Thomas Castro

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Disciplines: Mediakunstenaar, Vormgever

Omschrijving werk

Werk

Type/Dynamics Installatie Stedelijk Muse
Titel Type/Dynamics Installatie Stedelijk Muse
Jaartal 2013
Omschrijving Voor de tentoonstelling Type/Dynamics heeft LUST een nieuwe interactieve installatie gemaakt, in opdracht van het Stedelijk Museum Amsterdam, naar aanleiding van het boek dat Frederike Huygen over de ontwerper en typograaf Jurriaan Schrofer (1926-1990) heeft geschreven. Het is een werk dat reageert, speelt met, aansluit op, en commentaar levert op het werk van Schrofer en het in een hedendaags licht stelt. Het project stelt zich ten doel om de ontwerpgeschiedenis te actualiseren en te revitaliseren. Het oeuvre van Jurriaan Schrofer bestaat voornamelijk uit drukwerk dat “met de hand” ontworpen is. Maar al vanaf de jaren zestig reageerde hij op nieuwe technieken als offset om “bewegende” typografie te bereiken. In al zijn werk is eigenlijk dynamiek een rode draad. Vanaf de jaren zeventig exploreerde hij als een onderzoekend vormgever patronen en structuren, mede-geïnspireerd op de ‘Op art’. Vreemde perspectieven, dieptewerking en lettertekens heeft hij met grote bezetenheid onderzocht. Hoewel het werk van LUST en het werk van Jurriaan Schrofer, zeker inhoudelijk, behoorlijk verschillend is, heeft het ook een aantal overeenkomsten. Typografie speelt in het werk van beiden een heel belangrijke rol, en dan vooral waar de typografie tekst en beeld tegelijkertijd is. Verder gebruiken beiden ook regelmatig kleine elementen of modules die bij elkaar een groter geheel vormen, zoals patronen en structuren. In het Stedelijk Museum beslaat de tentoonstelling twee vrijwel identieke ruimtes die zich conceptueel spiegelen: In de eerste ruimte zijn de muren behangen met afbeeldingen van werk van Schrofer. Tussen deze reproducties worden ook originelen getoond, in een aantal vitrines aan de muur. Ook zijn er twee schermen waar bezoekers werken van Schrofer interactief kunnen bekijken met een nadruk op de handmatige productie en het schetsproces. De tweede ruimte is een vrije interpretatie van het werk van Schrofer door LUST. Deze ruimte is geheel gevuld met continu bewegende en dynamische typografie. De installatie is een visualisatie van het gegeven dat we tegenwoordig overal informatie om ons heen hebben, op elk moment en op elke locatie, wat ook nog eens op elk moment oproepbaar is. De ruimte zoekt real-time naar nieuws met een specifieke locatie, zoals "Ground Zero", "Reichstag" of "Tiananmenplein". Plekken die er op dit moment toe doen. Als bezoeker sta je letterlijk op die locatie, geheel omgeven door al het nieuws dat op dit moment over die plek te vinden is. In plaats van een fotografische representatie is de plek puur typografisch verbeeld aan de hand van allerlei nieuwsberichten die over die plek gaan, achtergrondinformatie over die plek, de geschiedenis van die plek, etc.. De bezoeker wordt door middel van 3D sensoren gevolgd en de projecties reageren op de positie van de bezoeker, de hoeveelheid bezoekers, hoe bezoekers zich door de ruimte bewegen en hun afstand tot de muren. Als bezoeker kan je meer te weten komen over een bepaald onderwerp, door naar iets wat je interessant lijkt toe te lopen. Hierdoor wordt het typografisch grid groter en is het deel waar je voor staat duidelijker te lezend en wanneer je nog dichter naar de muur loopt, toont het systeem meer informatie rond het onderwerp waar je op "ingezoomd" bent. Het inzoomen is geen letterlijke inzoom, maar een "schalen" van informatie. De tekst wordt niet veel groter, maar je kan de teksten als bezoeker beter lezen. Het typografisch grid deelt zich in meer cellen die weer gevuld worden met nieuwe informatie. In de installatie kan de bezoeker tot drie lagen diep informatie tot zich nemen. De ervaring is als een soort 'Aleph' uit het gelijknamige boek van Jorge Luis Borges, een punt waar je tegelijkertijd alles wat er op de wereld in heden en verleden is gebeurt tegelijkertijd ziet. Dit is zo veel en overweldigend dat je eigenlijk niets meer ziet.
Techniek Kinects+projectie
Formaat 2 x 10x8 meter
PolyArc
Titel PolyArc
Jaartal 2011
Omschrijving During the 22nd International Poster and Graphic Design Festival of Chaumont, LUST (NL) took over the Chapelle des Jésuites with an in-situ piece intended to build bridges between the Festival’s past and future. Extending the notion of archiving to the future and to hypothetical pasts. Prior to the exhibition, they compiled a visual and textual database. Visitors at La Chapelle could interact with this ‘polyarc’ to make their own digital or print publication, before adding their own contributions to it. Through its content, the installation explores and informs us about graphic design in Chaumont: venues, accomplishments and projects. Through its form, it considers the paths and media travelled by graphic design; and how they are evolving in light of technology, the amount of information and images being produced, and changes in the applications of the discipline. During the festival visitors could pick up one-of-a-kind print-on-demand booklets at La Chapelle which could be inserted into this dossier. This dossier functions as a ‘snapshot’ of a constantly growing archive. Visitors were invited to contribute to this archive by sending Twitter messages. Any messages sent will be stored and made accessible via the installation and printed for the dossiers.
Techniek Projectie, Kinect, prints
Formaat 2x 9x3 m
Re(x)ursion
Titel Re(x)ursion
Jaartal 2011
