【台北·敦仁】【上海·外灘】 「DÉJÀ VU 似曾相識」- Pascal Dombis 帕斯卡爾·多比斯個展 2021.11.20, 27 – 2022.1.29

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Trailer

藝術家影片Artist Video

‘DÉJÀ VU’

— Pascal Dombis


Pascal Dombis is a French visual artist currently living and working in Paris. He graduated with a bachelor’s degree in engineering from Insa University in Lyon, France before settling on pursuing an artistic career. His decision to focus on art led him to Tufts University where he completed a series of computer art classes in 1987. Dombis uses computers and algorithms to produce excessive repetition of simple processes, and explores such fields as language, noise, control, and irrationality. He had been exhibited internationally and is increasingly gaining recognition worldwide. His exhibition includes Musée en Herbe in France, Museum Kunstpalast in Denmark, Velchev Art Museum in Bulgaria, The Page Gallery in South Korea and also the University of Georgia in the USA. Notably, Dombis has been commissioned to create monumental public works for the City of Perth, Australia and also the Ministry of Culture in France.  

Dombis 多比斯曾在訪談中提及他的作品受到美國作家 William Burroughs 威廉. 柏洛茲影響,探討如何解放文字,將線性文本隨機切割成不同的部分,然後重新組合成一個新的、不可預測和不合邏輯的「文本」。作品對每個觀衆而言,如同視覺圖像觸發意識中的記憶,曾經看過的場景及光影,每個元素都將有意義。 Dombis 多比斯多年使用電腦與演算法來生成簡單複製幾何與印刷符號,處理文本、圖像、線條,透過簡單的代碼提供指令,在過程中不斷添加其他隨機參數, 創造不可預測的動態視覺圖形。而「偶然性」與「隨機性」被 Dombis 多比斯當作是藝術核心工具,他設法「親手」對隨行性進行某種程度的掌握。事實上,當進行隨機實驗千萬次之後,Dombis 多比斯便掌握了許多變因的關鍵,因此隨機性的因子便能被控制。作品 Double connection,藝術家手動編輯選定線條,在數千線條中掌握了部分的顔色值,使其具有美學整體性。

Dombis uses optical materials such as lenticular plates to revisit the way viewers look at things, and to question the very nature of images in the broad sense of the word. By using lenticular, it allows him to play with the viewer’s gaze. Depending on her/his position, the visual experience is never the same. The incessant circulation of images has made the way of looking at things more dynamic. Moreover, the lenticular material questions this new reading paradigm and brings about a physical and time-related experience. This de-structuring structures and irrational environments disturb, engage and inspire the viewer, posing fascinating paradoxes between the mechanical control and chaotic randomness that produce them. 

To Dombis, it is up to living artists to hack the time lines imposed by digital systems, bots and other forms of Artificial Intelligence. As he once stated, “Questioning the world we live in, whatever its potentials or hazards, is definitely much more fun if we use the tools that it has designed itself.”

when you gaze at the works in the Post-Digital Surface series,you irresistibly get lost along their surfaces because our unquenchable eyes, alternatively blinded by lights and shadows, are never fixed.

SpamScape is based on the proliferation of words commonly used in the electronic mail spams. The spams are these advertising messages, not solicited and sent massively via emails. Interestingly enough, their number is huge and they would represent something like 90% of the worldwide electronic traffic. Moreover they are generated by robots which would very much like to sound like human beings because if they do, their messages would precisely go to your email boxes and not directly dumped in your trash bins. Those bots use lots of technological tricks to sound like Humans, which reminds me of course of the Avant-Garde and experimental writings by Alfred Jarry, Marcel Duchamp or other representatives of lettrism: swopping or switching letters in a word, playing with typography, capitalizing print characters, generating spelling mistakes or cutting up textual fragments. All those efforts to convince other robots (firewalls and spam filters) that the messages in question have been written by human beings, and not produced by machines. It is the day-to-day struggle between Man and Machine-pretending-to-be-Man to produce more fakes, fake medicines, fake rumours, and genuine rip-offs.

