Materials

Giant skulls and 3D-printed death masks: Art meets technology in the NGV Triennial

Giant skulls and 3D-printed de...
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
View 73 Images
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
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Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
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Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
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Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
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Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
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Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
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Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
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teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
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teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
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teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
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teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
Gold plated silver 2015 from Material studies: Spark rings 2015 inkjet prints National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017 ©Sean O’Connell/Licensed by Viscopy, Australia
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Gold plated silver 2015 from Material studies: Spark rings 2015 inkjet prints National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017 ©Sean O’Connell/Licensed by Viscopy, Australia
mokume gane (TiZr) from Material studies: Spark rings 2015 inkjet prints National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017 ©Sean O’Connell/Licensed by Viscopy, Australia
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mokume gane (TiZr) from Material studies: Spark rings 2015 inkjet prints National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017 ©Sean O’Connell/Licensed by Viscopy, Australia
Stainless Steel 2015 from Material studies: Spark rings 2015 inkjet prints National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017 ©Sean O’Connell/Licensed by Viscopy, Australia
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Stainless Steel 2015 from Material studies: Spark rings 2015 inkjet prints National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017 ©Sean O’Connell/Licensed by Viscopy, Australia
Tantalum Spark 2015 from Material studies: Spark rings 2015 inkjet prints National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017 ©Sean O’Connell/Licensed by Viscopy, Australia
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Tantalum Spark 2015 from Material studies: Spark rings 2015 inkjet prints National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017 ©Sean O’Connell/Licensed by Viscopy, Australia
Installation image of Sean O’Connell Material studies: Spark rings 2015 on display in NGV Triennial at NGV International, 2017. Here O'Connell bombarded rings made of different materials with electricity and using photographic paper created these images displaying how the energy traveled out of each material
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Installation image of Sean O’Connell Material studies: Spark rings 2015 on display in NGV Triennial at NGV International, 2017. Here O'Connell bombarded rings made of different materials with electricity and using photographic paper created these images displaying how the energy traveled out of each material
Installation image of Sean O’Connell Material studies: Spark rings 2015 on display in NGV Triennial at NGV International, 2017. Here O'Connell bombarded rings made of different materials with electricity and using photographic paper created these images displaying how the energy traveled out of each material
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Installation image of Sean O’Connell Material studies: Spark rings 2015 on display in NGV Triennial at NGV International, 2017. Here O'Connell bombarded rings made of different materials with electricity and using photographic paper created these images displaying how the energy traveled out of each material
Richard Mosse Incoming 2015 – This encompassing video art installation consists of footage Mosse shot using military grade thermal imaging cameras. He filmed refugees with the technology creating a contrast between the inhuman military technology and the human ordeal of the people
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Richard Mosse Incoming 2015 – This encompassing video art installation consists of footage Mosse shot using military grade thermal imaging cameras. He filmed refugees with the technology creating a contrast between the inhuman military technology and the human ordeal of the people
Richard Mosse Incoming 2015 – 16 three channel black and white high definition video, surround sound, 52 min 10 sec (looped) Cinematographer / Editor: Trevor Tweeten Composer / Sound Designer: Ben Frost Co - commissioned by the National Gallery of Victoria, Melbourne and the Barbican Art Gallery, London National Gallery of Victoria, Melbourne Purchased with funds donated by Christopher Thomas AM and Cheryl Thomas, Jane and Stephen Hains, Vivien and Graham Knowles, Michael and Emily Tong and 2016 NGV Curatorial Tour donors, 2017
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Richard Mosse Incoming 2015 – 16 three channel black and white high definition video, surround sound, 52 min 10 sec (looped) Cinematographer / Editor: Trevor Tweeten Composer / Sound Designer: Ben Frost Co - commissioned by the National Gallery of Victoria, Melbourne and the Barbican Art Gallery, London National Gallery of Victoria, Melbourne Purchased with funds donated by Christopher Thomas AM and Cheryl Thomas, Jane and Stephen Hains, Vivien and Graham Knowles, Michael and Emily Tong and 2016 NGV Curatorial Tour donors, 2017
