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'''Federico Díaz''' is an artist of [[Czechs|Czech]]-[[Argentinean]] descent, who lives and works in [[Prague]]. He has exhibited at the [[Mori Art Museum]] Tokyo, [[China Central Academy of Fine Arts|CAFA Museum Beijing]], [[Institute of Contemporary Arts]] London, [[Center for Art and Media Karlsruhe]], [[Ars Electronica]] Linz, [[Massachusetts Museum of Contemporary Art]], [[Art Basel]] in Miami Beach (in collaboration with [[MoMA PS1]]), the [[Florence Biennale]], at the 54th[[Venice Biennale]], the Brno House of Arts, and had a project with the [[University of Cambridge]]. In 2010 he represented Czech art at the World [[Expo 2010]] in Shanghai. In 2007 he received the Premio Internazionale Lorenzo il Magnifico for digital media at the Florence Biennale.
'''Federico Díaz''' is an artist of [[Czechs|Czech]]-[[Argentinean]] descent, who lives and works in [[Prague]]. He has exhibited at the [[Mori Art Museum]] Tokyo, [[China Central Academy of Fine Arts|CAFA Museum Beijing]], [[Institute of Contemporary Arts]] London, [[Center for Art and Media Karlsruhe]], [[Ars Electronica]] Linz, [[Massachusetts Museum of Contemporary Art]], [[Art Basel]] in Miami Beach (in collaboration with [[MoMA PS1]]), the [[Florence Biennale]], at the 54th[[Venice Biennale]], the Brno House of Arts, and had a project with the [[University of Cambridge]]. In 2010 he represented Czech art at the World [[Expo 2010]] in Shanghai. In 2007 he received the Premio Internazionale Lorenzo il Magnifico for digital media at the Florence Biennale.


Díaz seeks to use media and technologies as a socio-political catalyst of social changes.<ref>{{Cite book|title=Federico Díaz : outside itself|last=1954-|first=Heartney, Eleanor|last2=Alanna.|first2=Heiss|last3=Italy)|first3=Arsenale novissimo (Venice|last4=2011)|first4=Biennale di Venezia (54th|date=2011|publisher=Charta|isbn=9788881588220|oclc=781262826}}</ref> His latest long term project BIG LIGHT follows an ongoing series of presentations pressing topics of relationship between nature, human kind and the vision of conscious machines equipped with a highly developed [[Artificial intelligence|AI]].<ref name=":0" />
Díaz seeks to use media and technologies as a socio-political catalyst of social changes.<ref>{{Cite book|title=Federico Díaz : outside itself|last1=1954-|first1=Heartney, Eleanor|last2=Alanna.|first2=Heiss|last3=Italy)|first3=Arsenale novissimo (Venice|last4=2011)|first4=Biennale di Venezia (54th|date=2011|publisher=Charta|isbn=9788881588220|oclc=781262826}}</ref> His latest long term project BIG LIGHT follows an ongoing series of presentations pressing topics of relationship between nature, human kind and the vision of conscious machines equipped with a highly developed [[Artificial intelligence|AI]].<ref name=":0" />


From 2007 to 2014 Díaz was the Head of the Supermedia Studio at [[Academy of Arts, Architecture and Design in Prague]].
From 2007 to 2014 Díaz was the Head of the Supermedia Studio at [[Academy of Arts, Architecture and Design in Prague]].
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== Work==
== Work==
Díaz is associated with a pro-science orientation in contemporary art. In his work, science and art are two equal, integral parts.<ref>{{Cite book|title=Federico Díaz : geometric death frequency 141|last=1958-|first=Thompson, Joseph|last2=Art.|first2=Massachusetts Museum of Contemporary|date=2010|publisher=Charta|isbn=9788881587933|oclc=707609090}}</ref> Philosopher&nbsp;Miroslav Petřiček, who has worked with Díaz since 2008, says “Art is an analogue of science, but we just don’t know which serves as a model for the other.”<ref name="group 2008">{{Cite book|title=Resonance : Federico Díaz, E Area : visual activism, installations, architecture.|last=group)|first=E Area (Art|last2=Center.|first2=P.S. 1 Contemporary Art|last3=2008)|first3=Art Basel Miami Beach (Miami Beach, Fla.) (7th|date=2008|publisher=Charta|isbn=978-8881587216|oclc=317559409}}</ref> For Díaz, science is important as a framework of understanding.<ref name="group 2008"/>
Díaz is associated with a pro-science orientation in contemporary art. In his work, science and art are two equal, integral parts.<ref>{{Cite book|title=Federico Díaz : geometric death frequency 141|last1=1958-|first1=Thompson, Joseph|last2=Art.|first2=Massachusetts Museum of Contemporary|date=2010|publisher=Charta|isbn=9788881587933|oclc=707609090}}</ref> Philosopher&nbsp;Miroslav Petřiček, who has worked with Díaz since 2008, says “Art is an analogue of science, but we just don’t know which serves as a model for the other.”<ref name="group 2008">{{Cite book|title=Resonance : Federico Díaz, E Area : visual activism, installations, architecture.|last1=group)|first1=E Area (Art|last2=Center.|first2=P.S. 1 Contemporary Art|last3=2008)|first3=Art Basel Miami Beach (Miami Beach, Fla.) (7th|date=2008|publisher=Charta|isbn=978-8881587216|oclc=317559409}}</ref> For Díaz, science is important as a framework of understanding.<ref name="group 2008"/>


