WORKS BY MARIEKE VERBIESEN

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Marieke Verbiesen (MFA MadTech) is a dutch new media artist. She creates interactive installations and performances using experimental animation, exhibited and screened at various festivals, museums, cinema´s, artspaces, galleries and public spaces since 2003.

Her crossdiciplinairy works can be best described as a fused output of various media, often resulting in lifesize installations that combine cinema, sculpture and interactivity, revolving around visual interpretations of digital entities that came to life in a binary environment. Such as computergames, datagenerated landscapes and science fiction fenomena, visually translated to physical installations while referencing their digital origins.

These works often embody the use of obsolete technology such as classic computergame hardware and celluloid film with new, emerging technologies such as motiontracking and other forms of responsive, human input.
Audience participation is often a fundamental element these works, where the role of the audience changes
from spectators to active participants and activators of the work.

The interactive installation Moviestar crosses the intersection of cinema and kinetic art, through interactive audience participation. In this installation visitors are transformed into actors in a Cinematic interactive environment based on
early filmmaking methology. Using both classic techniques such as celluloid film and animatronics combined with new emerging techniques such as realtime sensorbased motiontracking lets the audience control this everchanging, playful environment.

Born from a desire to recreate digital environments and reshape them to our own physical world, Pole Position is an interactive installation where tactile moving objects and digital computer characters meet and compete. Here, the two dimensional landscape of the original Atari game is translated into a three-dimenstional, playable installation. Blending digital gameplay with realtime input of moving, tactile objects that play “against” computergenerated avatars, resulting in funtional gameplay between the digital and the non digital. Raising the questions: Where does the binariy and non binairy overlap or conflict? What is the human factor in visual translation of computer generated imagery?

These installations, referencing the cinematic evolution of digital technolgies, got exhibited at the Stedelijk Museum s-Hertogenbosch, Harvestworks New York, Todays Art Festival, The Pompidou Centre for Modern Art Paris, Meteor Festival, European Media Art Festival, The Norwegian Film Institute, NASA Artspace & The Nikolaj Kunsthal in Copenhagen.

A site specific work that visualises a tactile translation of a digital game is 2 Player Unvirtual Playground, a large scale public participatory sculpture. Its made as an interactive artwork, featuring a functioning live play environment for two players, a reference to the first multiplayer computergames. Moving objects and top projected lights that are responsive to each player, in relation to their position on the playground, and subsequent gameplay progression in realtime, creating unique lightsequences that each show diffrent parts of the 30x30 meter sculpture. Two Player Unvirtual Playground is a tactile, visual translation of a digital framework created in the procedural game environment Minecraft where its users dig (mine) and build (craft) different kinds of 3D blocks within a large world of varying terrains and habitats to explore.

Another site specific work for the Feldman Gallery - Museum for Contemporary Craft in Portland, USA is
Plan10: a tactile interactive installation made of sculptural elements, and audience controlled light, sound, and animated sequences. Exploring the area between the short film narrative and performative instrument, Plan10 is made to invoke by control of the user, who is able to create its own unique sequence of Plan 10.
As a performative instrument it aims to merge tactile objects, sound, animation and lightsequences into playful narrative, based on the dense science fiction novels of writer Tor Åge Bringsværd. Plan 10 is part of a series of audiovisual interactive installations gathered under the monicker Instruments of the Future Past


The second installation in this series is Mayhem Machine an audience controlled Interactive Installation
which turns the audience into composers, by letting them control a symbiotic set of animations, lights and sounds, and offers experimental tools for further enhancement, based on autodestructive art principles as a method for creating compositions. The animations and sounds create non linear sequences which the audience controls in a playful manner. Mayhem Machine was showed at Atelier Nord & Lydgalleriet(NO), NIME(USA), Queensland Artgallery in Brisbane(AUS), Montreal Museum for Modern Art(CAN), Sonar(SP) and the Hiroshima International Animation Filmfestival(JP).

“Instruments of the Future Past” as an installation series also ties into the liveperformance 8 Bit Box Orchestra and Videhometraining where classic videogame hardware is utilised as instruments for liveperformance, in the latter emulating the structure of a videogame with levels, repetition and non linear narratives.
This is further explored in Live Loops a performance where animation is used as a performative tool; live animated loops are simultaneously created and played back synchronised in kinship with the music, visualising an evolving animated composition of luminous sequences and kaleidoscopic outbursts.

In recent years Marieke has given presentations, performances & talks at the Northwest Filmcentre in
Portland USA
, Hordaland Kunstsenter (NO), Superdeluxe Tokyo(JP), Transmediale Berlin(DE), Brittisch Filminstitute in Londen (UK), Akron Museum of Art(USA) Nikolaj Kunsthal (DK) Kino Kino (NO) & the Museum for Moving Image (USA)