A partnership between the Graphic Design section of Jacques Prévert High School (Boulogne Billancourt) and the Centre Georges Pompidou let students create interactive experiences centered on works displayed in the expo “Imprimer le monde”.
Le Centre Pompidou is investigating aspects of 3D printing in a small collective expo presented in its Gallery 4. Once machines can fabricate objects on-demand all by themselves, what becomes of the creator? Can printed objects become works of art? Find out by visiting before June 19.
Discover 2 student projects:
Harvesting Plasticity, Kevin Clement & Anders Rod, 2016
Harvesting Plasticity is a project by two students from the University of Tokyo. The structure was conceived to serve as covering for temporary markets in Japan. The structure was specially designed for the expo.
The application comes back to the 3 essential parts in the process of creating the structure through mini-games destined for visitors:
- recycling: it is made from biodegradable bioplastic, from food packaging waste; fabrication: made through precise guidance software, allowing for the placement of plastic rods in space;
- fabrication: made through precise guidance software, allowing for the placement of plastic rods in space;
- participation: in the future anyone will be able to use these fabrication techniques and create their own structure according to their needs and wishes.
Stranger Visions , Heather Dewey Hagborg
This work is composed of 3D printed faces. The artist collected trash from the street (cigarette butts, chewing gum) and extracted DNA from the trash in the lab. From these results, she created robotic portraits by mixing all of the DNA, then printing the faces in 3D.
This project decries surveillance linked to DNA (we always leave signs of our passage), but also the fact that DNA gives us information about a person (precise physical details) without ever being complete (no personality traits, for example).
The application aims to recreate the artist’s pathway. It proposes to analyze the visitor through a series of (fake) DNA tests. Following the analysis, the visitor is given their profile, pushed to absurd extremes. The visitor is then informed that these results are erroneous, and that this is part of the limits of DNA. Together this allows the visitor to better understand the artist and the social issues involved in the work.