press
Daily Camera review of Less Ephemeral and Thermal Gestures
LEONARDO journal, global top-ranked PhD abstracts
WIRED article on Object Permanence
Boulder Weekly review of Less Ephemeral
Artist Profile in Santa Barbara Sentinel
Santa Barbara News Press review of Conducting Studies, Oct 2013
Preview of Dichotomous Dance Performance
Review of RUCKUS exhibition
Review of Can(n)on Studios exhibition
Review of Standard Deviation show
International review of 2012 Chelsea exhibition
Archived announcements:
http://rhizome.org/announce/events/57902/view/
http://www.artcat.com/exhibits/15778
http://www.nyartbeat.com/event/2012/0EC5
SELECTED PRESS QUOTES
"California artist Marco Pinter ... explores the heat the body leaves behind. Picture an aura of heat dissipating from the body and dispersing through space like a chemtrail. Or just check out Pinter's ‘Thermal Gestures,’ ... which is a highlight of three new Dairy shows that began last week. … Get lost in hand trails by swiping the fabric, see the orange-red glow of warm breath, dance behind the fabric and watch the color that kinetics naturally creates."
– Daily Camera, December 2017.
“One of the more sensuous techno-organic creations in the show is Mr. Pinter's 'Object Permanence: Non-Dual,' another video/screen-based riddle with a notably and strangely graceful schematic and interactive visual design. Mr. Pinter, who has worked with live video elements and robotics in his experimental and artistic pursuits, here presents a motion-sensed dance of elements, from the monochromatic, Jean Arp-y amorphous blobs oozing across three screens, and, in contrast, the purely physical aspect of antler-like objects in motion. As the artist explains in his comments, this work, like others in his ongoing series, seeks to 'exploit the perceptual effect of object permanence,' and the lack thereof. Like the other pieces in the unusually engaging art experience that is 'Ruckus,' this specific perceptual and digitally-machinating puzzle leaves we, the viewer, with an odd sense of direct involvement in the art before and somehow within us. We have been upgraded, beyond the realm of the passive beholder.”
– Santa Barbara News Press, July 2014.
“Artist and computer scientist Marco Pinter has created a series of robotically controlled sculptures, which interact with on-screen and projected imagery to trick the mind into perceiving the existence of objects that are not physically present. The sculptures are Heath Robinson-esque machines comprised of a number of different TV screens, projection screens and an array of weird and wonderful mechanical parts such as cogs, bones and pendulums… The brain fills in the gap, allowing us to imaging the object has moved between the screens. The animation then leaps off the screen and appears to trigger a cog or similar moving part into action. The effect is that we imagine that this virtual agent is leaping between screens and triggering physical mechanisms.”
– Wired magazine UK online, Jan 2012.
“A group of… biomorphic-looking drawings around the room are the process-based results of a system from the artists' conducting series in which the actual gestures and motions of the conductor's guiding hands are translated into visual terms, but stripped of specific musical or figurative allusions. With these conceptual tracings, one art form begets another, but through an unexpected and peripheral code and process. Tchaikovsky's late, Romantic bombast is mysteriously, yet systematically channeled and transformed into minimalist visual terms. And, not incidentally, the results are given a due and atmospherically beneficial, public art forum…"
-- Santa Barbara News Press, Scene Magazine, Oct 4, 2013.
LEONARDO journal, global top-ranked PhD abstracts
WIRED article on Object Permanence
Boulder Weekly review of Less Ephemeral
Artist Profile in Santa Barbara Sentinel
Santa Barbara News Press review of Conducting Studies, Oct 2013
Preview of Dichotomous Dance Performance
Review of RUCKUS exhibition
Review of Can(n)on Studios exhibition
Review of Standard Deviation show
International review of 2012 Chelsea exhibition
Archived announcements:
http://rhizome.org/announce/events/57902/view/
http://www.artcat.com/exhibits/15778
http://www.nyartbeat.com/event/2012/0EC5
SELECTED PRESS QUOTES
"California artist Marco Pinter ... explores the heat the body leaves behind. Picture an aura of heat dissipating from the body and dispersing through space like a chemtrail. Or just check out Pinter's ‘Thermal Gestures,’ ... which is a highlight of three new Dairy shows that began last week. … Get lost in hand trails by swiping the fabric, see the orange-red glow of warm breath, dance behind the fabric and watch the color that kinetics naturally creates."
– Daily Camera, December 2017.
“One of the more sensuous techno-organic creations in the show is Mr. Pinter's 'Object Permanence: Non-Dual,' another video/screen-based riddle with a notably and strangely graceful schematic and interactive visual design. Mr. Pinter, who has worked with live video elements and robotics in his experimental and artistic pursuits, here presents a motion-sensed dance of elements, from the monochromatic, Jean Arp-y amorphous blobs oozing across three screens, and, in contrast, the purely physical aspect of antler-like objects in motion. As the artist explains in his comments, this work, like others in his ongoing series, seeks to 'exploit the perceptual effect of object permanence,' and the lack thereof. Like the other pieces in the unusually engaging art experience that is 'Ruckus,' this specific perceptual and digitally-machinating puzzle leaves we, the viewer, with an odd sense of direct involvement in the art before and somehow within us. We have been upgraded, beyond the realm of the passive beholder.”
– Santa Barbara News Press, July 2014.
“Artist and computer scientist Marco Pinter has created a series of robotically controlled sculptures, which interact with on-screen and projected imagery to trick the mind into perceiving the existence of objects that are not physically present. The sculptures are Heath Robinson-esque machines comprised of a number of different TV screens, projection screens and an array of weird and wonderful mechanical parts such as cogs, bones and pendulums… The brain fills in the gap, allowing us to imaging the object has moved between the screens. The animation then leaps off the screen and appears to trigger a cog or similar moving part into action. The effect is that we imagine that this virtual agent is leaping between screens and triggering physical mechanisms.”
– Wired magazine UK online, Jan 2012.
“A group of… biomorphic-looking drawings around the room are the process-based results of a system from the artists' conducting series in which the actual gestures and motions of the conductor's guiding hands are translated into visual terms, but stripped of specific musical or figurative allusions. With these conceptual tracings, one art form begets another, but through an unexpected and peripheral code and process. Tchaikovsky's late, Romantic bombast is mysteriously, yet systematically channeled and transformed into minimalist visual terms. And, not incidentally, the results are given a due and atmospherically beneficial, public art forum…"
-- Santa Barbara News Press, Scene Magazine, Oct 4, 2013.