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Gabriel Barcia-Colombo
Gabe Barcia-Colombo creates madcap art inspired both by Renaissance era curiosity cabinets and the modern-day digital chronicling of everyday life. Think: miniature people projected in objects and a DNA Vending Machine.
Why you should listen
Gabe Barcia-Colombo is an American artist who creates installation pieces that both delight and point to the strangeness of our modern, digital world. His latest work is a DNA Vending Machine, which dispenses vials of DNA extracted from friends at dinner parties. He's also created video installations of "miniature people" encased inside ordinary objects like suitcases, blenders and more. His work comments on the act of leaving one's imprint for the next generation. Call it "artwork with consequences."
As he explains it: "While formally implemented by natural history museums and collections (which find their roots in Renaissance-era 'cabinets of curiosity'), this process has grown more pointed and pervasive in the modern-day obsession with personal digital archiving and the corresponding growth of social media culture. My video sculptures play upon this exigency in our culture to chronicle, preserve and wax nostalgic, an idea which I render visually by 'collecting' human beings (alongside cultural archetypes) as scientific specimens. I repurpose everyday objects like blenders, suitcases and cans of Spam into venues for projecting and inserting videos of people."
Barcia-Colombo is an alumnus and instructor at NYU's Interactive Telecommunications Program. Read about his latest work on CoolHunting and in his TED Fellows profile.
What others say
“"You could say that Gabriel Barcia-Colombo is something of a modern day mad scientist ... Much like the beloved animated GIF, Barcia-Colombo’s work distills a moment, a gesture, an emotion—taking something universally relatable and instantly recognizable and giving it a physical form."” — —The Creators Project
英语字幕
00:12
I love to collect things. Ever since I was a kid, I've had massive collections of random stuff, everything from bizarre hot sauces from all around the world to insects that I've captured and put in jars.
00:24
Now, it's no secret, because I like collecting things, that I love the Natural History Museum and the collections of animals at the Natural History Museum in dioramas. These, to me, are like living sculptures, right, that you can go and look at, and they memorialize a specific point of time in this animal's life.
00:38
So I was thinking about my own life, and how I'd like to memorialize my life, you know, for the ages, and also — (Laughter) — the lives of my friends, but the problem with this is that my friends aren't quite keen on the idea of me taxidermy-ing them. (Laughter)
00:53
So instead, I turned to video, and video is the next best way to preserve and memorialize someone and to capture a specific moment in time. So what I did was, I filmed six of my friends and then, using video mapping and video projection, I created a video sculpture, which was these six friends projected into jars. (Laughter) So now I have this collection of my friends I can take around with me whenever I go,and this is called Animalia Chordata, from the Latin nomenclature for human being, classification system. So this piece memorializes my friends in these jars, and they actually move around. (Laughter)
01:29
So, this is interesting to me, but it lacked a certain human element. (Laughter) It's a digital sculpture, so I wanted to add an interaction system. So what I did was, I added a proximity sensor, so that when you get close to the people in jars, they react to you in different ways. You know, just like people on the street when you get too close to them. Some people reacted in terror. (Laughter) Others reacted in asking you for help, and some people hide from you.
01:54
So this was really interesting to me, this idea of taking video off the screen and putting it in real life, and also adding interactivity to sculpture. So over the next year, I documented 40 of my other friends and trapped them in jars as well and created a piece known as Garden, which is literally a garden of humanity.
02:10
But something about the first piece, the Animali Chordata piece, kept coming back to me, this idea of interaction with art, and I really liked the idea of people being able to interact, and also being challenged by interacting with art. So I wanted to create a new piece that actually forced people to come and interact with something, and the way I did this was actually by projecting a 1950s housewife into a blender. (Laughter) This is a piece called Blend, and what it does is it actually makes you implicit in the work of art. You may never experience the entire thing yourself. You can walk away, you can just watch as this character stands there in the blender and looks at you, or you can actually choose to interact with it. So if you do choose to interact with the piece, and you press the blender button, it actually sends this character into this dizzying disarray of dishevelment. By doing that, you are now part of my piece. You, like the people that are trapped in my work — (Blender noises, laughter) — have become part of my work as well. (Laughter) (Laughter) (Applause)
03:15
But, but this seems a bit unfair, right? I put my friends in jars, I put this character, this sort of endangered species character in a blender. But I'd never done anything about myself. I'd never really memorialized myself. So I decided to create a piece which is a self-portrait piece. This is sort of a self-portrait taxidermy time capsule piece called A Point Just Passed, in which I project myself on top of a time card punch clock, and it's up to you. If you want to choose to punch that punch card clock, you actually age me. So I start as a baby, and then if you punch the clock, you'll actually transform the baby into a toddler, and then from a toddler I'm transformed into a teenager. From a teenager, I'm transformed into my current self. From my current self, I'm turned into a middle-aged man, and then, from there, into an elderly man. And if you punch the punch card clock a hundred times in one day, the piece goes black and is not to be reset until the next day. So, in doing so, you're erasing time. You're actually implicit in this work and you're erasing my life.