Omschrijving Five graphic design studios were invited to create site specific urban interventions bound by the Experimenta Design biennale’s theme Useless, in one of downtown Lisbon’s most central squares. Triggered by varying instances of scale and volume, detail and emptiness, architecture features and superficial embellishments, the resulting interventions establish a dialogue with the chosen sites. We designed and installed 8 giant pictures on the square, citing and playing on the impression you get when looking at a city through Google Streetview. QR-codes provided mobile access to an online environment where visitors can upload their own "picture-in-picture" and browse the archive of previously taken photos. Curated by R2 (PT), with Conditional Design – Luna Maurer & Roel Wouters (NL), LUST (NL), Sulki & Min (KR), Frédéric Teschner (FR), Morag Myerscough & Luke Morgan (UK), on the Praça da Figueira, Lisbon. The installation will be up until 27 of November 2011. The idea of this installation is related to the concept of DataSpace we developed a few years ago. “DataSpace” is a spatial and temporal concept, embedded in the physical reality surrounding us. The “local area network” is replaced by a room, a street, or a building, depending on where the user is located. The concept of a DataSpace is in contrast to that of a standard database. Databases store information locally about remote physical objects. In this scenario, the physical objects become merely the artifacts of their corresponding entry in a database. In a DataSpace, the data is stored locally in objects, and becomes a property when queried (highlighted or “illuminated”). DataSpace is geographically organised as opposed to the logical structure of computer databases and Internet. Therefore, DataSpace is structured analogously to the real physical space which surrounds us, as opposed to a mere reference. The move away from the referential to the empirical is important because of the higher level of abstraction empirical data allows. By definition, referential data inherently contains a certain level of abstraction (cliché), while empirical data can still be open to any abstraction applied to or projected onto it, allowing a much greater level of manipulation.
Techniek Prints on canvas
Formaat 3x4 meter x 8 stuks
ResSapiens
Titel ResSapiens
Jaartal 2011
Omschrijving The Res Sapiens project merges the digital world with the physical. It connects them seamlessly, treating both entities equally. It asks questions not only to us, but also to itself. Res Sapiens refers to thinking physical objects, from products to architecture, that surpass their visual representation and display their meaning, role and status in society. The continuous stream of (public) digital data and information form the energy on which the Res Sapiens can live. It builds the oil fields of the future, where an ever growing digital heritage increases our understanding and knowledge and, most importantly, creates a stronger collective consciousness. With our limited perceptual capabilities we can only surf on the surface of the Digital Information Bubble. Lamp001/1 is a visualization of a living internet organism, and moreover it attempts to fuse human and machine senses and build on finding answers of how it could help us. Lamp001/1 is the first Res Sapiens of its kind. It is both a parasite and a paradox, an identical clone and a unique individual. It thrives on information, collecting and conveying data in seamless communication with others while continuously learning from its surrounding. You can begin a direct conversation (tweet @ressapiens), interacting one on one but also observe as your interaction lingers, instigating new conversations and new streams of information.
Techniek Lamps, projectie, papier, tafel
Formaat various
Public Information Bubble (PIB)
Titel Public Information Bubble (PIB)
Jaartal 2010
Omschrijving The first extended broadcast of the human voice was transmitted through the air on December 24, 1906 from Brant Rock, Massachusetts by Reginald Fessenden, a Canadian engineer who had worked for Thomas Edison in his New Jersey Laboratory. An account by Fessenden's wife Helen recounts his historic transmission, as witnessed first-hand by countless radio operators on ships across the Atlantic: "...a human voice coming from their instruments - someone speaking... Then a women's voice rose in song. It was uncanny! Many of them called their officers to come and listen; soon the wireless rooms were crowded. Next someone was heard reading a poem. Then there was a violin solo; then a man made a speech." Since that historic broadcast, we have been transmitting our personal narratives non-stop out the world to hear, adding to the growing stories within the earth’s own Personal Information Bubble (P.I.B.). Since Fessenden’s first broadcast in 1906, all these narrative left the earth and is headed to the outer reaches of space at the speed of light. Today the P.I.B. has expanded to include internet and mobile media sources such as Twitter, Facebook, Foursquare, MSN, Skype, and SMS, documenting the daily minutiae of the earth’s citizens. Every tweet, blog post, news feed, and text message contribute to the expansion of the P.I.B. But what do these narratives say about us as a society and culture? Through this two part media and architectural installation, LUST attempts to visualize this bubble from the perspective of the gallery and headquarters of the GDFB, the former printing office for the provincial newspaper BN deStem. Using the spectrum of light to visualize the information density of all the data the P.I.B. contains, the individual colors culminates in a gigantic white beam streaming towards space. The intangible narrative of the P.I.B. symbolized in the subtractive color process of light. Inside the gallery, a large printer endlessly documents these same narratives on a continuous roll of paper. The random colors of each letter of each personal narrative documented on this ‘scroll’ gradually mix to black when viewed from a distance. Through additive color process, the words ends up as a black news stream, a poetic juxtaposition to the white light of the building.