Díaz’s work is formed together with sources of inspiration from throughout 20th-century art. His approach to art and the concept that the world is a field of diverse energetic vibrations have been essential to Díaz’s development in contemporary art.<ref>{{Cite book|title=Federico Diaz : outside itself|last=Alanna.|first=Heiss|date=2012|publisher=Charta Art|isbn=978-8881588220|oclc=766343952}}</ref>
Díaz’s work is formed together with sources of inspiration from throughout 20th-century art. His approach to art and the concept that the world is a field of diverse energetic vibrations have been essential to Díaz’s development in contemporary art.<ref>{{Cite book|title=Federico Diaz : outside itself|last=Alanna.|first=Heiss|date=2012|publisher=Charta Art|isbn=978-8881588220|oclc=766343952}}</ref>
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==Robotics==
==Robotics==
In 1999, Federico Díaz started an autonomous anthropomorphic augmented structure “Mnemeg” which was responsive to visitors in the gallery space. This was one of his first experiments with smart algorithms and laid the grounds for his others works of the first decade of the new millennium, namely the works "Geometric Death Frequency-141"<ref>https://www.wired.com/2010/11/geometric-death-frequency-141/</ref> for [[Massachusetts Museum of Contemporary Art|MASS MoCA]] (2010) and "Outside Itself"<ref>http://www.e-flux.com/announcements/35574/federico-diaz-s-outside-itself-at-the-54th-venice-biennale/</ref> for the [[Venice Biennale]] (2011).
In 1999, Federico Díaz started an autonomous anthropomorphic augmented structure “Mnemeg” which was responsive to visitors in the gallery space. This was one of his first experiments with smart algorithms and laid the grounds for his others works of the first decade of the new millennium, namely the works "Geometric Death Frequency-141"<ref>{{Cite journal|url=https://www.wired.com/2010/11/geometric-death-frequency-141/|title=Geometric Death Frequency Takes over Museum Courtyard|journal=Wired}}</ref> for [[Massachusetts Museum of Contemporary Art|MASS MoCA]] (2010) and "Outside Itself"<ref>{{Cite web|url=http://www.e-flux.com/announcements/35574/federico-diaz-s-outside-itself-at-the-54th-venice-biennale/|title = Federico Diaz's outside itself at the 54th Venice Biennale}}</ref> for the [[Venice Biennale]] (2011).


Díaz presented results of these projects and their possible implications at the conference Digital Handwerk at the Architekforum Zurich organised by [[ETH Zurich|ETH]] and the studio of [[:de:Gramazio & Kohler|Gramazio & Kohler]] and later on conference RobArch in Vienna.<ref>https://www.springer.com/in/book/9783709114643</ref>&nbsp;
Díaz presented results of these projects and their possible implications at the conference Digital Handwerk at the Architekforum Zurich organised by [[ETH Zurich|ETH]] and the studio of [[:de:Gramazio & Kohler|Gramazio & Kohler]] and later on conference RobArch in Vienna.<ref>{{Cite book|url=https://www.springer.com/in/book/9783709114643|doi = 10.1007/978-3-7091-1465-0|title = Rob &#124; Arch 2012|year = 2013|publisher = Springer|isbn = 978-3-7091-1464-3|editor1-last = Brell-Çokcan|editor1-first = Sigrid|editor2-first = Johannes|editor2-last = Braumann}}</ref>&nbsp;


