TED2012
Gabriel Barcia-Colombo: Capturing memories in video art
Gabriel Barcia-Colombo: Zachytávanie spomienok do video umenia
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Umelec Gabriel Barcia-Colombo zachytáva a zdieľa svoje spomienky a priateľstvá pomocou video mappingu a video projekcie. Na TED Fellow Talk predvádza svoju okúzľujúcu a dôvtipnú prácu, ktorá uchováva ľudí z jeho života v sklenených nádobách, kufroch, mixéroch ...
Gabriel Barcia-Colombo - Video sculptor
Gabe Barcia-Colombo creates madcap art inspired both by Renaissance era curiosity cabinets and the modern-day digital chronicling of everyday life. Think: miniature people projected in objects and a DNA Vending Machine. Full bio
Gabe Barcia-Colombo creates madcap art inspired both by Renaissance era curiosity cabinets and the modern-day digital chronicling of everyday life. Think: miniature people projected in objects and a DNA Vending Machine. Full bio
Double-click the English transcript below to play the video.
00:16
I love to collect things.
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Rád zbieram veci.
00:19
Ever since I was a kid, I've had massive collections
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Už ako dieťa som mal obrovské zbierky
00:21
of random stuff, everything from bizarre hot sauces
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rôznych vecí, od bizarných pálivých omáčok
00:23
from all around the world to insects
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až po hmyz z celého sveta,
00:27
that I've captured and put in jars.
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ktorý som chytal a dával do sklenených nádob.
00:29
Now, it's no secret, because I like collecting things,
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Keďže rád zbieram veci, nie je žiadnym prekvapením,
00:31
that I love the Natural History Museum
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že milujem Prírodovedné múzeum
00:33
and the collections of animals
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a exponáty zvierat
00:34
at the Natural History Museum in dioramas.
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v životnej veľkosti, ktoré v tomto múzeu sú.
00:36
These, to me, are like living sculptures, right,
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Pripadajú mi ako živé sochy,
00:38
that you can go and look at,
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ku ktorým môžete prísť a pozrieť sa,
00:40
and they memorialize a specific point of time
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a ktoré zachytávajú určitý moment v čase
00:41
in this animal's life.
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v živote toho zvieraťa.
00:43
So I was thinking about my own life,
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Takže som premýšľal o mojom vlastnom živote,
00:45
and how I'd like to memorialize my life, you know,
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a o tom, ako by som chcel svoj život zachytiť,
00:47
for the ages, and also — (Laughter) —
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naveky, a taktiež - (Smiech) -
00:50
the lives of my friends, but
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životy mojich priateľov, ale
00:52
the problem with this is that my friends aren't quite keen
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problém bol, že moji priatelia nie sú práve nadšení
00:55
on the idea of me taxidermy-ing them. (Laughter)
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z nápadu, že si ich dám vypchať. (Smiech)
00:58
So instead, I turned to video,
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Tak som sa miesto toho obrátil na video,
01:01
and video is the next best way to preserve and memorialize
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ktoré je druhým najlepším spôsobom, ako si niekoho
01:03
someone and to capture a specific moment in time.
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uchovať a zvečniť, a ako zachytiť určitý moment v čase.
01:06
So what I did was, I filmed six of my friends
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Takže som urobil to, že som nafilmoval šesť mojich kamarátov
01:08
and then, using video mapping and video projection,
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a potom som použitím video mappingu a video projekcie
01:10
I created a video sculpture, which was these six friends
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vytvoril video sochy týchto mojich šiestich kamarátov
01:13
projected into jars. (Laughter)
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premietaných do sklenených nádob. (Smiech)
01:17
So now I have this collection of my friends
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Takže teraz mám zbierku mojich kamarátov,
01:18
I can take around with me whenever I go,
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ktorú si so sebou môžem kdekoľvek vziať,
01:20
and this is called Animalia Chordata,
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a volá sa Animalia Chordata,
01:22
from the Latin nomenclature for
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z latinského názvoslovia pre
01:24
human being, classification system.
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človeka, podľa klasifikačného systému.
