Rafael Rozendaal Rafaël Rozendaal is a Dutch-Brazilian artist who currently lives in New York. Rozendaal’s artistic practice comprises websites, installations, prints and writing. His work takes shape through a range of transformations – from movement into abstraction, from virtual into physical space, and from website to print – with all of them informing each other. All of his works have one thing in common: they stem from a fascination with moving images and interactivity in its most basic form. Although Rozendaal is best known for his artworks in the form of websites, he sees no hierarchy between his websites and physical works: ‘The experience that you have when you are at home using Abstract Browsing on your computer is as authentic as viewing one of the tapestries in a gallery. From my point of view: the Internet is like a waterfall, an exhibition more like an aquarium’. Rozendaal is also the founder of the exhibition concept Bring Your Own Beamer, an evening where artists bring their own projectors to display their digital work. Since 2010 there have been over 100 BYOB exhibitions, including one at the Venice Biennale. His work is regularly exhibited, not only in Europe and the U.S. but also in Asia and South America. He has worked with institutions such as the Whitney Museum of American Art (USA), Centre Pompidou, Paris (FR), Stedelijk Museum Amsterdam (NL), Kunstverein Frankfurt, (DE), Kawasaki City Museum,Kawasaki (JP), New Museum, New York (NY, US), Nam June Paik Art Center Seoul (KR), Hammer Museum Los Angeles (US), Kunsthal Rotterdam (NL), MOTI Museum Breda (NL), Seoul Art Fair (KR), Times Square Midnight Moments New York (NY, US), Telfair Museum, Savannah (GA, USA), Centre d’Art Bastille, Grenoble (FR), Whitney Museum of American Art (NY, US), With Project Space, New York (NY, US). Rozendaal is a regular speaker on digital art topics and his work is discussed in international publications such as Time Magazine, Wall Street Journal, Flash Art and Interview.
Abstract Browsing In 2014, Rozendaal developed the plug-in Abstract Browsing. Its code alters information from websites: images, advertisements and text fields are transformed into brightly colored geometric elements. This way, the narrative of the Internet makes room for an abstract composition that reveals the underlying structure of websites. Rozendaal collects thousands of screenshots of Abstract Browsing generated compositions. A number of these are then selected by him to be produced as tapestry. Rozendaal: ‘I look for compositions that are the least picturesque. Painting is about a concentrated view, about beauty rather than utility. Websites are built exactly the opposite: developers are constantly looking for new structures that entice users to click somewhere, generating the highest advertisement revenue. Websites are created from necessity and efficiency, not beauty. I select compositions that are a bit awkward, unlike classic abstract painting that is about tranquility and contemplation.’ Artforum wrote about these works: Rafaël Rozendaal’s tapestries materially fix the Internet’s fleeting forms into pulsing, vibrant abstractions. [...] Rozendaal’s pieces suggest a conflicted modernist hybrid of painting and tapestry—its historically intertwined relative— echoing works by Anni Albers. Internet art and the loom are less far apart than one might think. Rozendaal: ‘It feels natural to work with this technique. The loom stood at the beginning of the industrial revolution; the punch card for mechanical looms was the rst form of digital image storage. Not all output of computer art finds its manifestation on screens.’
Abstract Browsing 19 03 05 (Twitter Login), 2019 Tapestry, acrylic wool 144 x 105 cm unique $ 9.500,-
Abstract Browsing 19 03 04 (Google Maps), 2019 Tapestry, acrylic wool 144 x 105 cm unique $ 9.500,-
Abstract Browsing 18 08 01 (Google Spreadsheets), 2019 Tapestry, acrylic wool 144 x 105 cm unique $ 18 500,-
Near Next In the past years, Rozendaal has been translating his digital work into physical art objects. This has for instance resulted in a large body of work that makes use of the lenticular technique, providing a way to create a moving image without the use of electricity. In close collaboration with the TextielMuseum Tilburg, Rozendaal has now developed a new weaving structure that is based on this same principle.Â The Near Next tapestries are mechanically woven from linen, and evoke a sense of movement when the viewer walks past it. Although the tapestries consist of only two opposing colors, the physical irregularity of the material creates a very lively and organic image. This is reinforced by the use of linen, which is used as the basis of most paintings. In these weavings, the linen is saturated with pigments. Even though there is no paint applied on the surface, the lenticular linen still gives the works a painterly character. The weavings behave in fact as analog screens with a very simple algorithm: one color or another, A or B, 1 or 0. They deal with interactivity in the most basic form: the image changes along with the point of view of the observer.