Díaz's project ''LacrimAu'' at EXPO 2010 in Shanghai took the form of a glass cubicle containing a golden teardrop, with room for a single visitor. The exhibit would read the visitor's brain waves and produce a customized scent in response.<ref>{{citation|url=http://www.artnews.com/2011/03/01/scents-sensibility/|magazine=ArtNews|title=Scents & Sensibility|first=Barbara|last=Pollack|date=March 1, 2011}}</ref>
Díaz's project ''LacrimAu'' at EXPO 2010 in Shanghai took the form of a glass cubicle containing a golden teardrop, with room for a single visitor. The exhibit would read the visitor's brain waves and produce a customized scent in response.<ref>{{citation|url=http://www.artnews.com/2011/03/01/scents-sensibility/|magazine=ArtNews|title=Scents & Sensibility|first=Barbara|last=Pollack|date=March 1, 2011}}</ref>
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In 2013 Díaz started to experiment with printing mechanisms as tools for algorithmic paintings based on the pattern of movement of audience in the exhibition space. This technique was presented at the CAFA Museum in Beijing in the project "You Welded the Ornament of the Times" (2014).{{citation needed|date=June 2017}}
In 2013 Díaz started to experiment with printing mechanisms as tools for algorithmic paintings based on the pattern of movement of audience in the exhibition space. This technique was presented at the CAFA Museum in Beijing in the project "You Welded the Ornament of the Times" (2014).{{citation needed|date=June 2017}}


A shift in Díaz’ perception of technology came with the project "Eccentric Gravity"<ref>https://www.hrad.cz/en/culture-at-the-castle/program/federico-diaz-eccentric-gravity-10225</ref> (2015) curated by [[Jérôme Sans]] and Jen Kratochvil, a site-specific architectural intervention in the historical Renaissance [[:cs:Letohrádek královny Anny|Royal Belvedere Pavilion]].
A shift in Díaz’ perception of technology came with the project "Eccentric Gravity"<ref>{{Cite web|url=https://www.hrad.cz/en/culture-at-the-castle/program/federico-diaz-eccentric-gravity-10225|title=Federico Díaz / Eccentric Gravity}}</ref> (2015) curated by [[Jérôme Sans]] and Jen Kratochvil, a site-specific architectural intervention in the historical Renaissance [[:cs:Letohrádek královny Anny|Royal Belvedere Pavilion]].


Díaz’s long term project BIG LIGHT has been presented at the Brno House of Arts (2016) and in collaboration with [[University of Cambridge]] (2017).{{citation needed|date=June 2017}}
Díaz’s long term project BIG LIGHT has been presented at the Brno House of Arts (2016) and in collaboration with [[University of Cambridge]] (2017).{{citation needed|date=June 2017}}

Revision as of 04:22, 3 June 2021

For other people named Federico Díaz, see Federico Díaz.
Federico Díaz
EducationAcademy of Fine Arts, Prague, CZE
Known forSystems art, Site-specific art, Installation art, Architecture
Notable workOutside Itself, Geometric Death Frequency-141, Sembion, Generatrix, Sakura

Federico Díaz is an artist of Czech-Argentinean descent, who lives and works in Prague. He has exhibited at the Mori Art Museum Tokyo, CAFA Museum Beijing, Institute of Contemporary Arts London, Center for Art and Media Karlsruhe, Ars Electronica Linz, Massachusetts Museum of Contemporary Art, Art Basel in Miami Beach (in collaboration with MoMA PS1), the Florence Biennale, at the 54thVenice Biennale, the Brno House of Arts, and had a project with the University of Cambridge. In 2010 he represented Czech art at the World Expo 2010 in Shanghai. In 2007 he received the Premio Internazionale Lorenzo il Magnifico for digital media at the Florence Biennale.

Díaz seeks to use media and technologies as a socio-political catalyst of social changes.[1] His latest long term project BIG LIGHT follows an ongoing series of presentations pressing topics of relationship between nature, human kind and the vision of conscious machines equipped with a highly developed AI.[2]

From 2007 to 2014 Díaz was the Head of the Supermedia Studio at Academy of Arts, Architecture and Design in Prague.

Education and Artistic Career

Díaz graduated from the Academy of Fine Arts, Prague (1990–1997).[3] In 1993 he received a scholarship to Alexander Dorner Kreis. He has also completed a research fellowship at the Cité internationale des arts in Paris and at the Soros Center for Contemporary Art (SCCA-Ljubljana).[3]

Díaz was a lecturer at Masaryk University in Brno, where he took part in creating the Digital Media specialization at the Faculty of Social Studies.[4] In Prague, he was the Head of the Supermedia Studio at the Academy of Arts, Architecture and Design (AAAD), which he founded together with Rafani art group member David Kořínek.[5] He has also lectured at Columbia University in New York City, Storefront for Art and Architecture, University at Buffalo and Gramazio & Kohler Architecture and Digital Fabrication, ETH Zürich.[citation needed]

