Painting in the Age of Technological Reproducibility: Re-establishing sensuousness via the system of distributed touch
This praxis-led thesis investigates the becoming of an image through an algorithmic code’s encounter with traditional oil painting techniques. I use a concrete set of connections between humans and machines, but this is not an attempt to make a system that should take over traditional painting systems or compete with newer robotic ways of using the painting medium. Instead, it is an endeavour to build a system that abandons the principle of digital creationism, an alternative that does not oppose the machine and algorithms against the body or being human, but puts forward an argument for coevolution and symbiosis. By treating digital codes as spatial ready-mades shifting Duchamp’s confrontation between viewer and object to an encounter between the algorithmic code and the touch (of the hand, brush, paint, canvas, keyboard) new paintings emerge through a digital algorithmic system, developed to transform everyday digital photos into oil paintings by hand.
Key details
School, Centre or Area
Supervisors
Gallery
More about Be
Degrees
2018-ongoing PhD Painting, Royal College of Art, London
2016-2018 MA Painting, Royal College of Art, London
2003-2004 BA Fine Art, Slade School of Fine Art, University College London
Experience
LECTURES
2014
Universität der Künste Berlin, guest lecture, Uncurated - Hängung und Vermittlung, Ausstellungspraxis und Präsentation
Funding
2012
Statens Diversestipend for Kunstnere, Arts Council Norway
2011
International Support, Office of Contemporary Art Norway
2010
International Support, Office of Contemporary Art Norway
Exhibitions
2021
Southwark Park Gallery, Unruly Encounters, curated by Charlotte Bonham-Carter, London, UK
2020
Dyson Gallery, RCA, 2084, London
2019
Courtyard Gallery, RCA, Brexibition, curated by Wilko Austermann and Hugo Lami, London
White City Place, I Scared My Computer, London
Dyson Gallery, RCA, There is Something Lurking in The Shadows That Might Be Interesting, curated by Linda Rocco, London
Gorvy Theater, RCA, Entangelment: The Opera, London
2018
Hockney Gallery, RCA, Tumbnails, London
2017
Mare Street, Hackney, London, Permanent Public Commision by Union Development.
2016
Sundtkvartalet, Permant Public Commision by the City of Oslo, Norway
Window Box Gallery, Thing, Curated by Thale Fastvold, Oslo, Norway (solo)
2015
Eduardo Secci Contemporary, Transformative Limits curated by Lorenzo Bruni, Italy
2014
La Posta Foundation, The Invisible Resitance of Everyday Life I, curated by Juan Fabuel, Spain
Scaramouche, Uncurated, curated by Maria Nicolacopoulou, New York City (solo)
Sexauer, 24 h Skulptur, curated by Ursula Ströbele and Andreas Greiner, Berlin
Post Box Gallery, On Reflection – The impossibility of Representing Nothing, London
2012
CCA Andratx Art Centre, From A to B, Spain
Post Box Gallery, What You Cannot See, London (solo)
2011
Herzliya Museum of Contemporary Art, Numerator & Denominator, curated by Zali Gurevitch, Tsibi Geva, Dalia Levin and Tal Bechler, Israel
2010
CCA Andratx Kunsthall, Third Thougths curated by Barry Schwabsky and Carol Szymanski, Spain
Christie's London, Multiplied Contemporary Edition Fair, London
Post Box Gallery, Anything but Black and White, London (solo)
AC Institute, Structure, New York City (solo)
CURATORIAL PROJECTS
2014
Antony Gormley 'Another Time' curated by Be Andr, Mardalsfossen Art Project, Norway
2012
From A to B, Be Andr, Florian Auer, Juliette Blightman, Michael Sailstorfer & Albrecht Schäfer curated by Be Andr, CCA Andratx Art Centre, Spain
Publications
SELECTED PUBLICATIONS
2016
Skulpturen ved Mardalsfossen, Eikesdalen - Det finst berre ein, Marit Wadsten, 185 pages, Blomsterhaug
2015
24h Sculpture. Notes on Time Sculptures, Ursula Ströbele, Andreas Greiner, Jan-Philipp Sexauer, Julia Wallner, 96 pages, DISTANZ
Transformative Limits, Be Andr interviewed by Lorenzo Bruni, 80 Pages, Secci
2014
Antony Gormley: Another Time Mardalsfossen, Eckhard Schneider, Marit Waldsten and Be Andr, 116 pages, Noah Production
2012
What You Cannot See, Essay by Lorena Muñoz-Alonso, 12 pages, Post Box Gallery
2011
Numerator and Denominator, Essays by Zali Gurevitch and Tsibi Geva, 130 pages, Herzliya Museum of Contemporary Art
2010
Anything but Black and White, Essay by Barry Schwabsky, 34 pages, Post Box Gallery
SELECTED BIBLIOGRAPHY
Sarah Royce-Greensil, How jewllery designer Carolina Bucci took a Grade II listed London townhouse into the future, The Telegraph, UK, 6th May 2018
Lahey Dronfield, Jonathan, ...and a Feeling of &, Yes & No Magazine No 1, 2017
Isabel Perez, Be Andr y Regina de Miguel Contra el olvido, Reseña en Levante EMV, Spain, 16th January 2015
Elena Magini, Transformative Limits - review, Lungarn Arte, Italy, 1st February 2015
Luisa Ausenda, Transformative Limits - review, Atpdiary, Italy, 26th January 2015
Gormley Mardalsfossen – The 1000 - London's most influential people 2014 , The Evening Standard, UK, 17th October 2014
Skulpturen blir stående i fosserøyken, Aura Avis, Norway, 5th September 2014
Vera Henriksen, Se mannen i fossen, Romsdals Budstikke, Norway, 26th June 2014
Magnus Peter Harnes, Denne mannen skal trekket turister til Eikesdalen, NRK TV, Norway, 20th June 2014
Elin Høstmark, Another Time i fossen, Driva Avis, Norway, 17th June 2014
Petter Løken, Er blant Norges største attraksjoner..., Dagbladet, Norway, 11th June 2014
Edwina Ings-Chambers, A gem of a place, The Sunday Times, UK, 4th November 2012 (with illustration)
Angela Levin, 'Between Heaven and Earth – New exhibition at Herzliya Museum.', Midnight East, Israel, 30 June 2011 (with illustration)
Marilena Pirrelli and Chiara Zampetti. La Carriera d'artista? Una rete per il successo, Art Economy,Il sole 24, Italy, 7th August 2010 (with illustration)
Marilena Pirrelli, Collezione Lehman da 30 milioni di dollari, Published by Il Sole 24, Italy, 24th January 2009 (with illustration)
Additional information
This research is supported by Winsor & Newton