearance. The audience is thus looking at the appearance of nanotubes, and not the seemingly actual two-dimensional impression of the phenomenality of nanotubes by an electron microscope, which the artist had to see, and experience, in order to be able to mediate it. (…) Flusser constantly warned us about the false sense and illusion of directness, offered by the seductive colourful techno-images, which is, however, revealed as problematic as soon as we attempt an actual step towards understanding and comprehension. Uršula Berlot seems to understood that the original materials of laboratory devices and microscopes do not communicate yet at the level of visual art language – that the artistically coded techno image is a product of collaboration among several people with several competences, who need to participate in a dialogue to build a visual art statement that makes sense – cooperation of those who understand how electron microscopes work and their method of recording measured signals in the two-dimensional field through complex algorithmic calculations, and visual artists such as Uršula Berlot, who has for years explored how light enters the field of fine art and how an artist can manage it.' - Aleš Vaupoti?, 2017 (excerpt from the text The integration of Nanotechnology Research in Fine Art: Polymorphic Impression of Uršula Berlot. Likovne besede/Art Words, 105. Ljubljana: ZDSLU)
Uršula Berlot: OBSERVATORY: CARBON NANOTUBES, 20-04-2020, in: Archive of Digital Art The kinetic diorama submerged within and enhanced by the audio environment observed through an opening in the surface of a crystal-shaped object imitates the structural makeup of carbon nanotubes visible through a microscope. A hub of tubes creates a nano-topographic simulation, whose technical attributes reveal another specific characteristic uncovered within the domain of light technology: carbon nanotubes, which represent a compelling potential, since they allow, indeed facilitate the transformation of electrical energy into light with virtually no heat loss. – Uršula Berlot, 2016
'There are two installations at the gallery entrance (UGM Studio, Uršula Berlot, 'Polymorphic Imprint'), black shining geometric objects which visitors look into through little holes. Inside, they find a simulation of the external appearance of nanotubes: these are not real nanotubes, but models that mediate their appearance. The audience is thus looking at the appearance of nanotubes, and not the seemingly actual two-dimensional impression of the phenomenality of nanotubes by an electron microscope, which the artist had to see, and experience, in order to be able to mediate it. (…) Flusser constantly warned us about the false sense and illusion of directness, offered by the seductive colourful techno-images, which is, however, revealed as problematic as soon as we attempt an actual step towards understanding and comprehension. Uršula Berlot seems to understood that the original materials of laboratory devices and microscopes do not communicate yet at the level of visual art language – that the artistically coded techno image is a product of collaboration among several people with several competences, who need to participate in a dialogue to build a visual art statement that makes sense – cooperation of those who understand how electron microscopes work and their method of recording measured signals in the two-dimensional field through complex algorithmic calculations, and visual artists such as Uršula Berlot, who has for years explored how light enters the field of fine art and how an artist can manage it.' - Aleš Vaupoti?, 2017 (excerpt from the text The integration of Nanotechnology Research in Fine Art: Polymorphic Impression of Uršula Berlot. Likovne besede/Art Words, 105. Ljubljana: ZDSLU)
Literature
Aleš Vaupotič. »The integration of Nanotechnology Research in Fine Art: Polymorphic Impression of Uršula Berlot.« Likovne besede/Art Words. Ljubljana: ZDSLU 105 (2017).
Exhibitions & Events
2018
Exhibition :