Wednesday, August 14, 2013

PIA MYRVOLD: Works in Motion

Video Spiral - Videoloop - Pixel Cubes - Pink Hue, Venice, 2011,
32 LED screens, signal splitter, PC, video loop, cables, 160 x 160 x 360cm

PIA MYRVOLD ( is a Norwegian artist who has resided in Paris and New York since 1992. With an interdisciplinary art philosophy, she has since the early 80s explored and simultaneously combined media: painting, sound, video, design, infrastructure design, living art urbanism and new technologies. Myrvold’s hybrid and overlapping research with visual media has introduced the art and design worlds to hybrids like cybercouture, clothes as publishing, multi-surface works, female interfaces and art projects involving dualities of virtual and real space, the keyword being interactive art interfaces. Her large output of paintings, prints, sculpture and video uses a visual narrative with references to technology and infrastructure, microchips and sensor-based interfaces, where dialectics of objects and space create suggestive agendas and new codes for how society can use and develop sensory abilities. Myrvold’s work is a conquest of space and new creation in the world of visual art. Her latest projects with 3D animation as sculpture and painting with multiscreen architectural strategies and digital mapping place her at the forefront of current technological realities.

What follows is a selection of work from Myrvold's recent show at the Stenersen Museum in Oslo, Norway titled Works in Motion: New Parameters in Painting and Sculpture (November 22, 2012 - February 3, 2013) along with essays by Peter Frank and Christine Buci-Glucksmann, both written for the show's catalogue. Concatenations would like to thank both authors for giving their permission to republish the articles here, and the artist herself for generously providing so many images.The show's catalogue, which includes an introduction by the artist and many more images, can be accessed here: Stenersen Catalogue.

FLOW - Stargate - Video Loop Expandium - Blue Hue, Venice 2011,
7 LED screens, aluminum frame, glass, and 3D animated video shape. 360 x 340 x 100cm.

Pia Myrvold: The Nature of Total Art

By Peter Frank

The modern Gesamtkunstwerk, logically enough, is and must be grounded in the digital. But can it simply reside there, amidst so many calibrated pixels? That would not be very gesamt. Pia Myrvold revels in the power of the digital, but harnesses it to a vision broader than the computer screen. For all the software and hardware upon which she depends, Myrvold still thinks like a painter, still sees her shapes and colors as figures, figures – certainly not representational, but figural nonetheless – in motion and evolution, to the point where they become distinctive characters. Digital media give Myrvold ready access to three and four dimensions, allowing her to invent and animate images of magical immediacy and perpetual evolution; but these images originate as much on a plane as they do in time and space. Their presence is as luminous, their form as voluptuous and witty, to the wink of a single eye as to the gaze of two.

Myrvold’s “characters” seem at once to be inscribed on the surface of their visual field and embedded solidly into a murky serum. They themselves resemble primitive organisms, protozoa or bacteria, their plasticity metamorphic and their own surfaces smooth and continuous but sensitive, even hyper-­‐ reactive, to (usually unseen) outside forces. Seemingly hybridized from the organic and the mechanical, they bob and flow and ooze before us with a measured, pensive slowness directly counter to the frenetic pace of most contemporary animation.

In fact, Myrvold neither thinks nor works like current animators. (If anything, she inherits her aesthetic from earlier painter-­‐animators such as Viking Eggeling, Oskar Fischinger, and Robert Breer, even in the way she integrates sound into her Gesamtfeld.) Rather, she endows the images she generates with a thoughtful, deliberate grace, allowing them to appear, birth one another, and dissolve into their stately, enchanting choreographies. Their radiant, dignified sensibility seems more baroque than modern, at least at first, their motion and their evolution as languid as undersea corals or large planets. They are restless, relentlessly modern presences, to be sure, moving and metamorphosing in the oddest manners, many assuming the form of bursts and explosions. But the way they glide, hover, and even decay embodies a preternatural patience, and require the same from perpetually distracted audiences more habituated to sudden, violent movement. The kinesis suffusing Myrvold’s imagery is as appropriate to a Versailles court as to a latter-­‐day club.

This is certainly not to say that Myrvold’s universe is more appropriate to the 17th century than to the 21st. For all their rococo finesse, her liquid abstractions ultimately posit current, immediate metaphors rooted in today’s natural and technological world. Whether suggestive of undersea life or of meteorological phenomena, micro-­‐organic, even sub-­‐atomic conditions or those pertaining to the cosmos, Myrvold’s peculiar imagery bristles with inference. Giddy and beautiful, her paintings-­‐in-­‐motion are never just patterns dancing for our entertainment, but pageants of presences whose eerie familiarity reminds us how not-­‐alone we are on the face of the earth. Their organic variability piques our curiosity; their extravagant variety insists that we understand our actual environment as heterogeneous – and exquisitely balanced.

