The Made in NY Media Center is proud to present Frame Null Abyss – A Decade of A N F, a new retrospective of work by Andreas Nicolas Fischer.
Over the last ten years, Fischer’s work has evolved from a place of abstraction into more pointed, guided experiential work with an emphasis on narrative. Early works, such as the Drone series, are overflowing with color and seem to be primarily concerned with technique. Fluid dynamics simulations and particle systems combine to form abstract worlds that coalesce and disperse in response to both sound and the whims of the artist.
Later works, however, begin to incorporate fears about our relationship with technology, the workings of society, and our increasing unhappiness. While many creative technologists are contemplating and exploring similar themes, Fischer brings innovative visual and structural sensibilities to this familiar discourse. The result is at once visually arresting and philosophically thought-provoking, with horrifying implications.
His Computer Visions series begins ominously with a quote from Karl Marx rendered as white text on a gray background before shifting to a familiar particle system. But that familiarity is quickly discarded as the imagery transforms into lines of expressionless automatons and the text takes on a more subjective, narrative tone, contemplating the nature of what it means to be human and what it means to evolve, before eventually positing that our eventual obsolescence might not be a bad thing.
The second installment of Computer Visions continues to see the artist growing not only his technique but his structural and philosophical leanings, as well. An onyx carcass on a beach gives way to a walk through a desecrated landscape with imagery on disembodied screens as a voice plays psychiatrist and questions the moral and ethical ramifications of fame, wealth, pharmaceuticals, and even our very existence before closing by saying, “remember, I’ll always love you.”
Throughout this creative evolution, Fischer has maintained a sense of visual playfulness that contrasts nicely with the deep and often dark philosophical questioning that underpins his work. Bright colors and whimsical physics simulations serve to usher the unsuspecting viewer into Fischer’s worlds, lulling them into a state of complacency before turning those worlds upside down and inside out with philosophical inquiries and existential dread. But these are not depressing works – they force viewers to confront the most difficult questions human beings have to contemplate and one is left with a sense of advancement, of being changed for the better after having faced our own mortality.
This retrospective collects existing works by Fischer in addition to a new, site-specific generative piece for the Media Center’s 360-degree projection.
The show was curated by Thomas Rotenberg. Photography by Chris Woebken.
Hyperschwarm is a series of 3 triple channel generative media installations, each consisting of 3 4 minute videos in 4k UHD resolution. Hyperschwarm is an update of the Schwarm series, which uses the same generative system with the difference that the color composition is being generated from within instead of being pre-defined. The colors are re-generated at specific intervals during the execution of the software, shifted in hue over time and faded over the last set that was drawn onto the canvas. The installation is evolving slowly over time, revealing new colors through the particles that flow across the canvas. Each set has 3 different scales at which the points flow across the drawing surface at varying opacities.
Megaschwarm is a series of 3 triple channel generative media installations, each consisting of 3 4 minute videos in 4k UHD resolution. It is an update of the Schwarm series, which uses the same generative system with the difference that the color composition is being generated from within instead of being pre-defined. The colors are re-generated at specific intervals during the execution of the software, shifted in hue over time and faded over the last set that was drawn onto the canvas. The installation is evolving slowly over time, revealing new colors through the particles that flow across the canvas. Each set has 3 different scales and densities at which the points flow across the drawing surface at varying opacities.
Void Vaporwave is a series of ultra-high-resolution digital artworks generated with our custom generative software based on the void series. It is a microgenre of electronic music and an Internet image that developed in the mid-2010s. The style is characterized by its allotment of the 1980s and 1990s state of mind music styles, for example, smooth jazz, lift music, R&B, and parlor music, regularly examining or controlling tracks by means of slashed and screwed strategies and different impacts. Its encompassing subculture is here and there related with an uncertain or humorous interpretation of customer free enterprise and popular culture, and will, in general, be described by a nostalgic or surrealist commitment with the well-known diversion, innovation and publicizing of earlier decades. It additionally joins early Internet symbolism, late 1990s website architecture, glitch craftsmanship, anime, 3D-rendered articles, and cyberpunk tropes in its spread fine art and music recordings.
Pitch Festival commissioned a video work for their 2019 festival set outside Ararat in the Grampians, Victoria.
Ten large format high resolution LED screens arranged back to back as 5 totems were installed on-site creating a space for people to move amongst the glowing panels. When approached from a distance towards the main stage the work appears as a single surface.
Nic Hamilton coordinated six other international video artists to make works for the festival to ensure visual arts were represented alongside the broadly international music program. Joe Hamilton, Lucy Benson, Michael Tan, Ezra Miller, Tristan Jalleh and Andreas Nicolas Fischer each made site-specific works displayed across the 4 days of the pitch festival.