Richard Mosse Incoming 2015 – 16 three channel black and white high definition video, surround sound, 52 min 10 sec (looped) Cinematographer / Editor: Trevor Tweeten Composer / Sound Designer: Ben Frost Co - commissioned by the National Gallery of Victoria, Melbourne and the Barbican Art Gallery, London National Gallery of Victoria, Melbourne Purchased with funds donated by Christopher Thomas AM and Cheryl Thomas, Jane and Stephen Hains, Vivien and Graham Knowles, Michael and Emily Tong and 2016 NGV Curatorial Tour donors, 2017
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Richard Mosse Incoming 2015 – 16 three channel black and white high definition video, surround sound, 52 min 10 sec (looped) Cinematographer / Editor: Trevor Tweeten Composer / Sound Designer: Ben Frost Co - commissioned by the National Gallery of Victoria, Melbourne and the Barbican Art Gallery, London National Gallery of Victoria, Melbourne Purchased with funds donated by Christopher Thomas AM and Cheryl Thomas, Jane and Stephen Hains, Vivien and Graham Knowles, Michael and Emily Tong and 2016 NGV Curatorial Tour donors, 2017
Installation view of Richard Mosse Incoming 2015 – 2016 which is on display in NGV Triennial at NGV International, 2017
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Installation view of Richard Mosse Incoming 2015 – 2016 which is on display in NGV Triennial at NGV International, 2017
Installation view of Richard Mosse Incoming 2015 – 2016 which is on display in NGV Triennial at NGV International, 2017
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Installation view of Richard Mosse Incoming 2015 – 2016 which is on display in NGV Triennial at NGV International, 2017
Neri Oxman's otherworldly 3D-printed death masks
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Neri Oxman's otherworldly 3D-printed death masks
Neri Oxman's otherworldly 3D-printed death masks
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Neri Oxman's otherworldly 3D-printed death masks
Neri Oxman's otherworldly 3D-printed death masks
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Neri Oxman's otherworldly 3D-printed death masks
Neri Oxman's otherworldly 3D-printed death masks
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Neri Oxman's otherworldly 3D-printed death masks
Neri Oxman's otherworldly 3D-printed death masks
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Neri Oxman's otherworldly 3D-printed death masks
Installation view of Neri Oxman Vespers, Series 1 – 3, masks 1 – 5 2016 on display in NGV Triennial at NGV International, 2017
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Installation view of Neri Oxman Vespers, Series 1 – 3, masks 1 – 5 2016 on display in NGV Triennial at NGV International, 2017
Installation view of Neri Oxman Vespers, Series 1 – 3, masks 1 – 5 2016 on display in NGV Triennial at NGV International, 2017
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Installation view of Neri Oxman Vespers, Series 1 – 3, masks 1 – 5 2016 on display in NGV Triennial at NGV International, 2017
Brodie Neill Gyro, table 2016 National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017
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Brodie Neill Gyro, table 2016 National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2017
Brodie Neill recreated a terrazzo style on this table using waste plastic particles found in the ocean. The overall pattern depicts our planet's longitudinal and latitudinal lines while commenting on the extraordinary waste plastic that is strewn into our oceans every year
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Brodie Neill recreated a terrazzo style on this table using waste plastic particles found in the ocean. The overall pattern depicts our planet's longitudinal and latitudinal lines while commenting on the extraordinary waste plastic that is strewn into our oceans every year
Australian designer Brodie Neill with his work Gyro, table 2016, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne. The acquisition of Gyro, table 2016 is being supported by Victorian Foundation for Living Australian Artists and Mercedes - Benz Australia/Pacific.
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Australian designer Brodie Neill with his work Gyro, table 2016, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne. The acquisition of Gyro, table 2016 is being supported by Victorian Foundation for Living Australian Artists and Mercedes - Benz Australia/Pacific.
Australian designer Brodie Neill's Gyro, table 2016, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne. The acquisition of Gyro, table 2016 is being supported by Victorian Foundation for Living Australian Artists and Mercedes - Benz Australia/Pacific.
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Australian designer Brodie Neill's Gyro, table 2016, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne. The acquisition of Gyro, table 2016 is being supported by Victorian Foundation for Living Australian Artists and Mercedes - Benz Australia/Pacific.
Australian designer Brodie Neill's Gyro, table 2016, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne. The acquisition of Gyro, table 2016 is being supported by Victorian Foundation for Living Australian Artists and Mercedes - Benz Australia/Pacific.
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Australian designer Brodie Neill's Gyro, table 2016, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne. The acquisition of Gyro, table 2016 is being supported by Victorian Foundation for Living Australian Artists and Mercedes - Benz Australia/Pacific.