The Limits of Control is based on a seminal text by William Burroughs on the same subject. For the artist, this text related to global surveillance concepts is a source of inspiration. Beyond its sociological immediacy, the artwork deals with issues such as data excess (big data), meta-data, emergence, non-linearity, geometry and language… William Burroughs’ experimental writings and his use of the random factor as a creative process have inspired Pascal Dombis for many years. And especially the famous Cut-Up technique developed by Burroughs with artist Brion Gysin in 60’s Paris. By destructuring texts in both a random and non-linear way, Cut-Up allows to create a new language which is for Dombis a very closed match in today’s digital and technological universes.

新作 I AM NOT A ROBOT ,呈現成千上萬臉孔的排列,交錯著真實個人及經由演算法製造的AI面孔圖像,並以文字” Are You Real, Are You Robot,… ”傳達現實世界發生真實與虛擬群像的真偽難辨現象。

That line, I have stretched it in every direction, and I have probed into many potentialities and variations… I learnt a lot from it because a line is not just a line: it is a whole story. It might even be the story of Mankind. The Aborigines in Australia believe that a line can reveal the history of the world’s creation. They also use the same word to refer to a line or to a territory. A line always makes me think of Lucretius’s clinamen. According to Epicure and his followers, the creation of the world stems from the slight swerve of atoms in their apparently vertical fall, they knock together, giving birth to the real world. To put it in a nutshell, a line generates reality. It is a very interesting aesthetic tool because you can transform a curve into a straight line by stretching it endlessly. It is a game I have enjoyed playing at, up to these days. Curvaceous lines also reveal the story of the Baroque movement in Western civilizations. They also speak volumes.

DÉJÀ VU‘
–  Pascal Dombis

Bluerider ART ,DunRen Gallery
2021.11.20 – 2022.1.29
Tue.-Sun., 10am – 7pm
1F., No. 10, Ln. 101, Sec. 1, Da'an Rd., Da’an Dist., Taipei City 106 , Taiwan 

Bluerider ART, Shanghai 
2021.11.27 – 2022.1.29
Tue.-Sun., 10am – 7pm
133 Sichuan Middle Rd., Huangpu Dist., Shanghai
 

藝術家 Artist


Pascal Dombis 帕斯卡爾·多比斯
(France, b.1965)

Pascal Dombis is a French visual artist currently living and working in Paris. He graduated with a bachelor’s degree in engineering from Insa University in Lyon, France before settling on pursuing an artistic career. His decision to focus on art led him to Tufts University where he completed a series of computer art classes in 1987. Dombis uses computers and algorithms to produce excessive repetition of simple processes, and explores such fields as language, noise, control, and irrationality. He had been exhibited internationally and is increasingly gaining recognition worldwide. His exhibition includes Musée en Herbe in France, Museum Kunstpalast in Denmark, Velchev Art Museum in Bulgaria, The Page Gallery in South Korea and also the University of Georgia in the USA. Notably, Dombis has been commissioned to create monumental public works for the City of Perth, Australia and also the Ministry of Culture in France.  

Pascal Dombis 於巴黎大皇宮 Grand Palais 參與聯展 Artistes & Robots,並展出作品 Spam Space (2018)

Over decades of his career, Dombis has been using computers and algorithms to generate elaborate repetitions of simple processes, which computationally reproduce geometric or typographical signs. Started as a painter, Dombis notes that his encounter with William Burroughs’s art was a key moment for his new investigations into digital art. The Cut-Up techniques developed by William Burroughs and Brion Gysin in the late 50s and 60s have opened new horizons for him. Burroughs was a writer, but he has a very peculiar and singular visual approach to words and language. His vision is also political: Cutting up a linear text at random into different parts and reassembling them into a new unpredictable and illogical “text” is not so far from what Dombis have been doing with algorithms and computers. By introducing the random factor in language, a new language emerges in confrontation with the control structures of the surrounding societies. To Dombis, Burroughs’s texts are a perfect echo to our era.