To paraphrase both Paul Klee and Jackson Pollock, humankind does not have to seek nature, it is nature. All art, then, is “natural” – but only some of it reminds us of our naturalness. It may be presumptuous to read Pia Myrvold’s oeuvre and aesthetic as a spur to ecological awareness. But in its evident employment of a formal language rooted in nature, commingling the organic with the mineral, the botanical with the zoological, the molecular with the stellar, and, yes, the natural with the artificial, Myrvold’s art gives body to an artistic world view rooted not just in other art or technological possibility but in the biosphere itself. The enormous variety, relentless power, and increasingly apparent fragility of that realm find vivid, compelling reflection in Myrvold’s. Her art, it might finally be claimed, is nature itself, virtualized.

PETER FRANK is art critic for the Huffington Post and Associate Editor for Fabrik Magazine. He is former critic for Angeleno Magazine and the L. A. Weekly, served as Editor for THE Magazine Los Angeles and Visions Art Quarterly, and contributes articles to publications around the world. Frank was born in 1950 in New York, where he received a B.A. and M.A. in art history from Columbia University and was art critic for The Village Voice and the SoHo Weekly News, and moved to Los Angeles in 1988. Frank, who recently served as Senior Curator at the Riverside Art Museum, has organized numerous theme and survey shows for the Solomon R. Guggenheim Museum in New York, the Venice Biennale, Documenta, and other venues. McPherson & Co./Documentext published his Something Else Press: An Annotated Bibliography in 1983. A cycle of poems, The Travelogues, was issued by Sun & Moon Press in 1982. Abbeville Press released New, Used & Improved, an overview of the New York art scene co-written with Michael McKenzie, in 1987. He has written many monographs and catalogues on a wide array of modern and contemporary artists. Frank has taught and lectured extensively throughout North America and Europe.

Helix - Mirror Cubes - Transforming-Green, 2012, Digital print on acrylic glass, 162 x 130cm

Venus Transforming - Red Cloud, 2012, Digital print on acrylic glass, 162 x 130cm

Helix - Mirror Cubes - Exploding Spiral, 2012, Digital print on acrylic glass, 162 x 130cm

Installation view: Monochannel loops

Installation view

The Metamorphoses of the Virtual

By Christine Buci-Glucksmann
Translated from French by Anya Buklovska

The passage from a culture of objects and stability to that of flow and instability resulted in a new kind of image, where processes are superior to fixities and the transient is superior to the immobile. The “crystal-image” (Deleuze) of modernism, made of reflections, superpositions, doubles and crossed timelines, gave way to what I call the flow-image, with all of its experimentations and metamorphoses. Programmed though transient, without an outside reference, it multiplies the passages and the gaps between the idols and the icons. This is the “place” of Pia Myrvold’s latest Venice pieces (2011) or her recent Oslo exhibition, Works in Motion (November 2012): to explore all of the visual and musical dimensions of 3D images, between their appearance and disappearance, in all their “sequence of events” and their “visual variability,” to use Peter Weibel’s terms.

Transforming Venus. Venus, the myth of female beauty, from Venus de Milo to those of Botticelli or Dali, is no longer but a stylized body, abstract and organic, an artifact floating in the digital curtain spaces, in turn red, yellow or Klein blue, a kind of resurrection of a prehistoric Venus of Willendorf (32000 BC), without head or arms, a fertility symbol. But little by little, this Venus changes colors and is invaded by lines that grip her until she disappears in a visual cocoon, to the point that the initial form is metamorphosed into its own phantom disappearing.

Therefore, all of the virtual artifacts, including the six main ones on view in Oslo (Transforming Buddha, Mother Shape, Floating Pillar, Snow Crash and Venus) are doomed to the same “transient life between the fullness and the crash or the final chaos,” to quote Pia Myrvold. For isn’t the crash that borderline moment when one can ‘look, breathe and see the disappearance giving way to another appearance’? Make no mistake, if, according to Lacan, “the language isn’t a code,” here the programming of these flow-images elevates the code to all the meanings, differences and hybridizations of artistic practices. Hence the employed conceptual method: to explore ‘life’s interfaces’ and to transform all the practices—painting, fashion, design, video and new media—into one Fluid Identity.