Iris van Herpen Look 14 2016 Lucid collection, autumn - winter 2016 – 17silk (changeant) Collection of the artist
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Iris van Herpen Look 14 2016 Lucid collection, autumn - winter 2016 – 17silk (changeant) Collection of the artist
Exhibition view of Iris van Herpen Dress 2011 on display in NGV Triennial at NGV International, 2017
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Exhibition view of Iris van Herpen Dress 2011 on display in NGV Triennial at NGV International, 2017
Exhibition view of Iris van Herpen installation on display in NGV Triennial at NGV International, 2017
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Exhibition view of Iris van Herpen installation on display in NGV Triennial at NGV International, 2017
Iris van Herpen utilizes 3D printing to create novel textiles for her avant-garde fashion
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Iris van Herpen utilizes 3D printing to create novel textiles for her avant-garde fashion
Iris van Herpen utilizes 3D printing to create novel textiles for her avant-garde fashion
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Iris van Herpen utilizes 3D printing to create novel textiles for her avant-garde fashion
Iris van Herpen utilizes 3D printing to create novel textiles for her avant-garde fashion
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Iris van Herpen utilizes 3D printing to create novel textiles for her avant-garde fashion
Installation image of Epistrophe 2016 - 17 on display in NGV Triennial at NGV International 2017
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Installation image of Epistrophe 2016 - 17 on display in NGV Triennial at NGV International 2017
Installation image of Epistrophe 2016 - 17 on display in NGV Triennial at NGV International 2017
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Installation image of Epistrophe 2016 - 17 on display in NGV Triennial at NGV International 2017
Installation view of Xu Zhen Eternity - Buddha in Nirvana, the Dying Gaul, Farnese Hercules, Night, Day, Sartyr and Bacchante, Funerary Genius, Achilles, Persian Soldier Fighting, Dancing Faun, Crouching Aphrodite, Narcissus Lying, Othryades the Spartan Dying, the Fall of Icarus, A River, Milo of Croton 2016 – 17 on display at NGV Triennial at NGV International, 2017
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Installation view of Xu Zhen Eternity - Buddha in Nirvana, the Dying Gaul, Farnese Hercules, Night, Day, Sartyr and Bacchante, Funerary Genius, Achilles, Persian Soldier Fighting, Dancing Faun, Crouching Aphrodite, Narcissus Lying, Othryades the Spartan Dying, the Fall of Icarus, A River, Milo of Croton 2016 – 17 on display at NGV Triennial at NGV International, 2017
Installation view of Xu Zhen Eternity - Buddha in Nirvana, the Dying Gaul, Farnese Hercules, Night, Day, Sartyr and Bacchante, Funerary Genius, Achilles, Persian Soldier Fighting, Dancing Faun, Crouching Aphrodite, Narcissus Lying, Othryades the Spartan Dying, the Fall of Icarus, A River, Milo of Croton 2016 – 17 on display at NGV Triennial at NGV International, 2017
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Installation view of Xu Zhen Eternity - Buddha in Nirvana, the Dying Gaul, Farnese Hercules, Night, Day, Sartyr and Bacchante, Funerary Genius, Achilles, Persian Soldier Fighting, Dancing Faun, Crouching Aphrodite, Narcissus Lying, Othryades the Spartan Dying, the Fall of Icarus, A River, Milo of Croton 2016 – 17 on display at NGV Triennial at NGV International, 2017
Joris Laarman Bridge table, large, prototype (2010) aluminium, tungsten carbide 75.8 x 380.0 x 109.4 cm National Gallery of Victoria, Melbourne Donald Russell Elford and Dorothy Grace Elford Bequest, 2016
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Joris Laarman Bridge table, large, prototype (2010) aluminium, tungsten carbide 75.8 x 380.0 x 109.4 cm National Gallery of Victoria, Melbourne Donald Russell Elford and Dorothy Grace Elford Bequest, 2016
Installation view of Joris Laarman Bridge table, large, prototype 2010 on display in NGV Triennial at NGV International, 2017
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Installation view of Joris Laarman Bridge table, large, prototype 2010 on display in NGV Triennial at NGV International, 2017
Installation view of Joris Laarman work on display in NGV Triennial at NGV International, 2017
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Installation view of Joris Laarman work on display in NGV Triennial at NGV International, 2017
Joris Laarman's aluminum 3D-printed chair
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Joris Laarman's aluminum 3D-printed chair
More Joris Laarman 3D-printed metal furniture
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More Joris Laarman 3D-printed metal furniture
Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
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Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
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Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
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Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
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Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
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Installation view of Nendo, Manga chairs, 2015 on display in NGV Triennial at NGV International, 2017
Oki Sato (designer) Nendo (design studio) Manga chair #28 2015 stainless steel National Gallery of Victoria, Melbourne Purchased with funds donated by Bruce Parncutt AO and Robin Campbell, Michael and Emily Tong, 2017