Photography by Pat Hamilton
The fine gentlemen at Brig.ht Paris liased this custom video installation programming at Banque LCL in Paris. A curated selection of A N F video and software works was shown.
Megavoid is a series of 3 triple channel generative media installations, each consisting of 3 4 minute videos in 4k UHD resolution. It is an extension of the VOID series, which uses the same generative system with the difference that the color composition is being generated from within instead of being pre-defined. The colors are re-generated at specific intervals during the execution of the software, shifted in hue over time and faded over the last set that was drawn onto the canvas. The installation is evolving slowly over time, revealing new colors through the particles that flow across the canvas.
Single Channel Video; 4k UHD 3840 x 2160; 4:00; 30fps
Schwarm 2k14 I
Schwarm 2k14 II
Schwarm 2k14 III
V0ID IV 01 Installation View
V0ID IV 01
V0ID IV 02 Installation View
V0ID IV 02
V0ID IV 03 Installation View
V0ID IV 03
V0ID III 01
V0ID III 01
V0ID III 02
V0ID III 02
V0ID III 03
V0ID III 03
Brute Force Method V – A
Brute Force Method V – B
Brute Force Method V – C
Brute Force Method V – A – Detail 01
Brute Force Method V – A – Detail 02
Brute Force Method V – A – Detail 03
Brute Force Method V – A – Detail 04
Music Video Axis for Egyptrixx
Toronto’s Egyptrixx (David Psutka) returns to Night Slugs with his immersive second album “A/B til Infinity” Since his 2011 debut LP “Bible Eyes”, Psutka has been busy with various studio production projects as well as recording and touring with his side-project Hiawatha. His return as Egyptrixx takes the form of a multi-media collaboration with Berlin-based visual artist A N F – Andreas Nicolas Fischer.
The project consists of the album, the video for Ax//s and an Audio/Visual live set for the Egyptrixx world tour 2014.
Album artwork A/B til infinity
Live A/V Set for the A/B til Infinity World Tour 2013 / 2014
Software study as preparation for Brute Force Method, which was generating and auto-publishing images to Tumblr.
Consume Consume [Luxury Brand Commercial] – Random Loop; Video projection edited by custom software in realtime
Skynet is a non linear animation about a global networked consciousness. It plays with the idea how a single entity could the perceive the world – from a satellite to a microscopic view.
Full sensory awareness encompassing the entire world is rolled into one artificial organism communicating with itself in realtime.
The Energy Flow project was curated by FIELD [field.io/project/energy-flow]
Sound and music by David Kamp
Early software sketches
Early software sketches
Early software sketches
Installation view at LEAP Berlin
PU foam, toothpicks, car paint; Dimensions variable
Directed by Sander Houtkruijer. 3d elements by A N F.
Cinematography by Lauro Cress
Produced by Daniel Franke
Produced by chopchop.cc
1AD – Imri Kahn
Assistant camera – Carlos Andres Lopez
Grip – Max Preiss
Gaffer – Norwin Hatschbach
Electrician – Christopher Reiners
Set design – Ben Roth, Steffi Bühlmaier
Styling – Laura Renard
Make-up artist – Theo Schnürer
Make-up assistant – Kerrie Ann Murphy
Production Assistant – Claas Ebeling
3D artist – Andreas Nicolas Fischer
Compositing – Burkhard Kalytta
Color Grading – Johannes Hubrich
Featuring: Xenia and Thomas Azier
With: Robin Hunt, Daniel Franke, Kai Kreuzmueller, Kirsten Burger, Martin Deckert, Kiril Bikov
Dancers: Nicola Mascia, Helga Wretman, Shiran Eliaserov, Pauliina Aladin, Asaf Aharonson, Amit Elan
Thanks to: Bastian Christ, Storz & Escherich, Voin de Voin, Lucinda Dayhew
The track ‘Angelene’ is written and produced by Thomas Azier
KT I – Ile des Embiez is a site-specific video created on the island in the south of france of the same name. KT I is an attempt of recreating the memory of the island through an artificial landscape composed of macro photos of found textures.
Sound is by Von Sallwitz Sound Architecture.
Schwarm; Installation View at Experimenting with Clouds at Rua Red Dublin
Schwarm III (weiss, rot); 90 × 60 cm; Lambda-print
Schwarm III (blau); 90 × 60 cm; Lambda-print
Schwarm III (violett); 90 × 60 cm; Lambda-print
Schwarm III (schwarz, weiss); 90 × 60 cm; Lambda-print
Triptych 90 × 120 cm; OSB, car paint