For the questioning of codes and a fluid vision of art are in the heart of the whole work. Well before these 3D images, in her paintings from 2004 (Slow Emotion, Sun Passage or Perception in Blue), one could already see the codes painted between windows and screens. Digital codes, electronic chips or Pollock’s codes, all these abstracts doubled the world in order to show the current revolution. Venus was already moving, lying down between the codes. But with the 3D image, evoked by the creation of virtual buildings by Zaha Hadid that were ‘a revelation’, the codes are now functioning as an abstract aesthetic machine, producing plural worlds and “stealthy objects”, wandering and fugitive traces of a fleeting life. A fleeting of the images’ passage, a fleeting of an irreducible modulation to only the present moment as a breaking of time. For it is the passage that is the essence of these “images in between”, in the words of Raymond Bellour. Therefore, projected onto the walls, the ground or the ceiling in Tunnel Vision or in Video Spiral, the flow-images lead an autonomous life that envelops the spectator and transforms his perception. Thus in Star Gate, they are deployed onto the structure of a false 7-sided octagon, and one walks on these colorful flows taken in their sculptural and musical process. This is also the scenario and the choreography of the big Oslo exhibition in The Stenersenmuseet: to illuminate new sets of parameters in the paintings and sculptures revealed through the artist’s research with digital animation.

You enter the exhibition and discover a strange technological animal made of rings of images: the Video Spiral sculpture. On these spiraled circles the images float by and give birth to all sorts of affects and mutating sensations. For the technological spirals evoke all of the humanity’s history. Prehistoric, Celtic, Islamic, Christian, baroque or contemporary (Smithson’s Spiral Jetty); the spiral is indeed a sensitive universality that often marks a cyclic and open time span. A ‘will of art’ is an ornamental stylistic, in the words of Alois Riegl. Here though, the spiral is a Warholian “Post machine.”

One then discovers, in another room, the six big models of the flow-images on black background that are metamorphosing in a permanent luminous and musical choreography. Transforming Buddha, round and laughing like the Chinese Poussah, but as abstract as Venus, is a curious organic shell reduced little by little to a Biomyth. Another example: Floating Pillar with its stacked membranous surfaces that gradually break up in order to better recompose in this aerial space with a weightlessness that Pia Myrvold is so fond of. Made of layers as well as of changing and perishable layouts, could it be a metaphor of pillars as fragile as our society is? In both cases, these are pure sculptures in transformation, made of primitive forms rhymed by a pulsating sound.

Weird corporal impressions: burst metallic membranes, multiple second skins, diverted batiks, virtualized textiles; these Works in Motion, also present in photographs, are continuously coupling design’s and color’s mechanical and organic elements in all possible textures. The “sex-appeal of the inorganic” according to Walter Benjamin’s quotation.

Such research into the world’s surfaces, mise-en-abymes and weightlessness of the bodies is a reference to Pia Myrvold’s numerous earlier works. Female Interfaces, an installation presented in the Centre Pompidou (Ecoute, 2004), where she and another performer each equipped with 24 sound and voice captors, created an interactive interface where both sound and images where controlled by the user. Urban Upwind: an architecture made of fabrics with various urban patterns, connected over the length of 500 meters Bernard Tschumi’s Folies to the Parc de la Villette (1999). From a piece of clothing sewed to a canvas (1982) to the cyber-fashion shows to the transient architecture of la Villette in the 1990ies, one can see the same multi-sensorial concern that anticipates the networks and digital interfaces of the future. For the aesthetics of the virtual explore all the possible envelopes and second skins up to the ‘inter-facial intimate sphere’ (Sloterdijk), thus reconnecting with the myths of Proteus and Icarus, the metamorphoses and the space flights.

At the same time, contrary to the crystal-image that references a time within a time, the memory time in the present, the global screen of images authorizes all the eventual multiplicities and all the topologies that bind force and form, a geometrical and smooth stripe of unlimited spaces. It is then the topology itself that becomes a flow in a curious geometry of waves that creates and envelops all body’s artifacts. ‘The diagrams of the Idea’, Duchamp would have said, he who was interested in the fourth dimension and in the ‘inexact geometry’ of incorporeal constellations. The programming of digital images presupposes the use of the new possibilities opened by the science of fractals and chaos that allows the elaboration of new patterns and an exploration of painting’s and sculpture’s parameters. In this way, in Snow Crash, the interior lighted eggs are moving before a background of heterogeneous colors, all doomed to disappear. As if virtual life and death were transforming to produce different eventualities. For one can now think in optic series just like the avant-garde of the twenties dreamed. Moreover, one can now produce liquid machines shaped by water, fabric or membrane. For it is the flow itself that is the modality of the transient and it is accompanied by all the doubles and hyper-surfaces of the world.