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Oki Sato (designer) Nendo (design studio) Manga chair #28 2015 stainless steel National Gallery of Victoria, Melbourne Purchased with funds donated by Bruce Parncutt AO and Robin Campbell, Michael and Emily Tong, 2017
Nendo's Manga Chairs explores dozens of aesthetic iterations applying manga themes to classical chair designs
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Nendo's Manga Chairs explores dozens of aesthetic iterations applying manga themes to classical chair designs
Nendo's Manga Chairs explores dozens of aesthetic iterations applying manga themes to classical chair designs
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Nendo's Manga Chairs explores dozens of aesthetic iterations applying manga themes to classical chair designs
Nendo's Manga Chairs explores dozens of aesthetic iterations applying manga themes to classical chair designs
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Nendo's Manga Chairs explores dozens of aesthetic iterations applying manga themes to classical chair designs
Ore streams 2016 - 17 in development at Studio Formafantasma
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Ore streams 2016 - 17 in development at Studio Formafantasma
Installation view of formaFantasma’s Ore Streams 2017, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne
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Installation view of formaFantasma’s Ore Streams 2017, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne
Installation view of formaFantasma’s Ore Streams 2017, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne
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Installation view of formaFantasma’s Ore Streams 2017, on display in the NGV Triennial at the National Gallery of Victoria, Melbourne
formaFantasma’s Ore Streams takes old computer and mechanical parts and turns them into furniture
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formaFantasma’s Ore Streams takes old computer and mechanical parts and turns them into furniture
formaFantasma’s Ore Streams takes old computer and mechanical parts and turns them into furniture
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formaFantasma’s Ore Streams takes old computer and mechanical parts and turns them into furniture
Ore streams 2016 - 17 in development at Studio Formafantasma
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Ore streams 2016 - 17 in development at Studio Formafantasma
Louisa Bufardeci The sea between A and I 2014 – 15 09/06/2013, 9°1’52.01”S 106°24’51.56”E fibreglass (mesh), wool National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2016
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Louisa Bufardeci The sea between A and I 2014 – 15 09/06/2013, 9°1’52.01”S 106°24’51.56”E fibreglass (mesh), wool National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2016
Louisa Bufardeci The sea between A and I 2014 – 15 10/04/2013, 7°58'2.02"S 104°56'20.58"E fibreglass (mesh), wool National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2016
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Louisa Bufardeci The sea between A and I 2014 – 15 10/04/2013, 7°58'2.02"S 104°56'20.58"E fibreglass (mesh), wool National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2016
Louisa Bufardeci The sea between A and I 2014 – 15 16/04/2009, 9°26'46.42"S 107°10'34.73"E fibreglass (mesh), wool National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2016
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Louisa Bufardeci The sea between A and I 2014 – 15 16/04/2009, 9°26'46.42"S 107°10'34.73"E fibreglass (mesh), wool National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2016
Installation image of Louisa Bufardeci The sea between A and I 2014 – 15 on display in NGV Triennial at NGV International, 2017
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Installation image of Louisa Bufardeci The sea between A and I 2014 – 15 on display in NGV Triennial at NGV International, 2017
Faig Ahmed Hal 2016 wool, ed. 3/3 National Gallery of Victoria, Melbourne Purchased with funds donated by Sarah Morgan and Andrew Cook, 2017
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Faig Ahmed Hal 2016 wool, ed. 3/3 National Gallery of Victoria, Melbourne Purchased with funds donated by Sarah Morgan and Andrew Cook, 2017
This hand-crafted rug merges traditional making skills with cutting edge drone photography and location mapping to create a detailed aerial landscape out of a textile material
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This hand-crafted rug merges traditional making skills with cutting edge drone photography and location mapping to create a detailed aerial landscape out of a textile material
Installation view of Alexandra Kehayoglou, Santa Cruz River, 2017 at NGV Triennial at NGV Melbourne 2017
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Installation view of Alexandra Kehayoglou, Santa Cruz River, 2017 at NGV Triennial at NGV Melbourne 2017
Installation view of Alexandra Kehayoglou, Santa Cruz River, 2017 at NGV Triennial at NGV Melbourne 2017
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Installation view of Alexandra Kehayoglou, Santa Cruz River, 2017 at NGV Triennial at NGV Melbourne 2017
Installation view of Alexandra Kehayoglou, Santa Cruz River, 2017 at NGV Triennial at NGV Melbourne 2017
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Installation view of Alexandra Kehayoglou, Santa Cruz River, 2017 at NGV Triennial at NGV Melbourne 2017
Installation view of Alexandra Kehayoglou, Santa Cruz River, 2017 at NGV Triennial at NGV Melbourne 2017
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Installation view of Alexandra Kehayoglou, Santa Cruz River, 2017 at NGV Triennial at NGV Melbourne 2017
View gallery - 73 images

