ADA - analog interactive drawing installation / kinetic sculpture by Karina Smigla-Bobinski at FACT Liverpool UK on "Robots and Avatar" Exhibition

"Some interactive, kinetic sculptures, like Olafur Eliasson's Weather Project or Roman Ondák's Measuring the Universe, require the viewer to also help complete it. Others, like AnL Studio's Lightwave, interact in order to take on anthropomorphic, animated qualities. Well, Karina Smigla-Bobinski's ADA, an interactive sculpture that (...) does both."
(James Gaddy)

Similar to Tinguely Metamatics, "ADA" is a self-creative artwork, which the artist and the viewers create together. This opens the question, what the work of art is: the object created by the artist or the result created by the visitors or both together. Unlike Tinguely, Smigla-Bobinski oriented "ADA" towards the function and aesthetics of post-industrial machines such as computers or molecular hybrids. Nano-biotechnology is working on rotating silicon-carbon-hybrids, molecular tools, which are designed to construct and control microscopic structures. Like this hybrids "ADA" is an interactive "art-making-machine". A big see-through ball floating in midair, filled with helium and looking like some kind of membrane. Attached to it's membrane are pieces of coal, that leave their traces on the walls, ceiling and the floors as the ball is pushed around by the visitors. The movement of "ADA" makes it look alive, the black lines left behind give it an air of importance. The ball in action creates an uncontrollable composition of lines and dots, that differ in length, intensity and coordinates. Those, at first white walls and their being covered with more and more complicated marks shows the performing character of "ADA". In other words: it safes the visually captured aspect of the movement. The result is a collective, abstract and expressive picture, basing on the idea of a changing art, that is induced by the aesthetic and accumulating experience with an unproductive machine.

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