Passages from one form to another, from time to image, passages of identities: one can recognize the artistic and contemporary cultural hybridizing, one that puts an end to all the ontological dualities of pure and impure, of being and nothingness, of subject and object. It is the virtual that gives rise to the real and explores the realities that had been for a long time excluded from western metaphysics as well as from classical science. Abandoning the nor…neither of all the exclusions, it puts a dialogic standard where a part is the whole and inversely, just like in cosmos and in fractal science. New landscapes and new forms of vision and imaginations have replaced the stable image. As Foucault said in his research on ‘other spaces’: ‘the visibilities are not defined by the vision, but are complexes of action and reaction, multi-sensorial complexes that are coming to the light’(1). These complexities then create a multi-dimensional and transversal knowledge inherent to the new models of science. A Fractal Dreaming.

Such is, to my mind, Pia Myrvold’s approach and method: to introduce into art a multi-sensorial and meditated complexity, the one where she considers herself a painter of the flow-images and where virtual models create new parameters for sculpture as well as painting. I remember the New Code photographs from 2009. Nude photographed bodies floating in all possible poses in the middle of bizarre textures of human origin, made of super-impressions, aquatic landscapes and prehistoric skeletons. With the help of the virtual, bodies are now an all-organic abstraction. The invention of Venus led to, starting in 2010, studies and multiple screen video projections. The artistic forms are therefore at the same time hybridized and always different. In the era of the digital, Pia Myrvold chooses the richness and the complexity of technological and human possibilities. She plays with them, creating the ‘in-between worlds’ like those of Paul Klee.

One can oppose the melancholic transience of Vanities and spleen to a more positive and cosmic transience of different futures, far from binary logic and hierarchy. At a time when merchandise is aestheticized and reduced to images, Pia Myrvold maintains an aesthetic and critical gap with the world. From this come the ‘poetic of relation’ and interfaces inherent to her flow-images that capture time and the ambivalence of a culture, more and more hybridized.

I look at Expandium one last time. The membranous forms of a metallic grey, internal or external, a fluid and animated sculpture that explodes, fragments scattering, and a batik-like form floats by such as a planet or a sun. All is flowing in a post-transient world, perhaps ours.


1) On these ‘other spaces, the heterotopies’ cf. Michel Foucault, Dits et écrits, 1954-1988, 1994, Gallimard, p. 752.


Pia Myrvold, Interfaces, Innoventi and to texts by Bradley Quinn, Lars Elton et Gaël Charbau.
Pia Myrvold, Arts Works, Editions and originals, 2012-2005.
Christine Buci-Glucksmann, La folie du voir, Une esthétique du virtuel, Galilée, 2002.
Christine Buci-Glucksmann, Esthétique de l’éphémère, Galilée, 2005.
Christine Buci-Glucksmann, Philosophie de l’ornement, d’Orient en Occident. Galilée 2008.

CHRISTINE BUCI-GLUCKSMANN, philosopher and Honorary Professor at the University of Paris 8, is a French specialist on aesthetics and contemporary art. She has taught at Tokyo University as an Associate Professor and has participated in many conferences abroad in academic contexts and on the occasion of international exhibitions. She is the author of many reviews, articles, exhibition catalogues and personal books that have been translated in various languages. Her works include: Gramsci and the State (Fayard, 1975), translated in 6 languages; Tragedy of the Shadow: Shakespeare and Mannerism (Galilée, 2000); Aesthetics of Time in Japan (Galilée, 2001); The Madness of Viewing: A Virtual Aesthetics (Galilée , 2002); Chinese Modernity (Skira 2003); The Ephemeral Aesthetics (Galilée, 2005); and Philosophy of the Ornament: From Orient to Occident (Galilée, 2008). As an AICA member (International Association of Art Critics), she recently participated in a symposium on hybrids in art during the Johannesburg Fair (2012). She is currently working on the virtual arts with internationally renowned French artists Miguel Chevalier, Pascal Dombis, and Orlan. She was recently interviewed by Radio France Culture in the broadcast “Nude voice,” in which she spoke about different aspects of her work.

Wire Form study, Artist's digital archive

Wire Forms, Orange, 2011, Digigraphic edition of 10, 56 x 153cm

Transforming Buddha in Red, 2011, Digigraphic edition of 10, 56 x 153cm

New Waiting I, 2012, C-print original, 62 x 48cm, private collection; digigraphic edition of 20, 75 x 58cm

Installation view: Left video loop: Mothershape, 2011; Right video loop: Transforming Buddha, 2011

1 comment:

  1. This is some heavy sh*t; and here the "money" quotes:

    To paraphrase both Paul Klee and Jackson Pollock, humankind does not have to seek nature, it is nature.

    Hence the employed conceptual method: to explore ‘life’s interfaces’ and to transform all the practices—painting, fashion, design, video and new media—into one Fluid Identity.