Pascal Dombis 於巴黎新興複合式數位藝術空間 EP7 media façade 展出影像作品 The End (less) (2018)

Ligne-Flux (2016), @ Ecole Nationale Supérieure d’Architecture, Strasbourg, FR , Pascal Dombis & Gil Percal (architect), Foot-bridge under face, printed glass, 2016, Ecole Nationale Supérieure d’Architecture, Strasbourg

Perspectives Inversées, Jardin du Palais-Royal, Paris, 2017

Time Cube (2017), @ Orenga de Gaffory, Patrimonio, FR , UV black print on digitally cut aluminum composite with inside mirror. Pascal Dombis

Over decades of his career, Dombis has been using computers and algorithms to generate elaborate repetitions of simple processes, which computationally reproduce geometric or typographical signs. Started as a painter, Dombis notes that his encounter with William Burroughs’s art was a key moment for his new investigations into digital art. The Cut-Up techniques developed by William Burroughs and Brion Gysin in the late 50s and 60s have opened new horizons for him. Burroughs was a writer, but he has a very peculiar and singular visual approach to words and language. His vision is also political: Cutting up a linear text at random into different parts and reassembling them into a new unpredictable and illogical “text” is not so far from what Dombis have been doing with algorithms and computers. By introducing the random factor in language, a new language emerges in confrontation with the control structures of the surrounding societies. To Dombis, Burroughs’s texts are a perfect echo to our era.

To Dombis, it is up to living artists to hack the time lines imposed by digital systems, bots and other forms of Artificial Intelligence. As he once stated, “Questioning the world we live in, whatever its potentials or hazards, is definitely much more fun if we use the tools that it has designed itself.”
 

Collection

Press

Pascal Dombis
(French, b. 1965)

Solo Exhibitions

2021  Barroco! II, Galerie Odile Ouizeman, Paris ,FR
2020 Futurs Antérieurs, La Chapelle, Chaumont – FR
2020 Regards d’Artistes, Château d’Aunoy, Champeaux – FR
2019 The Invisible Generation, Galerie Pascal Janssens / Keyes Art Mile, Johannesburg – SA
Crackography, Galerie Pascal Janssens, Gand – BE
2018 IBU Gallery, Paris – FR
2017 Perspectives Inversées, Jardin du Palais-Royal & IBU Gallery, Paris – FR
Crack Time, TZR Galerie, Düsseldorf – DE
2017 Time Is Time Was, Espace Orenga de Gaffory, Patrimonio – FR
2017 Image is Time, Galerie Pascal Janssens, Gand – BE
2016 Reality is a Scanning Pattern, Stiftung Bartels Fondation, Basel – CH
2015 The Limits of Control, Galerie Pascal Janssens, Gand – BE
2015 CONTROL, TZR Galerie, Düsseldorf – DE
2015 Text(e)~Fil(e)s, Cité de la Mode et du Design, Paris – FR (cat.)
2015 The End(less), Budapest Art Factory, Budapest – HU
2014 Mixed Grill(e), RAYGUN Art Projects, Toowoomba – AUS
2014 Irrational Geometrics, Holly Hunt, New York – USA
2013 Post-Digital, TZR Galerie, Düsseldorf – DE
2013 The End(less), Nuit Blanche, Métro Gare de Lyon, Paris – FR
2013 Glitch_Stitch, Galerie Pascal Janssens, Gand – BE
2012 Extra_Vague, Galerie RX, Paris – FR
2012 Eurasia, The Cat Street Gallery, Hong Kong – HK (cat.)
2012 Eurasia, TZR Galerie, Düsseldorf – DE (cat.)
2012 Le Musée en Herbe, Paris – FR
2012 IBU Gallery, Paris – FR
2011 Gott ist Tot, Claudio Bottello Contemporary, Turin – IT
2011 Pourquoi ?What_Next ?, Nuit Blanche, Saint-Eustache, Paris – FR
2010 Text(e)~Fil(e)s, Palais-Royal, Paris – FR (cat.)
2010 IBU Gallery, Paris – FR
2010 EXCES I, The Page Gallery (Die Galerie), Seoul – KR (cat.)
2010 EXCES II, Wooson (Seok) Gallery, Daegu – KR (cat.)
2009 Image-Flux, Galerie RX, Paris – FR (cat.)
2009 Time Spirals, The Cat Street Gallery, Hong Kong – HK (cat.)
2008 Géométries Irrationnelles, Galerie municipale, Vitry-sur-Seine – FR (cat.)
2007 BLINK, Artpool, Budapest – HU (cat.)
2007 RRB, Espace Orenga de Gaffory, Patrimonio – FR
2006 @tom1k, Hôtel Pams, Mairie de Perpignan, Perpignan – FR
2005 SpamScape, Maison Populaire, Montreuil – FR
2005 Château de Linardie, Senouillac – FR
2004 Hyper-Structures, Fort Napoléon, La Seyne-sur-Mer – FR (cat.)
2004 Galerie Mabel Semmler, Paris – FR (cat.)
2002 Galerie Mabel Semmler, Paris – FR
2001 Galerie EOF, Paris – FR

