AES+F由四位設計師所組成：Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky, and Vladimir Fridkes。過去十多年來在世界著名藝術節及雙年展展出當代藝術創作，例如Neuer Berliner Kunstverein，ZKM（卡爾斯魯爾）、 Kiasma（赫爾辛基）、現代博物館（斯德哥爾摩）、Tate Britain（倫敦），Institute of International Visual Arts（Iniva）、Passage De Retz（巴黎）、Vanhaerents藝術收藏（布魯塞爾），MACRO Future（羅馬），Museo Thyssen-Bornemisza（馬德里），俄羅斯國立博物館（聖彼得堡），美術博物館（La Chaux-de-Fonds）等。AES + F的作品也被廣為世界各地美術館所收藏，包含：南澳大利亞（阿德萊德）和MONA（塔斯馬尼亞）的AGSA 美術館。

 

AES+F is a collective of four Russian artists: Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky, and Vladimir Fridkes. For more than a decade, works by AES+F have been showcased in signature festivals and biennial exhibitions of contemporary art around the world, including — in addition to Moscow and Venice — those of Adelaide, Gwangju, Havana, Helsinki, Istanbul, Kiev, Lille, Lyon, Melbourne, St Moritz, Sydney, Taipei, Tirana and Toronto. Their work has also been featured in influential events devoted to new media — such as ARS Electronica (Linz), Mediacity Seoul and Video Zone (Tel Aviv) — and photography — such as FotoFest (Houston), Les Rencontres d’Arles and Moscow’s Photo Biennial, the Multimedia Art Museum Moscow, the Moscow Museum of Modern Art, the State Tretyakov Gallery (Moscow) and the State Russian Museum (St Petersburg)

 

AES + F影片創作中的電腦成像(CGI)整合實踐

 

AES + F在80年代末期的創作乃使用傳統媒介如繪畫，拼貼畫，刺繡，類比攝影和現成物等，近年來則對實驗和新媒體工具和技術有很大的興趣與投入。我們認為新技術成熟時，藝術家才能真正善用它們，也成為藝術家手的延伸。這次演講將闡明我們在影片創作中使用數位技術的經驗，如在90年代中期首次使用Photoshop來製作數位拼貼，後來嘗試在創作Berlin Wall 2（1995）時則開始使用電腦成像(CGI)。我們使用「Indigo」電腦創建透明牆面和其他一些元素的模型，以便將它們與實景風景照片進行組合。我們有了成果，並在下一部創作「Last Riot」中運用數位攝影來拍攝演員和電腦成像背景和物件相結合。當時我們初次嘗試讓所有元素動起來，之後，我們就幾乎在所有的作品中都使用此數位工具，包含使用5軸鑽頭來建造巨大如房間大小的實體雕塑，或是完全使用電腦成像為影片製作場景裝飾。另外，也將分享我們目前的創作：製作一系列瓷器雕塑，這些雕塑完全採用電腦成像進行建模，然後透過3D列印機印出瓷器模具，以及我們目前在歐洲為Giacomo Puccini的「杜蘭朵」歌劇設計的大型創作。

 

The Practice of CGI Integration in AES+F Projects

 

AES+F began its practice at the end of the 80s, using traditional media like painting, drawing, paper collages, embroidery, analog photography, and readymades. We have always been interested in trying and mastering new media, instruments, and techniques in our work. We think that new technologies should first become a little dated, before artists can really use them as an extension of their hand. This talk will shed some light on our experience using digital technologies in our work.

In the middle of the 90s, we began using Photoshop for the first time in order to make digital collages, and later tried to use CGI in the project Berlin Wall 2 (1995). We used an “Indigo” computer to create a model of a transparent wall and a few other elements, to combine them later with real landscape photographs.

Then, in 2003-2005, for the project Action Half-Life, we used CGI elements – futuristic weapons, UFOs, and structures in combination with analog photography of landscapes and models. We liked the result, and in the next project, Last Riot, we already started working with digital photography of models-actors in combination with backgrounds and objects in CGI. Then we tried for the first time to animate all the elements. After that, we have been using digital tools in practically all of our work, from modeling monumental and room-sized sculptures and producing them using a 5-axis drill, to making video set decoration for theatre entirely using CGI. We will also discuss our current work producing a series of porcelain sculptures, which were modeled entirely in CGI and then 3D printed to create form negatives for porcelain, as well as our current big project working on a set design for Giacomo Puccini’s “Turandot” opera in Europe.

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