Gabriel Barcia-Colombo
Gabriel Barcia-Colombo | |
|---|---|
| Born | |
| Alma mater | USC School of Cinematic Arts |
| Known for | DNA Vending Machine, New York Minute, Hereafter Institute, Platform, Neon Museum Residency |
| Relatives | José Rubia Barcia (grandfather) |
| Website | www |
Gabriel Barcia-Colombo, (born in 1982), is an American video artist, filmmaker best known for his innovative video sculpture installations. He explores themes of memory, identity, and human connection through a unique combination of video, photography, and video sculpture. .[1]
Barcia-Colombo's work blurs the boundaries between art and technology, utilizing video projection, interactive elements, and immersive experiences to engage viewers.
With his distinct artistic vision and contributions to the realm of video sculpture, Barcia-Colombo has garnered critical acclaim and recognition within the art community. His boundary-pushing creations provide viewers with unique and immersive perspectives on the intersection of technology and humanity.
Early life and career[edit]
Gabriel graduated from the USC School of Cinema-Television and is currently a Professor of Media Arts at Tisch School of the Arts.[2] In 2008, he was awarded the NYFA grant for video.[3] In 2012, he was made a TED fellow.[4] Gabriel has presented two TED talks since then, one in 2012 and the other in 2013.[5][6]
In 2014, Gabriel founded “Bunker,” a pop-up VR gallery in New York City which features artists' work in the form of code-driven sculpture, augmented reality and virtual installation.[7][8] The gallery was re-opened at Sotheby's in new york in 2017.[9]
Art projects[edit]
DNA Vending Machine[edit]
In 2014, to create the awareness about privacy issues related to the use of information stored in human DNA, Gabriel created a vending machine that dispenses human genetic material.[10] The machine was installed at the Victoria and Albert Museum in London as part of "what is luxury show".
New York Minute[edit]
In 2015, Gabriel created video art project entitled “New York Minute” for the Fulton Center. The project featured 52 portraits of New Yorkers doing everyday activities in super-slow motion. The project was honored by the non-profit organization Americans for the Arts.[11]
Hereafter Institute[edit]
In 2016, Gabriel created project the "Hereafter Institute" which was premiered at the Los Angeles County Museum of Art as part of the Art and Technology Lab.[12] The project examines the ways in which people memorialize themselves after their death in the digital age and what happens to their data when they die.[13]
Platform[edit]
"Platform" is a video artwork commissioned by MTA Arts and Design by Gabe Barcia-Colombo examining what it means to be back together in a crowd after years spent apart. The work features a large portrait of 40 New Yorkers in a slow motion moment of awe as they come together to examine the passersby in the new Grand Central terminal.[14]
“Platform” existed in the new Madison concourse under Grand Central Station. It featured portraits of 40 New Yorkers in a slow motion moment together of awe. The “Platform” in this piece is intentionally left vague. Is it a political platform, a subway platform, a social media platform? Are these people looking at a great work of art or something terrifying?
“We’ve been so isolated in the pandemic,” Barcia-Colombo said. “This is about being in a crowd again.”
Barcia-Colombo added that a digital component was a good complement to the medium of mosaics, New York’s traditional go-to for public transit art.
“Digital art is the future of public art,” he said. “All these stations have screens in them. It’s an entry point for people.” [15]
Neon Museum Residency[edit]
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During his residency at The Neon Museum, Barcia-Colombo investigated how technology and light influences and impacts memory by creating a series of sculptures inspired by the signs in the Neon Boneyard.[16]
Gabriel Barcia-Colombo gave an artist talk via Zoom and conducted a projection mapping workshop with UNLV College of Fine Arts students.
In addition, Gabriel utilized his studio space at the Juhl to record video of a number of Las Vegas locals. These came together in a composite video sculpture “Sin City Saint Machine” and as recreations of three iconic Las Vegas figures; Vegas Vic performed by Brent Holmes, Vegas Vickie performed by Laci Cerrone and Elvis, performed by Heidi Rider.[17]
Gabriel is the grandson of Spanish poet and writer José Rubia Barcia.[18]
References[edit]
- ^ Rubin, Josh. "Interactive new media artist Gabriel Barcia-Colombo takes on television's digital takeover". Cool Hunting.
- ^ "Gabriel Barcia-Colombo". TISCH - New York University.
- ^ "NYFA video fellow". Archived from the original on 2013-04-08. Retrieved 2013-04-13.
- ^ Barcia-Colombo, Gabriel. "Gabriel Barcia-Colombo - Speaker - TED". Ted.com.
- ^ Barcia-Colombo, Gabriel. Capturing memories in video art.
- ^ Barcia-Colombo, Gabriel. My DNA vending machine.
- ^ ""Save As..." at NYC Pop-Up Gallery, Bunker". Cool Hunting. 4 March 2016.
- ^ Rose, Frank (2017-07-24). "Young Digital Artists, Anxious About ... Technology". The New York Times. ISSN 0362-4331.
- ^ "5 Questions for Digital Artist Gabriel Barcia-Colombo". www.sothebys.com.
- ^ Hussey, Matt (2014-03-13). "DNA Vending Machine discusses ethics of genetic engineering". Dezeen.
- ^ "'Sky Reflector-Net,' 'New York Minute' Among Best Public Art in U.S., Canada". mta.info. 12 June 2015.
- ^ Miranda, Carolina A. (2016-09-02). "What happens to a person's Facebook posts after they die? One artist is using them to build digital memorials". Los Angeles Times. ISSN 0458-3035.
- ^ "The Hereafter Institute". www.hereafterinstitute.com. Retrieved 2017-11-16.
- ^ Barcia-Colombo, Gabriel (1 March 2023). "Platform". Gabe BC.
- ^ Barcia-Colombo, Gabriel (22 December 2022). "Now Arriving: Yayoi Kusama and Kiki Smith's Grand Central Madison Mosaics". New York Times.
- ^ "Neon Museum Artist In Residence Gabriel Barcia-Colombo". The Neon Museum Las Vegas. 10 December 2021.
- ^ "AIR6: Gabriel Barcia-Colombo". The Neon Museum Las Vegas. 8 April 2022.
- ^ Bereznak, Alyssa (24 August 2016). "The Afterlife Will Be Digitized". The Ringer.