Near Next 19 09 02, 2019 lenticular tapestry, linen 144 x 200 cm unique $ 13 500
Near Next 19 09 03, 2019 lenticular tapestry, linen 144 x 200 cm unique $ 13 500
Near Next 19 09 05, 2019 lenticular tapestry, linen 144 x 200 cm unique $ 13 500
Near Next 19 09 06, 2019 lenticular tapestry, linen 144 x 200 cm unique $ 13 500
Lenticular Paintings For Rozendaal, the Lenticular paintings are a way of translating his digital work into the physical world. He started making these Lenticular Paintings in 2013. The technique of these works are known mostly from postcards where the image moves when you tilt the card. The quality of these prints is significantly higher than these postcards, which produces a profound effect with multi-layer colours and a canvas that seems to move when you walk past it. In this way the physical object can refer to the digital platorm: there is movement and a way of interaction between the canvas and the onlooker, also the number of compositions is endless.
Into Time 19 lenticula 120 x 9 uniq $ 11
05 04, 2019 ar print 90 cm que 000
Into Time 19 lenticu 120 x un
9 05 03, 2019 ular print x 90 cm nique
Into Time 14 lenticula 120 x 9 uniq $ 11
01 05, 2014 ar print 90 cm que 000
Shadow Objects Rafaël Rozendaal’s Shadow Objects are works of deceptive simplicity that fluctuate between an image and an object, a drawing and a sculpture. In what can be considered the shortest path from digital to physical, Rozendaal creates shapes which are coded to be cut by computer out of rectangular plates of white steel. Just like Rozendaal’s lenticular tapestries in this exhibition, the composition is further influenced by its illumination and the point of view. With an emphasis on the dynamic potential of shading the series can be seen in the tradition of artists like Lucio Fontana and Jan Schoonhoven, translated into the twenty-first century. The works mirror the digital realm, where drop-shadows lend the illusion of presence and form to immaterial, virtual objects. These contemplative voids and the shadow objects they create counter the cacophony and information overload of online life.
Shadow Object 19 10 02, 2019 stainless powercoated steel 145 x 105 cm unique $ 10 000
Shadow Object 19 10 03, 2019 stainless powercoated steel 145 x 105 cm unique $ 10 000
Shadow Object 19 10 01, 2019 stainless powercoated steel 145 x 105 cm unique $ 10 000
Websites Rafaël Rozendaal has made a name with his websites as unique artworks since 2001. Websites have distinctive qualities that no other art medium has: they are publicly accessible, unique “objects” that exists all over the world at the same time. Unlike video, these websites have no beginning or end. They are infinitely generated via algorithms. These sites constantly create new abstract formations, which produce chance juxtapositions when displayed next to each other. By showing the same website as four instances on four screens, the unpredictability of the algorithm is felt by the viewer. Rozendaal compares his websites to waterfalls: they are always doing the same thing, but they never repeat themselves. The abstract websites provide an almost meditative or hypnotic experience. They function as endpoints on the web. Not places to endlessly scroll but to endlessly stare. They provide a moment of stillness in the chaos that is the web..
extranervous.com, 2019 website unique $ 10 000
returnreverse.com, 2019 website unique $ 10 000
fearofchoice.com, 2019 website unique $ 10 000
Spectrum Spectrum is a new 6 screen installation of monochrome videos, each playing an hour of one color. It is a fundamental research into color in the digital space. Where digital art is often considered as a medium that is immaterial, the importance of the hardware that is needed for the presentation of the work is sometimes overlooked. Spectrum investigates these physical implications of digital work - it shows the physical irregularities of a medium that seems non-physical. It reveals the imperfections of the screens. The installation is not device-specific. The work is instruction based and the screens are replaceable. Each generation of screens will have different imperfections and will show slightly different colors.
Spectrum, 2019 six videos of one hour on six TV screens dimensions variable unique $ 50 000
Kloveniersburgwal 95 1011 KB Amsterdam t. +31 (0)20 4284284 e. firstname.lastname@example.org The prices appearing in this list are valid, but may be subject to errors, ommissions or printing mistakes.