Federico
Surname
Díaz
Born
1971
Birth place
Prague
Lives and works in
Prague
Web
www.e-area.cz
Odkaz na heslo v databázi VVP AVU
Info
is a multi-faceted artist who has reflected upon the relationship between the frenetic development of computer technology, new media and universal human experience of mythical type since the mid 1990s. Díaz’s work intuitively sorts out the conflictual nature of this relationship. He tries to give bearing to the complexity of the chaotic post-industrial existence of man in his natural state; in his primary, that is emotional and social bases. Díaz’s orientation on the relationship between science and art, his intense interest in ecological and urbanist issues, his experimentation with design and architecture, technical precision and the high cost of work – these are traits that are fully uncommon on the Czech art scene. They put his work in the context of international electronic art, which immediately speaks to the global spectator. A number of Diaz’s project have been shown in Paris, London, Milan, Madrid, Düsseldorf, Tokyo and Linz.
Through his acoustic piece, Nostalgia (1992), Diaz, together with the E-Area creative team, began a series of visual installations. The basic, biomorphous, embryonic figures bringing to mind mussels do not work only as a sculptural, space-autonomous object, but rather as interactive fields. The installations Spin. Dehybernace (1993-5) or Photon, Fermion, GUG (1994-1997) work more intensively with the viewer’s perceptions. The latter three react to our movements via sensors and so we influence the subsequent image. We become co-authors of the scenario. A later computer simulation E-impact (1999) is close to a suggestive experience in virtualness. At the same time though, we can understand the project as a sort of E-area manifest: platforms understood as an energetic centre. The ring metaphor, joining the elementary principles of the universe, is a contemplation on energy flows and the cosmic order; on the relationship between mutability and givens.
The computer-animated Generatrix (1999-2000) reflects the ambivalence in our relationship to the real world and simulated cyberspace that Diaz contrasts to the „situation of an amphibian.“ „An amphibian lives in water but at the same time does not feel out of sorts on dry land. It does not assess the „correctness“ or „incorrectness“ of its position [in life] as we ourselves do. “This is about a deeper problem, and if we want to deal with it, then this is a matter for several hundreds of pages of print text in a book, or rather non-linear hypertext. Yet is is actually one of the aforementioned dynamic maps, about which we wish to speak. When looking at its texts, visualisation, and sounds, we see that this internal environment is constantly changing. That is to say, if you go back several “pages” in time, the content will now be different, because in the meanwhile they have already reacted to the flow (movements) of new information. One can compare the situation to that of a living organism, to the principle of a self-organising eco-system, the growth of a termite nest, a town of humans, or generally to the properties of living materials, from which order grows out of disorder.”
By embracing hypersonic methods used by architects and designers, Federico Diaz constructs artificial space. They do not parasite from or leach off of reality, but rather are „constructed in real time by information flows.“ In 2000 Federico Diaz’s interest in „bio-urbanism“ and fluid architecture began to become clear. Another interactive computer performance is the visualisation of the artificial being, Mnemeg (2001), which uses (natural) force to shape waves into the shape of the human body.
Shaping the shapeless, modelling of mental states are the topic of a follow-up project, Sembion (2003-2004). In one version, the basis was a semantic textual analysis (later transformed and translated with the help of a marching cube/blob algorithm to 3D rapid prototyping = polyamide model).
The Sakura (2005) projection, which Federico Díaz showed together with the E-Area group at the Ars Electronica (2006), evoked very emotional reactions from visitors. The intent of having the projection look like propaganda for an IT company and its new, impersonal manner and life scenario is meant to express an internal „feeling of mankind’s consumer emptiness.“ This is impacted by the ever-increasing presence of IT. It cautions against the „amassing of products that create illusions, falsehoods, an artificial perspective and isolation of our senses and perceptions.“
„Interpersonal communication is one of the basic principles for our survival, the same as we need heat, light or energy from food or beverages. The transfer of information is increasingly non-material (without mass). It ceases to be dependent on individuals, on verbal communication, on physical contact, etc. Everything is broadcast live thanks to global cameras.