Group Exhibitions

2020 Algorithm & Appropriation, Bluerider Ren-Ai Gallery, Taipei – TW
2020 Hemera, IBU Gallery, Paris – FR
2019 The Invisible Man, Wood Street Galleries, Pittsburgh – USA
2019 Linha Atemporal, Dan Galeria, São Paulo – BR
2019 ArtJaws, Zurcher Gallery, New York – USA
2019 Einsichten IV, Galerie Hengevoss-Dürkop, Hamburg – DE
2019 Cape Town Art Fair, Galerie Pascal Janssens, Cape Town – SA
2019 SP-Arte, Dan Galeria, São Paulo – BR
2019 Art Paris, Galerie Hengevoss-Dürkop, Paris – FR
2019 Wechselspiel, Pforzheim Galerie, Pforzheim – DE
2019 Mutatio, Garage Amelot, Paris – FR
2018 Artistes & Robots, Galeries Nationales, Grand Palais, Paris – FR (cat.)
2018 Cape Town Art Fair, Galerie Pascal Janssens, Cape Town – SA
2018 Carte Blanche, Galerie Hengevoss-Dürkop, Hamburg – DE
2018 The End(less) / Exo Gallery, EP7, Paris – FR
2018 KIAF, The Page Gallery, Seoul – KR
2018 Carte Blanche Zeitgenössisch, Institut Français, Hamburg – DE
2017 Cybernetic Consciousness, Itaú cultural, Sao Paulo – BR (cat.)
2017 Modus Operandi, The Société, Bruxelles – BE
2017 Interferences, Galerie NMarino, Paris – FR
2017 Cape Town Art Fair, Galerie Pascal Janssens, Cape Town – SA
2017 Das Skulpturenprojekt, Städtische Galerie, Villingen-Schwenningen – DE
2017 FNB JoburgArtFair, Galerie Pascal Janssens, Johannesburg – SA
2017 Variation, Cité internationale des arts, Paris – FR
2017 A bao a qou, Bamhaus, Luxembourg
2016 Monochrome, The Société, Bruxelles – BE
2016 Connected, Centrale for contemporary art, Bruxelles – BE (cat.)
2016 Société de Service, Plateforme, Paris – FR
2016 Cape Town Art Fair, Galerie Pascal Janssens, Cape Town – SA
2016 Interactivo, Galería Odalys, Madrid – ES (cat.)
2016 Summer Exhibition, Galerie Pascal Janssens, Gent – BE
2016 Bizarro, Galerie Frédéric Castaing, Paris – FR
2016 RE-culture 4, Agora Argyri, PATRAS – GR (cat.)
2016 The End(less), Studio Abel14, Paris – FR
2015 Nel Blu dipinto di Blu, da Yves Klein a…, Museum of Modern and Contemporary Art, Acri – IT (cat.)
2015 Perspectives, Art Plural Gallery, Singapore
2015 Ré-émergence, La Maison Populaire, Montreuil – FR (cat.)
2015 Cine Retrospective, Perth Cultural Centre, Perth – AUS
2015 ArtParis, Galerie Pascal Janssens, Paris – FR
2015 London Art15, Galerie Pascal Janssens, London – UK
2015 Voltaje, Centro Creativo Textura, Bogotá – COL
2015 Variation, Espace des Blancs Manteaux – Paris, FR
2015 The End(less), La Noche en Blanco, Bogotá – COL
2015 Arte-Scienza, Palazzo Costanzi, Trieste, IT (cat.)
2014 Art14, Galerie Pascal Janssens, London – UK
2014 ArtParis, Galerie Pascal Janssens, Paris – FR
2014 Summer Show, Galerie Pascal Janssens, Gent – BE
2014 Portrait, Galerie RX, Paris – FR
2014 Art Taipei, The Cat Street Gallery, Tapei – TW
2013 NOISE, 55th Venice Biennale of Art (Collateral Event), Venise – IT (cat.)
2013Année Lenôtre, Les Nouvelles Folies Françaises, Domaine National de St-Germain-en-Laye – FR
2013 Oltre il sublime, Art Space Luisi Spa, Trieste – IT
2013 Wonder Works, The Cat Street Gallery, Hong Kong – HK
2013 Plaisir, Galerie RX, Paris – FR
2013 Made in light, Fondation Vasarely, Aix-en-Provence – FR
2013 Made in light, Fondation EDF, Paris – FR
2013 Artshow Busan, The Page Gallery, Busan – KR
2013 Show Off, the Media Art Fair, Galerie RX, Paris – FR