Techniek Projectie, print
Formaat various
Form+Code
Titel Form+Code
Jaartal 2010
Omschrijving Together with Casey Reas (Processing) and Chandler McWilliams LUST developed the book and site Form+Code in Design, Art and Architecture, published by Princeton Architectural Press. The publication discusses the role of software in visual design, art, and architecture. It hopes to generate interest in creating visual and spatial form with software across diverse fields by focusing on the history, theory, and practice of software in the arts. The book is about one fourth text and three fourths images and is organized around two parallel narratives: one told through images and captions, and the other through essays with related diagrams and images. This allows the book to be read cover-to-cover or leisurely looked through as a source of inspiration. The first two chapters set the foundation for the rest of the book by discussing the history of the computer in the arts and how software is used to create form. The five themes of repetition, transformation, parameters, visualization, and simulation are deeply linked to code. Each of these sections begin with an essay to define the territory, continues with images and captions, and concludes with code examples. Form+Code is not a programming tutorial; its goal is to inspire though the discussion of themes and projects. Each chapter starts with a paragraph set in a specially designed typeface, that does not exist as a typeface, but is programmed. The code generates the form, and this form will be different with each combination of letters. The book is available at Amazon.
Techniek Drukwerk
Formaat
PosterWall for the 20th Century
Titel PosterWall for the 20th Century
Jaartal 2008
Omschrijving For the Graphic Design Museum in Breda we developed in 2008 the Poster Wall for the 21st Century, both online and as a part of the museum’s permanent installation '100 Years of Graphic Design in the Netherlands'. In the museum 600 unique posters are automatically generated daily using content gathered from various internet sources. Online, one new poster is generated every five minutes. New posters are automatically generated when physical events occur in the space: for example, when visitors enter the space, when visitors view the touchtables, and when visitors approach the wall itself. Live-versions of the posterwall have been shown at the 2010-2011 Triennial of Design at the Cooper Hewitt in New York, at the Wide White Space exhibition in Wattis, San Francisco and Public Design Expo in Seoul. This 2.0 version of the Posterwall offered new possibilities, like Tweets, QR-codes, and social sharing. The latest version of Posterwall is currently up at the Walker Art in Minneapolis and travels in Januari 2012 to the Cooper Hewitt in New York before travelling all over the States.
Techniek Projectie
Formaat various
THX The Hague Intl
Titel THX The Hague Intl
Jaartal 2007
Omschrijving Turning the city of The Hague into an International Airport. The Grote Markstraat —600 meters long— was transformed into a landingstrip, using 36x6 indivual controllable lights and 48 2000-Watt speakers, creating the experience of airplanes landing in the street. The landingstrip connected the two main areas of the festival, with a total of more than 25 stages throughout the city. The Volharding building functioned as an arrivals & departures sign, all tied together by audio-announcements of ‘incoming’ artists in eight different languages.
Techniek Lampen, computers en 24 2000 watt speake
Formaat 450 meter lang
Noordzee Atlas
Titel Noordzee Atlas
Jaartal 2004
Omschrijving The North Sea project consists of an atlas and a map. The map serves multiple purposes. The North Sea features on many urbanism agendas. This map wishes to play a role of significance when these agendas are discussed. Seas are intrinsically different from land - not just physically, socially too, and symbolically: mare is different from terra firma. Therefore we need to adopt and test a new type of cartography. In the way urbanism wants to be cultural urbanism, in that same way cartography becomes cultural cartography. The map aims first of all, to paint a picture of a small and, in geologic terms, youthful Inland Sea, which is at the same time a striking and multifaceted ‘World Sea’. That sea is described from 21 different points of view. As a consequence the map matrix is comprised of 21 distinct thematic maps: a seafloor map and a city map, a water map and a dirt map, a myth map and a scary map. The combination of these maps reveals intriguing links. This map, together with the grid map yields 421 unique maps. A sea that appears so empty yet is so full; full of the traces of man: ship wrecks, cables, pipes, conduits, oil rigs and, who knows, soon maybe even a massive invasion of ‘Monster Crabs’. The companion atlas contains 21 separate essays highlighting multiple cross-links. The atlas is illustrated with visual essays: 70 plus maps including historic ones from archives, new ones made by others as well as new ones hand-made for this project.
Techniek Drukwerk
Formaat 24 x 32 cm

