Quasi-Objects / BW-Studies, 2006

Quasi-Objects / BW-Studies is a limited edition of four prints produced in 2006, based on the studies conducted that same year for the video Quasi-Objects / Cinematic N.07 (for further information, please see the related page). The works were printed on “Hahnemühle FineArt Pearl 285 gsm” paper (chosen for its stunning pearl finish and its ability to enhance deep blacks and fine tonal transitions).

Completed in 2013, the Quasi-Objects cycle consists of ten videos, video installations, and over one hundred prints and preparatory studies, all generated using 3D modeling and animation software.

Its title, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Year : 2006
Tech Specs : Archival Pigment-Based Inks, Hahnemühle FineArt Pearl 285 gsm, Ed. of 3 (2 prints 40×40 cm – 1 print 60×60 cm)
Copy & Credits : Lorenzo Oggiano

Quasi-Objects / T-Studies, 2005

These are the second set of 3D studies I produced, belonging to the Quasi-Objects cycle. The creation and rendering process took a significant amount of time: in those days, both the software and the available GPUs and processors were characterized by performance levels incomparable to those of today.

The rendered images were printed using Lambda printing and mounted on 5mm Forex panels.

Completed in 2013, the Quasi-Objects cycle consists of ten videos, video installations, and over one hundred prints and preparatory studies, all generated using 3D modeling and animation software.

Its title, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Year : 2005
Tech Specs : Lambda prints on 5 mm Forex, Edition of 5 + 2 AP (62.5×50 cm), 2005
Copy & Credits : Lorenzo Oggiano

Quasi-Objects / Studies, 2003-2004

Presented here are the very first studies pertaining to the Quasi-Objects cycle: Labda prints mounted on wood panels covered with aluminum (AP, Artist’s private collection).

Completed in 2013, this cycle consists of ten videos, video installations, and over one hundred prints and preparatory studies, all generated using 3D modeling and animation software.

Its title, borrowed from Nous n’avons jamais été modernes by Bruno Latour (which in turn refers to reflections advanced by Michel Serres in Le Parasite and Statues), represents my intention to make a precise reference to that ‘regime of ontological undecidability’ which, at least since the second half of the last century, has progressively and definitively reshaped the order of ‘men and things.’

Processing its synthetic-combinatory genesis as an operational advantage within a practice of organic (re)-design of organisms and ecosystems, the Quasi-Objects cycle intends to stimulate thought and dialogue about the ongoing relativization of natural forms of life as a result of techno-biological evolution. By subordinating the classical conception of representation (its optical-discursive apparatus) to an ‘aesthetic of process’—in which the sensory outcome emerges from a computational morphogenesis, through an an-optic procedure that actualizes it—the project aims to assert the opportunity to conceptualize the living in terms of a dynamic relationships between processes: a transient output of an operative practice independent of the material component.

As entities emerging in the absence of ontological referents, synthetic images shift attention from the ‘image’ itself to its embodied ‘knowledge quota,’ helping us to become aware of our rapidly evolving relationship with the alterity due to an increasingly intertwined technological apparatus with the bio-genetical one … moving toward a non-dialectical reconciliation with the ‘Alterity,’ beyond any stable representation that preserves the proliferation of the ‘Difference.’

Life is a real and autonomous process independent of any specific material manifestation, a generative grammar independent of the bearer (s)object.

Year : 2003-2004
Tech Specs : Lambda Prints, AP (Various Dimensions)
Copy & Credits : Lorenzo Oggiano

Sample-Kit, 2001-2003 (2008)

A series of twenty prints concerning the complexification of the contemporary universes of Sense in order to conceive the forms of existence, encompassing both living and non-living entities, as a dynamic concatenation of heterogeneous elements.
Everyday objects—such as dolls—are cut, turned inside out, reworked, and hybridized: a prefiguration of biomechanical contamination, whose transitory result is, by (un)definition, something beyond the finished and reassuring identity of its components.

The pieces, originally printed as single editions using non-pigmented inkjet printers on semi-transparent paper and then mounted on self-produced lightboxes, are now in my private collection. The edition referenced here—printed with pigment-based inks on archival paper—was produced in 2008.

Please note: the works featured on this page are a selection from the series. Images of all the works and further information about the project are available upon request.

Year : 2001-2003 (2008)
Tech Specs : Fine Art Prints, Ed. of 4 + 1 AP, Sheet Sizes: 70×70 cm – Image Sizes: 50×50 cm
Copy & Credits : Lorenzo Oggiano