2013 KIAF, The Page Gallery, Seoul – KR
2012 Schrift und Bild, Museum Kunstpalast, Düsseldorf – DE
2012 Won Ocean, Neue Galerie Gladbeck, Gladbeck – DE
2012 Plaisir, Galerie RX, Paris – FR
2012 Update_4 Biennal, iMAL, Bruxelles – BE
2012 Non & Digital, The Central House of Artists, Moscow – RU
2012 Show Off, the Media Art Fair, Paris – FR
2012 Autour du Psychedelisme, Galerie Janos, Paris – FR
2011 Hybrid Boy, TZR Galerie, Düsseldorf – DE
2011 HK Art Fair, The Cat Street Gallery, Hong Kong – HK
2011 SOAF, The Page Gallery, Seoul – KR
2011 Signal 8, The Cat Street Gallery, Hong Kong – HK
2010 Tou_R0se, Traverse, Centre Bellegarde, Toulouse – FR
2010 Salon Dessin Contemporain, Galerie RX, Paris- FR
2010 HK Art Fair, The Cat Street Gallery, Hong Kong – HK
2010 New Era, Galerie RX, Paris – FR
2010 Paratissima, Claudio Bottello Contemporary, Turin – IT
2009 EcritureAbstraction, Galerie RX, Paris – FR
2009 HK Art Fair, The Cat Street Gallery, Hong Kong – HK
2008 Imaging by numbers, Block Museum, Chicago – USA (cat.)
2008 art.ficial 4.0, Instituto Itaú cultural, Sao Paulo – BR (cat.)
2008 Great wall of Oakland, Oakland – USA
2008 Videoholica 08, Velchev Art Museum, Varna – BU
2008 Signal 8, The Cat Street Gallery, Hong Kong – HK
2007 Traverse, Centre Bellegarde, Toulouse – FR (cat.)
2007 Victory Media Network, Dallas – USA
2007 Slought in Berlin, Galerie Heike Curtz, Berlin – DE
2007 Slick, Galerie Numeriscausa, Paris – FR
2006 Almost Art, Slought Fundation, Philadelphia – USA
2006 Process Revealed, Artpool, Budapest – HU
2006 Trampoline, Broadway Media Centre, Nottingham – UK
2005 Espace Recherches / DesignLab, Salon du Meuble, Paris – FR
2005 Nuit d’Art, Place Saint Sulpice, Paris – FR
2004 Plasticité, Galerie Mabel Semmler, Paris – FR
2004 Generative Art Conference, Milan – IT
2004 International Festival of Electronic Art 404, Rosario – AR
2004 Canon Digital Creator Award, SVA Computer Art, New York – USA
2003 Canon Digital Creator Award, Spiral gallery, Tokyo – JP (cat.)
2002 Espace Cardin, Paris – FR
2000 Le temps fractal, Galerie Xippas, Paris – FR (cat.)
2000 Universal Concepts Unlimited, New York – USA
1999 Fractalisations, Villa Tamaris, La Seyne-sur-Mer – FR (cat.)
1999 Fractalisations,Abbaye de Ronceray, Angers – FR
1999 Habiter les réseaux, Galerie de l’école des Beaux-Arts, Metz – FR
1999 Centre Culturel Français, Turin – IT
1997 Fractal Art, Fondation Ricard, Paris – FR (cat.)
1997 Fractal, Palazzo Economo, Trieste – IT
1997 Zoom, Visual Arts Gallery, Purchase College, New York – USA (cat.)
1997 Caos Vertiginoso, Galleria Cruce, Madrid – SP
1996 Microcosmos, University of Georgia, Athens – USA
1996 Vous avez dit Fractal, Musée, Médiathèque, Le Parefeuille, Enclos de la Source, Uzès – FR
1996 Modernita, Palazzo Bricherasio, Turin – IT (cat.)
1995 Galerie Arx, Turin – IT (cat.)
1995 Art Fractal, Galerie Angle, Saint-Paul-Trois-Châteaux – FR
1994 Ars Electronica (Honorary Mention), Linz – AT (cat.)
1993 Salon de Montrouge, Montrouge – FR (cat.)
1991 Salon de Montrouge, Montrouge – FR (cat.)
1991 Jeune Peinture, Paris – FR (cat.)
1990 Jeune Peinture, Paris – FR (cat.)
1988 Multi Media Art Gallery, New York – US
1988 Plan de Travail, Lyon – FR
1986 Plan de Travail, Lyon – FR