Díaz received a special award from the Nicola Trussardi Foundation for his work Generatrix at Milano Europe Futuro Presente in 2001. In 2007 he received the Premio Internazionale “Lorenzo il Magnifico” award at the Florence Biennale for his project Sakura.[6]

From 1996 until 2002 he was a finalist for the Jindřich Chalupecký Award, which is granted to Czech artists under 35 years of age.[7]

Since the early 1990s, Díaz has exhibited at festivals and new media group exhibitions in Europe and Japan. His first solo exhibition was at City Gallery Prague in 1997, and since that time his solo exhibitions in the Czech Republic have been held at the Moravian Gallery in Brno, Mánes Exhibition Hall, Prague Castle Riding School, the National Gallery in Prague, and the Brno House of Arts.[2]

He has also exhibited at numerous international exhibitions and prominent institutions, including the Institute of Contemporary Art and Royal Institute of British Architects in London, ZKM Center for Art and Media Karlsruhe (2004), Fondation Electricité de France in Paris (2003), Ars Electronica Festival in Linz (2005) and Mori Art Museum in Tokyo (2005). Important recent projects have included MASS MoCA in North Adams, Massachusetts (2010), the 54th Venice Biennial (2011), a project in collaboration with the University of Cambridge (2017).[2] SLS object from his Resonance project is a part of permanent collection at the FRAC Centre in Orleans, France.[8]


Work

Díaz is associated with a pro-science orientation in contemporary art. In his work, science and art are two equal, integral parts.[9] Philosopher Miroslav Petřiček, who has worked with Díaz since 2008, says “Art is an analogue of science, but we just don’t know which serves as a model for the other.”[10] For Díaz, science is important as a framework of understanding.[10]

Díaz’s work is formed together with sources of inspiration from throughout 20th-century art. His approach to art and the concept that the world is a field of diverse energetic vibrations have been essential to Díaz’s development in contemporary art.[11]

Alanna Heiss, the founder and till recently the Director of MoMA PS1 in New York, requested that Díaz’s installation Ultra represent MoMA PS1 at Miami Art Basel. She explains, “Diaz’s installation, ULTRA, is in many ways a visualization of metaphysical space. With roots in Eastern Europe and South America, Díaz’s interest in futurism and modernism stems from two continents. His practice encompasses the Utopian attitudes of the 1960s as well as the advanced materials of this century.”[10]

Thomas M. Messer, Director Emeritus of the Solomon R. Guggenheim Museum, says the following about Diaz’s work: “The work of Federico Diaz may be seen in terms parallel to music, which is made up of tonalities and of rhythms. In the visual arts, these elements correspond to colors and forms. Díaz’s static and kinetic elements thus combine to yield a high degree of expressiveness, which, again as in the case of music, remains without representational intent.”[10]

Díaz speaks about the power of man, opportunities for better education and understanding among societies and people.[2]

Robotics

In 1999, Federico Díaz started an autonomous anthropomorphic augmented structure “Mnemeg” which was responsive to visitors in the gallery space. This was one of his first experiments with smart algorithms and laid the grounds for his others works of the first decade of the new millennium, namely the works "Geometric Death Frequency-141"[12] for MASS MoCA (2010) and "Outside Itself"[13] for the Venice Biennale (2011).

Díaz presented results of these projects and their possible implications at the conference Digital Handwerk at the Architekforum Zurich organised by ETH and the studio of Gramazio & Kohler and later on conference RobArch in Vienna.[14] 

Díaz's project LacrimAu at EXPO 2010 in Shanghai took the form of a glass cubicle containing a golden teardrop, with room for a single visitor. The exhibit would read the visitor's brain waves and produce a customized scent in response.[15]

In 2013 Díaz started to experiment with printing mechanisms as tools for algorithmic paintings based on the pattern of movement of audience in the exhibition space. This technique was presented at the CAFA Museum in Beijing in the project "You Welded the Ornament of the Times" (2014).[citation needed]

A shift in Díaz’ perception of technology came with the project "Eccentric Gravity"[16] (2015) curated by Jérôme Sans and Jen Kratochvil, a site-specific architectural intervention in the historical Renaissance Royal Belvedere Pavilion.