Omschrijving werk

Persoonsgegevens

Voorletters T.R.M.
Kunstenaarsnaam/alias
Samenwerkingsverband LUST
Website www.lust.nl

Opleidingsgegevens

Erkende vakopleiding

Academie / instituut & plaats studierichting / specialisatie periode van / tot diploma
Arnhem, ARTEZ, Academie Beeldende Kunst en Vormgeving Graphic Design 1993-1995 J
Utrecht, HKU faculteit Kunst en Vormgeving Graphic Design 1991-1993 N

Andere opleiding

Instituut / docent & plaats (studie)richting periode van / tot
University of California, Irvine Psychology (major), Fine Art (minor) 1987-1990

Overige gegevens

Lid van Beroeps / Kunstenaarsvereniging
Deelnemer van Kunstenaarsinitiatief

Curriculum vitae

Tentoonstellingen

jaartal naam tentoonstellingsruimte korte omschrijving solo / duo / groep
2013 Type/Dynamics, Stedelijk Museum Amsterdam zie beeldmateriaal SOLO
2012 Multiverse, Centre Pompidou, Paris, Res Sapiens zie beeldmateriaal GROEP
2011 , graphic design Now, Walker Art Center, Minneapolis, CooperHewitt, New York, etc. Brand new version of Posterwall (v3) zie beeldmateriaal GROEP
2011 De Kracht van Heden, Museum de Pavljoens, Almere, zie beeldmateriaal GROEP
2010 Open Projects, featuring 8 LUST projects, Chaumont Poster Festival, Chaumont, France zie beeldmateriaal GROEP
2010 Decoding, Graphic Design Festival Breda, New Print Installation and public media installation: Public Information Bubble, zie beeldmateriaal GROEP
2009 Icograda Beijing, CAFA, zie beeldmateriaal GROEP

Projecten

jaartal instelling titel & typering project
2013 Design Shanghai Design Shanghai Biennial: Aesthetics City installations
2011 salone del Mobile, milano Ressapiens: Lamp001/1 installation installation
2011 Polyarc 22nd International Graphic and Poster Festival, Chaumont, France. installation
2010 Graphic Design Festival Breda Public Information Bubble at Decoding, Public Information Bubble at Decoding installation
2007 todaysart festival, den haag THX, installation

Internationale uitwisseling

jaartal instelling
2007 Design Fellowship, Leeds Metropolitan University, Leeds, UK

Publicaties

jaartal titel publicatie uitgever / samensteller, plaats typering
2012 Designing Programs Edited by Casey Reas and Chandler McWilliams, Centre national des arts plastiques for Graphisme en France
2011 With a big boost from technology New York Times
2011 4 pages article about the Internet of Things Volume #28
2010 Dutch design Japanese publication about Dutch Design, 4 pages about LUST,

Prijzen en stipendia

jaartal instantie, plaats omschrijving
2013 Stimuleringsfonds Creative Industrie Type/Dynamics, Stedelijk Museum, Amsterdam
2013 Dutch design award, Eindhoven Polyarc nominated for 'communication'
2011 design museum london Nominated 'design of the year award'
2008 Dutch design award, Eindhoven Interactive Media for overview exhibition 100 Years Graphic Design, Graphic Design Museum Breda
2007 Yearly Exhibition of Best Dutch Book Designs, Pages Best Dutch Book Designs 2007, Yearly Exhibition of Best Dutch Book Designs,

Artistieke nevenactiviteiten

nevenactiviteit van tot
hoofd afdeling Graphic Design Arnhem, Artez 2012 -
docent Graphic Design and Typography, Artez 2002 -