Publications

2018 Pascal Dombis, Monograph, Supernova éditions
2018 L’art au-delà du digital, Dominique Moulon, nouvelles éditions Scala
2018 Artistes & Robots, Laurence Bertrand Dorléac, Jérôme Neutres, Réunion des musées nationaux
2015 Art et Numérique en résonance, Dominique Moulon, Maison populaire et les nouvelles éditions Scala
2015 Mathematics and Art – A Cultural History, Lynn Gamwell, Princeton University Press
2014 Géométrie de l’excès, Michel Verlinden, Focus Vif Express
2013 Lettering Large The Art and Design of Monumental Typography, Steven Heller & Mirko Ilic, The Monacelli Press
2013 Artpool – The Experimental Art Archive of East-Central Europe, Artpool, Budapest
2012 A New Regime of Images, Christine Buci-Glucksmann, Art Absolument
2012 Pascal Dombis’ Eurasia, Kay Heymer, TZR Galerie, Düsseldorf
2011 CensorZip, Pipeline Magazine, issue #24
2011 Spigolature tra Venezia e la Francia, Giancarlo Pagliasso, revue Zeta
2010 Aesthetics of Digital Art, Simon Erohin, publisher: Aletheia (Russian)
2010 Exces, Henri-François Debailleux, Die Galerie, Seoul
2009 Art, Code, and the Engine of Change, Paul Hertz, CAA Art Journal
2008 Philosophie de l’ornement : D’Orient en Occident, Christine Buci-Glucksmann, Galilée
2007 From Technological to Virtual Art, Frank Popper, MIT Press
2007 SpamScape, Maria Maccotta et Pierre Vermeersch, La Re-Visite, Traverse, Toulouse
2007 Dombis fait bonne impression, Henri-François Debailleux, Libération
2006 Au-delà de la mélancolie, Christine Buci-Glucksmann, Galilée
2004 La Main de l’Homme, Blackhawk, La Seyne-sur-Mer
2002 La folie du voir, Christine Buci-Glucksmann, Galilée
2002 Pascal Dombis : Les peintures bien roulées de la computation, Joseph Nechvatal
2002 Dombis, des lignes à l’infini, Henri-François Debailleux, Libération
2000 L’art depuis 1945, Hervé Gauville, Hazan

Public Arts

2020 Lujiazui HARBOUR CITY, Pascal Dombis & Gil Percal, , Shanghai, CN
2016 Ecole Nationale d’Architecture de Strasbourg, Pascal Dombis and Gil Percal, FR
2015 Kings Square, Pascal Dombis and Gil Percal ,Perth, AUS

Collections

Daegu Art Museum, Daegu, KR
Ville de Vitry-sur-Seine – FR
Musée des Beaux Arts, Szepmuveszeti Muzeum, Budapest – HU
Seiko Epson Corp. – JP
Canon Inc. – JP
Victory Arts Collection – USA
Block Museum, Chicago – USA
Fondazione Palazzo Bricherasio – IT
Yageo Foundation – TW

台北·敦仁 作品 Works


Out Of Space, Out Of Time

2017 | 60x60cm | Lenticular print on cut mirror aluminum composite

上海·外灘 作品 Works


I AM NOT A ROBOT (F1)

2021| 55x80cm|Pigment print and acrylic gel on archival paper

DEJAVU

2021| 90x120cm| Blowtorch burned lenticular print on aluminum composite 01

Post-Digital Surface

2021|3 panels,60x180cm each| Lenticular print on aluminum composite

Post-Digital Surface

2019|60x160cm each | Lenticular print aluminum composite