Díaz’s long term project BIG LIGHT has been presented at the Brno House of Arts (2016) and in collaboration with University of Cambridge (2017).[citation needed]

Selected Works and Projects

  • BIG LIGHT I'm Leaving the Body (2019)
  • Subtile Sacramento (2017-2018)
  • BIG LIGHT Space of Augmented Suggestion (2017)
  • BIG LIGHT (2016), The Brno House of Arts handed over its historic International Style galleries to Díaz, to create an experimental laboratory and its information centre.
  • Eccentric Gravity (2015), utilises the architectural features of Prague Castle's Belvedere Palace as the ground plan for a reflection on the building history.
  • Outside Itself (2011), created specifically for the Arsenale at the Venice Biennial 2011 as part of ILLUMInations.[17]
  • You Welded the Ornament of the Times (2014), Walls in the CAFA Art Museum in Beijing acts as a canvases for recording the action; an automated plotter system layers traditional ink on the surface, creating a permanent record of this ephemeral activity.
  • Geometric Death Frequency-141 (2010), a site-specific installation for MASS MoCA in Massachusetts.[18]
  • LacrimAu 2010
  • Adhesion 2009
  • Ultra 2008
  • Resonance 2007
  • Efekt 2006
  • Fluid F1 2006
  • Sakura 2004-2005
  • Sembion (2003-2004), created in cooperation with the Research Centre at the Academy of Fine Arts in Prague and Jiří Ševčík, a Czech art theorist. The project has been presented at Die Algorithmische Revolution at Center for Art and Media Karlsruhe, and Institute of Contemporary Arts London.[citation needed]
Sembion
  • Generatrix 1999-2002
  • Mnemeg 1999-2002
  • Empact 1998
  • Photon I, II 1996-1997
  • Spin 1994
  • Dehibernation I, II (1993-1994), exhibited at the Biennale of Young Art at City Gallery Prague in 1994 and at the Netz Europa exhibition in Linz, Austria.[citation needed]
Eccentric Gravity
BIG LIGHT

References

  1. ^ 1954-, Heartney, Eleanor; Alanna., Heiss; Italy), Arsenale novissimo (Venice; 2011), Biennale di Venezia (54th (2011). Federico Díaz : outside itself. Charta. ISBN 9788881588220. OCLC 781262826. {{cite book}}: |last1= has numeric name (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  2. ^ a b c d BIG LIGHT. Czech Republic: BIG LIGHT. 2016. ISBN 9788070091746.
  3. ^ a b Various authors. Federico Díaz E AREA. Resonance. Charta Art Books, 2009.
  4. ^ "ne100". ne100.org. Archived from the original on 2016-06-22. Retrieved 2017-05-27.
  5. ^ "Vysoká škola uměleckoprůmyslová v Praze". umprum.cz. Retrieved 2017-05-27.[permanent dead link]
  6. ^ "Artisti Premiati 2007 - Florence Biennale". Florence Biennale (in Italian). Retrieved 2017-05-30.
  7. ^ "Federico Diaz". cjch.cz. Retrieved 2017-05-30.
  8. ^ "Frac Centre".
  9. ^ 1958-, Thompson, Joseph; Art., Massachusetts Museum of Contemporary (2010). Federico Díaz : geometric death frequency 141. Charta. ISBN 9788881587933. OCLC 707609090. {{cite book}}: |last1= has numeric name (help)CS1 maint: multiple names: authors list (link)
  10. ^ a b c d group), E Area (Art; Center., P.S. 1 Contemporary Art; 2008), Art Basel Miami Beach (Miami Beach, Fla.) (7th (2008). Resonance : Federico Díaz, E Area : visual activism, installations, architecture. Charta. ISBN 978-8881587216. OCLC 317559409. {{cite book}}: |last3= has numeric name (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  11. ^ Alanna., Heiss (2012). Federico Diaz : outside itself. Charta Art. ISBN 978-8881588220. OCLC 766343952.
  12. ^ "Geometric Death Frequency Takes over Museum Courtyard". Wired.
  13. ^ "Federico Diaz's outside itself at the 54th Venice Biennale".
  14. ^ Brell-Çokcan, Sigrid; Braumann, Johannes, eds. (2013). Rob | Arch 2012. Springer. doi:10.1007/978-3-7091-1465-0. ISBN 978-3-7091-1464-3.
  15. ^ Pollack, Barbara (March 1, 2011), "Scents & Sensibility", ArtNews
  16. ^ "Federico Díaz / Eccentric Gravity".
  17. ^ Alanna Heiss, Eleanor Heartney. Outside Itself. Charta Art Books, 2011.
  18. ^ Joseph Thompson, Federico Díaz, Jeffrey Kipnis, Alanna Heiss. Federico Díaz. Geometric Death Frequency –141. Charta Art Books, 2010.

External links

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