What Is Beauty in Net Art?

What role do patterns play in Net Art? Can we change patterns just by staring at them? And do patterns create beauty? A talk with curator Claudia Maté.

with Claudia Maté — Jul 13, 2017 — Nov 3, 2020

Web Residency, »Fractal Horses«, 2017

What role do patterns play in Net Art? Can we change patterns just by staring at them? Can a machine be a composer? And do patterns create beauty?
Four new web residencies have been selected for call no. 2, 2017 by Solitude and ZKM. Read an interview with the curator and juror Claudia Maté on the topic and the chosen projects.

The artists Jim Rolland (Marseille/France), Eric Parren (Los Angeles/USA), Jeffrey Alan Scudder (Maine/USA), and Nicolas Sassoon (Vancouver/Canada) will work on their projects for four weeks (until August 3, 2017), regularly posting articles and works or reporting on the steps to their final piece. The projects will be shown on Schlosspost as well as on the ZKM website. All projects and the shortlist of the call can be found here.

Clara Herrmann: What inspired you to put out a call on this topic?

Claudia Maté: I got the idea in an M.C. Escher exhibition in Madrid. I’ve been very obsessed with him since I was a kid, and I think his work has greatly influenced my work.

CH: What role do patterns play in Net Art today?

CM: When you code you have to deal with repetitions and loops all the time, so in the Net, it’s very easy to end up with patterns at some point.

Claudia Maté, Web Residency »Fractal Horses«, 2017

by Claudia Maté

CH: What special challenge did you invite the artists to take, and what projects were you looking for?

CM: Playing with patterns is very easy but when you apply chaos to a regular loop, it breaks. It creates a rhythm and it makes the piece unique and interesting.

For this call I thought it would be important to have applications based on differents methods exploring chaos and patterns in as many ways as possible. So first of all I tried to separate all the participants into a list of disciplines, after that I chose the best one’s of each field. The decision was not easy, but I made it based on a combination of good ideas, technical skills, and previous works.

The four disciplines for this call are:

SOUND – music patterns from mathematical formulas (Jean-Michel Rolland)
VR – environment that creates and develops patterns based on what the viewer is looking at (Eric Parren)
MOVING IMAGE – large animated GIF, rendered using pixel patterns and digital moiré (Nicolas Sassoon)
PAINT – web based project that runs differently upon each execution based on themes of repetition, permutation, and stochasticism in painting, poetry, and electronic media. (Jeffrey Alan Scudder)

CH: One statement in your call claims »some patterns are so obvious they can’t be true. Others are so complex they can’t be true. – And some are just right. Or beautiful.« What is beauty for you in Net Art?

CM: People usually equate beauty with perfection, but perfection is boring and shallow. It works very well when you want to sell a product, but I don’t think it has anything to do with art.

Claudia Maté, Web Residency »Fractal Horses«, 2017

Image by Claudia Maté

Claudia Maté, Web Residency »Fractal Horses«, 2017

Image by Claudia Maté

CH: The patterns made by the moving icons of the background you designed for the call seem predictable and unpredictable the same time, showing exactly this tension between patterns and chaos you mention. How do you work as an artist between reproduction/repetition and new ideas or unpredictable paths?

CM: My work is based more on experimenting than working on fixed ideas. I really like it when I get results that surprise me. Chaos theory is the perfect way to end up with something unexpected. The ideas become fractals and that really makes me enjoy my work.

Claudia Maté, Web Residency »Fractal Horses«, 2017

Image by Claudia Maté

CH: What’s your advice for young emerging artists to find their own individual way of working within Net culture and not follow established patterns?

CM: The Internet is a world with infinite possibilities to create and experiment. My advice would be to never get stuck and keep learning.

Claudia Maté

Claudia Maté (b. 1985, Spain) lives and works in London. She works in a large area of new media and online works. Her works come from a variety of formats including programming, 3D, video, video games, VR, GIF, and sound. She is cofounder and curator at cloaque.org. Her work  blends the familiar with the odd, and the futuristic with strange retro tropes. She has realized her ambition to fuse the Internet and interactive 3D technology into an aesthetic that is nonideological and defines a never-ending new aesthetic – into a surreal and pixelated world where anything is possible, and nothing is as it seems.

Clara Herrmann

Clara Herrmann studied literature, law and arts administration in Konstanz, Berlin, London, and Frankfurt (Oder). Her focus lies on the digitization of cultural institutions and topics related to art, society, and the Internet. In 2014, she joined Akademie Schloss Solitude as a coordination fellow and was responsible for press and cooperations. 2015-2018, she developed and coordinated the Digital Solitude program with fellowships, the online program »Web Residencies«, and the institution’s digital platform Schlosspost.

 

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