01:26
So this piece memorializes my friends in these jars,
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Takže toto dielo zvečňuje mojich kamarátov v takýchto sklenených nádobách,
01:29
and they actually move around. (Laughter)
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v ktorých sa dokonca môžu hýbať. (Smiech)
01:33
So, this is interesting to me,
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Toto ma zaujíma,
01:36
but it lacked a certain human element. (Laughter)
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no chýbal tomu určitý ľudský element. (Smiech)
01:39
It's a digital sculpture, so I wanted to add
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Je to digitálna socha, takže som chcel pridať
01:41
an interaction system. So what I did was,
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nejakú interakciu. Urobil som teda to,
01:43
I added a proximity sensor, so that when you get close
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že som pridal senzor pohybu, takže keď sa priblížite
01:45
to the people in jars, they react to you in different ways.
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k ľuďom v nádobe, reagujú na vás rôznymi spôsobmi.
01:47
You know, just like people on the street
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Presne ako ľudia na ulici,
01:49
when you get too close to them.
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keď sa k ním príliš priblížite.
01:50
Some people reacted in terror. (Laughter)
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Niektorí reagujú zdesene. (Smiech)
01:53
Others reacted in asking you for help,
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Ostatní tak, že vás prosia o pomoc,
01:55
and some people hide from you.
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a niektorí ľudia sa pred vami skrývajú.
01:58
So this was really interesting to me, this idea of
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Toto ma naozaj zaujíma, tento nápad
02:00
taking video off the screen and putting it in real life,
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vziať video z plátna a dať ho do reálneho života,
02:02
and also adding interactivity to sculpture.
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a taktiež možnosť pridať sochám interaktívnosť.
02:04
So over the next year, I documented 40 of my other friends
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Takže rok na to som zdokumentoval 40 ďalších mojich kamarátov
02:09
and trapped them in jars as well
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a taktiež ich uväznil v nádobách
02:10
and created a piece known as Garden,
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a vytvoril dielo známe ako Záhrada,
02:12
which is literally a garden of humanity.
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čo je doslova záhrada ľudskosti.
02:15
But something about the first piece,
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No niečo na tom prvom diele,
02:17
the Animali Chordata piece, kept coming back to me,
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Animali Chordata, sa ku mne stále vracalo,
02:19
this idea of interaction with art,
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ten nápad interakcie s umením,
02:21
and I really liked the idea of people being able to interact,
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a fakt sa mi páčil nápad, že ľudia môžu interagovať
02:23
and also being challenged by interacting with art.
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a byť vyzývaní k interakcii s umením.
02:25
So I wanted to create a new piece that actually
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Chcel som teda vytvoriť novú vec, ktorá by vlastne
02:27
forced people to come and interact with something,
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nútila ľudí prísť a interagovať s niečím,
02:29
and the way I did this was actually by projecting
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a urobil som to tak, že som premietol
02:31
a 1950s housewife into a blender. (Laughter)
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gazdinku z 50. rokov do mixéra. (Smiech)
02:35
This is a piece called Blend, and what it does is
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Tento kúsok sa volá Mix a ide v ňom o to,
02:37
it actually makes you implicit in the work of art.
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že vás robí podstatným pre jeho fungovanie.
02:39
You may never experience the entire thing yourself.
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Tú vec ani nemusíte zažiť celú.
02:42
You can walk away, you can just watch as this character
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Môžete prejsť okolo, môžete len sledovať ako táto postavička
02:44
stands there in the blender and looks at you,
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stojí v tom mixéri a pozerá sa na vás,
02:46
or you can actually choose to interact with it.
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alebo sa môžete rozhodnúť, že s ňou budete komunikovať.
02:48
So if you do choose to interact with the piece,
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Takže ak sa rozhodnete s dielom komunikovať
02:53
and you press the blender button, it actually sends
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a stlačíte tlačidlo na mixéri, vlastne to pošle
02:55
this character into this dizzying disarray of dishevelment.
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túto postavičku do tohto závratného chaosu.
02:58
By doing that, you are now part of my piece.
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Tým, že to urobíte, stávate sa súčasťou môjho diela.
03:02
You, like the people that are trapped in my work
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Vy, tak ako ľudia uväznení v mojej práci,
03:04
— (Blender noises, laughter) —
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- (Hluk mixéru, smiech) -
03:08
have become part of my work as well. (Laughter)
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sa taktiež stávate súčasťou mojej práce. (Smiech)
03:15
(Laughter)
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(Smiech)
03:17
(Applause)
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(Potlesk)
03:20
But, but this seems a bit unfair, right?
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Ale je to trochu nespravodlivé, nie?
03:23
I put my friends in jars, I put this character,
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Naložím kamarátov do nádob, do mixéra naložím túto postavičku,
03:26
this sort of endangered species character in a blender.