04:17
So I like this about interactive video sculpture, that you can actually interact with it, that all of you can actually touch an artwork and be part of the artwork yourselves, and hopefully, one day, I'll have each and every one of you trapped in one of my jars. (Laughter)
04:29
Thank you. (Applause)
参考翻译
00:12
我喜欢收集东西。 从我小时候起,我就有一大堆的收集品 什么都收集,不管是来自世界各地的怪味辣椒酱还是各种昆虫 我都会收集放进瓶子里。
00:24
现在你们都知道了,因为我喜欢收集 所以我喜欢自然历史博物馆 还有里面收集到的 制成立体模型的各种动物。 这些对我来说就是有着生命的雕像, 没错,你可以去看一看, 他们捕捉下了这些动物 生命中的某些特定的时刻
00:38
所以我就会思考我自己的生活, 想一想我要怎样去记录我的生活, 给未来的人看,同时,——(笑声)—— 也记录我朋友的生活,但是 问题就在于我的朋友都不太热衷于 把他们“标本化”这一想法。(笑声)
00:53
所以其而代之的,我选择录像这个方式, 录像是保存和记录人类的另一个最佳选择 可以及时抓住特定的某一瞬间。 所以我所做的,就是拍下我的六个朋友的录像 然后,用全景显示和视频投影, 我做出了一个视频版的雕像, 这就是我放映在瓶中的六个朋友。(笑声) 现在我“收集”了这些朋友 我就能带着他们到处走了, 这就叫“Animalia Chordata”, 它是拉丁语,意思就是 人类分类系统。 这件作品将我的朋友们记录在这些瓶子里, 而且他们可以动来动去的。(笑声)
01:29
这对我来说挺有趣的, 但还缺少了某些人类的元素。(笑声) 这是个数码雕像,所以 我增加了一个互动系统。 我加了一个距离传感器,所以当你接近 这些瓶中人的时候,他们会有不同的反应。 就像你接近 大街上的人一样。 有些人的反应会显得很恐慌。(笑声) 有些人的反应是请求你的帮助, 有些人则会躲着你。
01:54
这个想法真的很有趣, 既能把屏幕上的视频拿下来放到现实生活中, 又能和这些雕像进行互动。 到了第二年,我制作了另外40个朋友“标本” 然后也把他们“收集”在我的瓶子里 然后将这件作品取名“花园”, 意指一个集合了不同人性的花园。
02:10
但我的第一件作品, 那件“Animali Chordata”,却一直浮现在我眼前, 我不断思考和艺术进行互动这一想法, 说真的我很喜欢人与艺术之间进行互动这一想法, 同时也享受在这过程中所遇到的挑战。 所以我想要制作另一件作品 一件能够促使人们去和别的事物进行互动的作品, 我还是采用投影的方式 将一个上世纪50年代的家庭主妇放进了搅拌机。(笑声) 这件作品叫“搅拌机”,它用暗示的方法 让你参与到这件作品中。你可能从未经历过这种事情。 你可以走掉,也可以单单看着这个主妇 看她站在搅拌机中和你深情对望 又或者你可以选择“调侃”她一下。 如果你选择了后者, 那么你就按下“搅拌”这个按钮, 它就会将这个主妇搅得天崩地裂,天旋地转,天昏地暗。 当你这样做的时候,你就成为了作品的一部分了。 你就像其他被我困在瓶中的人一样 ——(搅拌机的声音,笑声)—— 也都成为我作品的一部分。(笑声) (笑声) (掌声)
03:15
但,这样好像有点不公平,对吧? 我把朋友放进瓶子里,我把这个家庭主妇也放进去, 把这种濒临绝种的生物放进搅拌器里。 但我从来没拿过我自己开刀。 我从没有记录过自己。 所以我决定做一件“自录像”。 这是一件自我标本化的时间胶囊作品 取名为“消逝” 在这件作品里,我把自己投影在打卡考勤钟的上面, 然后剩下的就需要你来决定了。 如果你选择进行打卡, 那么实际上你是在让我变老。 所以我一开始是婴儿,然后你打了卡, 你就会把我从婴儿变成一个小孩, 然后从一个小孩又变成一个年轻人。 从年轻人,我又变成现在的我。 从现在的我,又变成中年男子, 接着,变成一个老年人。 如果你在一天时间内打卡100次, 这件作品会变黑 直到第二天才会恢复初始状态。 所以,这么做,你擦去的是时间。 你实际是隐含在这件作品里面的一部分 因为你在擦拭我的人生。
04:17
我喜欢这种真正能与之互动的 互动型视频雕像, 而且能与之触碰 并亲自参与到作品中来的, 希望有一天,我能将你们所有人都收集起来 放进我的瓶子里。(笑声)
04:29
谢谢。(掌声)