Díaz’s „cyberhumanism“ which draws from the technological potential of new media and the most-advanced computer programmes, does good by the essentially-coded emotionalness of man and his need for communication. Meanwhile his work that speaks against the over-technologisation of society does not always take an uncompromisingly critical, negative stance. Díaz’s work tends rather to reassess man’s worldly position a regards his universal constants. This is done in the context of scientific discovery and global changes.
Through his acoustic piece, Nostalgia (1992), Diaz, together with the E-Area creative team, began a series of visual installations. The basic, biomorphous, embryonic figures bringing to mind mussels do not work only as a sculptural, space-autonomous object, but rather as interactive fields. The installations Spin. Dehybernace (1993-5) or Photon, Fermion, GUG (1994-1997) work more intensively with the viewer’s perceptions. The latter three react to our movements via sensors and so we influence the subsequent image. We become co-authors of the scenario. A later computer simulation E-impact (1999) is close to a suggestive experience in virtualness. At the same time though, we can understand the project as a sort of E-area manifest: platforms understood as an energetic centre. The ring metaphor, joining the elementary principles of the universe, is a contemplation on energy flows and the cosmic order; on the relationship between mutability and givens.
The computer-animated Generatrix (1999-2000) reflects the ambivalence in our relationship to the real world and simulated cyberspace that Diaz contrasts to the „situation of an amphibian.“ „An amphibian lives in water but at the same time does not feel out of sorts on dry land. It does not assess the „correctness“ or „incorrectness“ of its position [in life] as we ourselves do. “This is about a deeper problem, and if we want to deal with it, then this is a matter for several hundreds of pages of print text in a book, or rather non-linear hypertext. Yet is is actually one of the aforementioned dynamic maps, about which we wish to speak. When looking at its texts, visualisation, and sounds, we see that this internal environment is constantly changing. That is to say, if you go back several “pages” in time, the content will now be different, because in the meanwhile they have already reacted to the flow (movements) of new information. One can compare the situation to that of a living organism, to the principle of a self-organising eco-system, the growth of a termite nest, a town of humans, or generally to the properties of living materials, from which order grows out of disorder.”
By embracing hypersonic methods used by architects and designers, Federico Diaz constructs artificial space. They do not parasite from or leach off of reality, but rather are „constructed in real time by information flows.“ In 2000 Federico Diaz’s interest in „bio-urbanism“ and fluid architecture began to become clear. Another interactive computer performance is the visualisation of the artificial being, Mnemeg (2001), which uses (natural) force to shape waves into the shape of the human body.
Shaping the shapeless, modelling of mental states are the topic of a follow-up project, Sembion (2003-2004). In one version, the basis was a semantic textual analysis (later transformed and translated with the help of a marching cube/blob algorithm to 3D rapid prototyping = polyamide model).
The Sakura (2005) projection, which Federico Díaz showed together with the E-Area group at the Ars Electronica (2006), evoked very emotional reactions from visitors. The intent of having the projection look like propaganda for an IT company and its new, impersonal manner and life scenario is meant to express an internal „feeling of mankind’s consumer emptiness.“ This is impacted by the ever-increasing presence of IT. It cautions against the „amassing of products that create illusions, falsehoods, an artificial perspective and isolation of our senses and perceptions.“
„Interpersonal communication is one of the basic principles for our survival, the same as we need heat, light or energy from food or beverages. The transfer of information is increasingly non-material (without mass). It ceases to be dependent on individuals, on verbal communication, on physical contact, etc. Everything is broadcast live thanks to global cameras.
Díaz’s „cyberhumanism“ which draws from the technological potential of new media and the most-advanced computer programmes, does good by the essentially-coded emotionalness of man and his need for communication. Meanwhile his work that speaks against the over-technologisation of society does not always take an uncompromisingly critical, negative stance. Díaz’s work tends rather to reassess man’s worldly position a regards his universal constants. This is done in the context of scientific discovery and global changes.
Group exhibitions included in ARTLIST.
Orbis Fictus, 1995
up
 Untitled, 1992 |
