Abstract

Keywords: Algorithmic Art, Ornament, 3D Printing, Rococo, Symmetry, Asymmetry, Landscape, Wunderkammer

This text analyses the ornamental engravings of Rococo, Art Forms of Nature by Ernst Haeckel, and the digital paintings of Robert Lettner. Together, they create forms, applications and methods of the ornament as contemporary catalyst reflected in the artwork Vessels of Vanitas. The following observations of the works, their differences and similarities, allow a speculation on emerging synergies between method, media and context of the ornament and what each can learn from the other. All these works and objects were brought together in one exhibition, constructing the guiding principle of a Wunderkammer. As a result, a better understanding of the multi-layered concept of ornament as a naturalistic imitation, a classification tool, and as an algorithmically generated construct has been achieved.

• Tobias Klein works in the fields of Architecture, Art, Design and interactive Media Installation. Trained as an Architect, his work generates a syncretism of contemporary CAD/CAM technologies with site and culturally specific design narratives, intuitive non-linear design processes, and historical cultural references. Klein’s works are exhibited international at the London Science Museum, the V&A, The Venice Architectural Biennale, the Science Gallery (Melbourne), the container (Tokyo), the Bellevue Arts Museum, Museum of Moscow and Vancouver and in the permanent collection of China’s first 3D Print Museum in Shanghai, the Museum of Glass in Tacoma (USA) and the Antwerp Fashion Museum (MoMu). Brain Factory, his latest collaboration with Maurice Benayoun, has been exhibited widely, including the Art Centre Nabi (Korea) and Microwave 2018 (Hong Kong). Klein lectures and publishes internationally, recently winning SIGGRAPH 2018’s Best Art Paper Award for his research on the translation from traditional to digital Craftsmanship using 3D printing and glass making and is currently finishing his doctoral thesis with the title ‘Through the looking Glass – a synthetic model of techne and poiesis in Computer Aided Design and Manufacturing’.
• Harald Kraemer is currently Associate Professor at School of Creative Media of City University of Hong Kong and Head of the Curating Art & Media stream of the Master of Arts in Creative Media program. Since his PhD in Art History on Museum Informatics & Digital Collections and his MA in Museum and Curatorial Studies, he has been involved in more than 60 museum management projects and he has produced more than 120 interactive online and offline applications. He curated and designed exhibitions like ISEA2016 in Hong Kong, The Age of Experience (HK 2015 / Vienna 2016) or Interval in Space (Nairs / HK 2017). Kraemer has written and published widely on hypermedia design, museum informatics, digital collections, and contemporary art. Recent publications: The Age of Experience. Hong Kong ‒ Vienna. Exhibition Strategy & Reflection (2017); Robert Lettner. Das Spiel vom Kommen und Gehen (2018). Coming Publication: Multimedia Classics ‒ Hypermedia Hermeneutics. Museums and their Digital Intangible Heritage (2020).

Full text (PDF) p. 428-433

First, the authors would like to express their thanks to Kathrin Pokorny-Nagel, Peter Klinger, and Thomas Matyk of the MAK Austrian Museum of Applied Arts, Vienna, Library and Works on Paper Collection for their support in giving access to their valuable collection of rare Ornament prints.  Secondly, we would like to express our deepest thanks to Margit and Markus Lettner, Vienna for allowing access to the works of Robert Lettner. Lastly, we would like to thank the MA and MFA students participating and organizing the exhibition New Wunderkammer of Rococo shown between March 25th and April 3rd 2017 at the Run Run Shaw Centre for Creative Media in Hong Kong. The work Vessels of Vanitas described in this paper was partially supported by a grant from the Research Grants Council of the Hong Kong Special Administrative Region, China (project no.: CityU 21611115).