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túto postavičku akoby je ohrozený druh.
03:29
But I'd never done anything about myself.
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Ale nikdy som neurobil nič o sebe.
03:31
I'd never really memorialized myself.
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Nikdy som naozaj nezvečnil seba.
03:32
So I decided to create a piece which is a self-portrait piece.
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Takže som sa rozhodol vytvoriť autoportrétne dielo.
03:35
This is sort of a self-portrait taxidermy time capsule piece
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Je to dielo, ktoré v sebe zahŕňa autoportrét, vypchávanie a časové púzdro,
03:37
called A Point Just Passed,
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s názvom Práve prejdený bod.
03:39
in which I project myself on top of a time card punch clock,
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Premietam v ňom seba na vrch dierovača štítkov
03:42
and it's up to you.
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a je to na vás.
03:43
If you want to choose to punch that punch card clock,
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Ak sa rozhodnete, že dierovač stlačíte,
03:45
you actually age me.
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urobíte ma starším.
03:47
So I start as a baby, and then if you punch the clock,
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Takže začínam ako bábätko a potom ak stlačíte dierovač,
03:50
you'll actually transform the baby into a toddler,
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premeníte ma z bábätka na batoľa,
03:54
and then from a toddler I'm transformed into a teenager.
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a potom z batoľaťa na teenagera.
03:57
From a teenager, I'm transformed into my current self.
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Z teenagera sa zmením do mojej súčasnej podoby.
04:00
From my current self, I'm turned into a middle-aged man,
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Z mojej súčasnej podoby sa premením na muža v strednom veku
04:03
and then, from there, into an elderly man.
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a potom z neho na staršieho muža.
04:07
And if you punch the punch card clock a hundred times
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A ak dierovač stlačíte stokrát za deň,
04:10
in one day, the piece goes black
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toto dielo sčernie
04:13
and is not to be reset until the next day.
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a reštartuje sa až na ďalší deň.
04:16
So, in doing so, you're erasing time.
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A takýmto spôsobom vlastne mažete čas.
04:18
You're actually implicit in this work
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Ste pre túto prácu nevyhnutní
04:20
and you're erasing my life.
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a zároveň mažete môj život.
04:22
So I like this about interactive video sculpture,
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Na interaktívnej video soche sa mi páči to,
04:24
that you can actually interact with it,
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že s ňou môžete interagovať,
04:25
that all of you can actually touch an artwork
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že sa diela môžete aj dotknúť
04:27
and be part of the artwork yourselves,
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a byť súčasťou diela samotného,
04:29
and hopefully, one day, I'll have each and every one of you
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a jedného dňa snáď budem mať každého jedného z vás
04:32
trapped in one of my jars. (Laughter)
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uväzneného v jednej z mojich sklenených nádob. (Smiech)
04:34
Thank you. (Applause)
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Ďakujem. (Potlesk)
ABOUT THE SPEAKER
Gabriel Barcia-Colombo - Video sculptorGabe Barcia-Colombo creates madcap art inspired both by Renaissance era curiosity cabinets and the modern-day digital chronicling of everyday life. Think: miniature people projected in objects and a DNA Vending Machine.
Why you should listen
Gabe Barcia-Colombo is an American artist who creates installation pieces that both delight and point to the strangeness of our modern, digital world. His latest work is a DNA Vending Machine, which dispenses vials of DNA extracted from friends at dinner parties. He's also created video installations of "miniature people" encased inside ordinary objects like suitcases, blenders and more. His work comments on the act of leaving one's imprint for the next generation. Call it "artwork with consequences."
As he explains it: "While formally implemented by natural history museums and collections (which find their roots in Renaissance-era 'cabinets of curiosity'), this process has grown more pointed and pervasive in the modern-day obsession with personal digital archiving and the corresponding growth of social media culture. My video sculptures play upon this exigency in our culture to chronicle, preserve and wax nostalgic, an idea which I render visually by 'collecting' human beings (alongside cultural archetypes) as scientific specimens. I repurpose everyday objects like blenders, suitcases and cans of Spam into venues for projecting and inserting videos of people."
Barcia-Colombo is an alumnus and instructor at NYU's Interactive Telecommunications Program. Read about his latest work on CoolHunting and in his TED Fellows profile.
Gabriel Barcia-Colombo | Speaker | TED.com