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Celeste Prize 2011 Awards - New York City
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This year's Celeste Prize winners were chosen by jurors, Eugene Tan and Sara Reisman on Friday 11 November at The Invisible Dog, Brooklyn.
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Fuse*, N1.0
Live Media & Performance Prize Winner 2011
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N1.0 is a soundcreative architectural visual installation. The special feature of this installation is that it can be adapted to any surface, architecture and sound, because it is entirely generated by computer software. This allows a complete merger of the concept with the environment in which it is located and the music that the audience is feeling breaking down barriers between light, architecture and sound. In this video, the installation was made during a Live Set by Ryoji Ikeda during the festival NODE of Modena in 2010.
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William Miller, Ruined Polaroid #40
Photography & Digital Graphics Prize Winner 2011
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These pictures are taken with a camera that is, by most definitions, broken: an old Polaroid SX-70 camera rescued from a yard sale. I’ve always loved this camera. It is an ingeniously conceived, complicated bundle of gears and switches with hundreds of moving parts packed in tight like a chrome and leather pistol.
With its first use I realized the camera wasn’t functioning properly. It sometimes spills out 2 pictures at a time and the film often gets stuck in the gears, exposing and mangling the images in unpredictable ways. Over time I've figured out how to control and accentuate aspects of the camera's flaws but the images themselves are always a surprise. Each one is determined by the idiosyncrasies of the film and the camera.
This project, Ruined Polaroids, is an unintended exploration into the 3-dimensional physical character of an antiquated photographic medium that touches on subjects from the artistic value of chance to questions of what constitutes a photograph. I say unintended because what I’m focusing on here is a technological anomaly. The failure of a process.
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Vertical Submarine, A view with a room
Installation & Sculpture Prize 2011 |
A View with a Room is about text, image and object, and demonstrates the disjuncture between these categories. The installation begins with detailed descriptions of spaces. From a word found amongst the wall text, viewers notice a peephole with a view into a room. Through a closed wardrobe, viewers pass a tunnel that leads to the concealed room. The installation is a visual translation of the wall texts and attempts a playful inversion: a 3-dimensional space that imitates the flatness and other pictorial characteristics of a black & white photograph. All the objects in this scene, based on a fictitious character, are in greyscale. Anything that touches the margins of the image, the borders of the room, is cropped like in a photograph. A painting, which is a copy of Isaak Brodsky’s Lenin in Smolny shows only the lower-half of the figure; and the cropped TV set shows the film Lenin in October dubbed in Mandarin. Apart from books and local groceries found in the room, traces of anachronism and nostalgia could be further extended to the clock rotating anti- clockwise, and the old calendar dated May 1968. Like dusk, the light from the window petrifies the room with perpetual twilight.
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