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 time based acts 


Acrylic, Medium ,Sound and Time on Canvas

Upon entering the Hans Brinker Hotel space, visitors are confronted with their own expectations of the exhibition, and with the fact that their behavior and movement in the space is captured by installed microphones, the data being transmitted to another space as the resulting continuous sound from speakers, as part of a painting.


The painting is, then, receiving real-time information through the amplified sound, causing its surface to vibrate at a microscopic level and to interact with its own materials

(this simultaneously alters the viewer's perception by sound in relation to it.)


The soundscape (echoes of voices, footsteps) made from the exhibition audience is part of the painting-in-the-making, which also affects the perception of the observer, making him or her aware of the hushed acoustic environment.

The painting/sound sculpture is in-the-making from audience participation in the Hans Brinker Budget Trophy from 17:00 and will be considered finished at the close of voting at 21:00.

03:27:13 #1


  The time-based act (performance) was part of the March Expo exhibition and the title refers to the duration of it from the moment the act came, when I took a bottle of extra virgin olive oil and pour it with a slow gesture on the top of the two faces white canvas., from one edge to another.

  With this kinesis, I would give the canvas an object-like quality, as well as internal and external movement whilst the metronome, would indicate the time passing, synchronized with another work within the exhibition space.

04:09:25 #3 


Extra Virgin olive oil,Time and gravity on canvas

Extra Virgin olive oil
Time and gravity on canvas

Dripping sound on foil
Academy Minerva

  The time-based act (performance) took place at Minerva Academy and was divided into two synchronized ephemeral acts, placed in different rooms in the academy building. The observers could never experience this performance-act in its holistic sense at the exact same time since they could not be in two places simultaneously. One could view the act in a small, dark, isolated room in the academy and the other could listen to the act when standing at the central hall of the academy, from the main big speakers, since the actual sound coming from the act had to occur at once, through a gesture, at the beginning of the performance.

  The person who would choose to be in the dark, small room, would be confronted with a two face white canvas. Then there would come the act, when I would take a bottle of extra virgin olive oil and pour it with a slow gesture on the top of the canvas, from one edge to another. At the same time, when the first drop of olive oil would touch the foil underneath the canvas, the hidden microphone would directly depict the sound and sent it through the amplifier to the main building speakers.

  The person, who would stand in the central building hall, would instantly pick up the dripping accents, a sound that a viewer is unaware of where it is coming from since the actual act is happening simultaneously in another room-space.


A synchronized dialogue is created by removing the static atmosphere, replacing it with sound


Constructed white cube with high reflective white sheets, 
microphones transmitting audience behavior under the canvas,in the making,located in a different space.

Two different spaces:
-Space 1- The room:
Eliminating everything from the piece but space itself, the content if the piece is the reconsideration of the conventional “white cube”.
Here the visitor will confront nothing except the whiteness of the space and the fact that his behavior and movement in the space will be captured, since his entrance, by microphones whose data will be transmitted to space 2.
-Space 2- The painting:
The data captured by microphones in room 1, will be transmitted to space 2, through sound from speakers, as part of the painting on the floor, in the middle of the main hall. The painting now perceives the real-time information and alters the perception by sound in relation to it.

The participation of the visitor as aesthetically experiencing is crucial to the painting's existence.


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