Melbourne's inaugural Triennial exhibition at the National Gallery of Victoria (NGV) is an exuberant and exhilarating display of contemporary art featuring pieces from over 100 artists and designers from 32 countries. One of the prevailing features of this extraordinarily immersive spectacle is how deeply technology is infiltrating the world of art, from gorgeous 3D-printed death masks to an overwhelming room-scale installation that incorporates projections with movement sensors.

Looming over the entire exhibition is Ron Mueck's astonishing Mass, a giant installation incorporating over 100 huge skulls, each individually hand-cast out of fiberglass resin. Even more compelling is the way the installation spills into the NGV's permanent gallery of 18th century art to create an excitingly surreal commentary on the fate of classical art.

Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection
Ron Mueck's huge installation features 100 giant skulls strewn around the gallery's classic art collection

Neri Oxman's The Vesper Series feels like wandering through a bizarre alien burial chamber with 15 life-size alien visages inspired by the idea of traditional death masks, which are historically used to capture a person's facial features through wax or plaster.

Here Oxman employs entirely digital generative processes to construct a futuristic form of death mask, using sophisticated 3D-printing technology to manufacture a strange otherworldly variation on a classic historical object.

Installation view of Neri Oxman Vespers, Series 1 – 3, masks 1 – 5 2016 on display in NGV Triennial at NGV International, 2017
Installation view of Neri Oxman Vespers, Series 1 – 3, masks 1 – 5 2016 on display in NGV Triennial at NGV International, 2017

Neri Oxman's otherworldly 3D-printed death masks
Neri Oxman's otherworldly 3D-printed death masks

The influence of 3D-printing can be found all over the Triennial. Several Joris Laarman pieces prominently display emerging metal printing technologies, while Iris van Herpen's avant-garde fashion illustrates how 3D-printing new materials can produce entirely modern textiles and fashion.

Since 2001, the Tokyo-based collective teamLab has been creating immersive installations inspired by new technologies and this new NGV commission is a stunningly disorientating experience. Referencing the natural vortices created by weather patterns this installation uses movement tracking sensors to follow a person through the room and project digital particles onto the floor to represent the flow of their movements.

teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
teamLab Japan est. 2001 Moving Creates Vortices and Vortices Create Movement 2017 interactive digital projection, (duration variable) National Gallery of Victoria, Melbourne © teamLab, courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery

Despite being a wholly digital installation the piece doesn't exist until a human presence triggers it, and the more people in the space the more hectic the vortex patterns become. Describing themselves as "ultratechnologists", teamLab has created a fascinating blend of digital and organic in this engaging installation.

Richard Mosse Incoming 2015 – This encompassing video art installation consists of footage Mosse shot using military grade thermal imaging cameras. He filmed refugees with the technology creating a contrast between the inhuman military technology and the human ordeal of the people
Richard Mosse Incoming 2015 – This encompassing video art installation consists of footage Mosse shot using military grade thermal imaging cameras. He filmed refugees with the technology creating a contrast between the inhuman military technology and the human ordeal of the people

We've only scratched the surface of this massively impressive exhibition that also features Richard Mosse's exploration of military-grade thermal imaging cameras, Sean O'Connell's experiments with electricity and materials, and Louisa Bufardeci's transformation of Google Earth data into needlepoint textiles.

Take a look through our gallery for a closer look at this stimulating exhibition highlighting the way technology is transforming the world of contemporary art.

View gallery - 73 images
3 comments
Tom Lee Mullins
I guess they really know how to get a-head. :)
ljaques
With the exception of the beautiful and organic Bridge Table, this entire gallery is proof that ART IS DEAD.
Ralf Biernacki
Who do you think paid for these skulls? The artist? Wrong. A rich sponsor? Wrong. You did. And you don't even get to choose the artist. That's how the government wastes the tax money that it extorts from you. That's why "art" that consists of finding "creative" ways of spending the most of taxpayer money turns me off, perhaps even more so than luxury sports---at least the guy who spends a couple of million on a racing yacht is using his own or a sponsor's money. I propose a bill: that every art installation paid for partly or wholly with public money shall be required to prominently post, in front of the art, a placard listing the amount of the public grant, and the agency/ministry that gave it.