“Printing the World | Imprimer le Monde,” curated by Marie-Ange Brayer, can be seen in Gallery 4 at the Centre Pompidou in Paris, from March 15th – June 19th 2017
Stratasys 3D printed collections to feature as part of the exhibition include ‘Vespers’ by Neri Oxman, ‘BC - AD’ by Dov Ganchrow and Ami Drach, and ‘Descendants’ by Daniel Widrig
MINNEAPOLIS & REHOVOT, Israel — (BUSINESS WIRE) — March 14, 2017 — Stratasys Ltd. (Nasdaq: SSYS), the 3D printing and additive manufacturing solutions company, today announced that three of its iconic 3D printed collections with world renowned designers are being featured in the “Printing the World | Imprimer le Monde” exhibition at the acclaimed Centre Pompidou, Paris. This includes “Vespers” by Neri Oxman, “BC - AD” by Dov Ganchrow and Ami Drach, and “Descendants” by Daniel Widrig.
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3D printed VESPERS, Mask 1, Series 2, 2016. Designed by Neri Oxman and her team as part of "The New Ancient" Collection by STRATASYS and 3D printed with Stratasys PolyJet 3D printing technology. (Photo: Yoram Reshef)
The museum’s upcoming exhibition brings together artists, designers and architects who pioneer the use of 3D printing as an analytical and experimental tool. “Printing the World | Imprimer le Monde” is part of the wider Mutations| Creations platform at the Centre Pompidou, focusing on art, science and innovation. Visitors are invited to explore the influence 3D printing has on production and how it has integrated into design, artwork, architecture and science.
“Digital technologies such as 3D printing have revolutionized design and production, transforming the practice of architects, designers and artists,” explains Naomi Kaempfer, Creative Director of Art Fashion Design at Stratasys. “Nevertheless, the origins of 3D design can be traced as far back as the late 19th century with the invention of the photo-sculpture – the first attempt at 3D photographic reproduction. As innovators continued to pioneer 3D production throughout the ages, today designers and architects work on programming languages and are directly involved in production.”
In its selection of over 30 leading artists, “Printing the World | Imprimer le Monde” reveals the transformation of forms within a ‘digital materiality’ that has given birth to a new typology of objects having 3D printing in common.
“Vespers”
Showcasing at the Centre Pompidou exhibition are three of Neri Oxman’s breakthrough 3D printed “Vespers” death masks which debuted at the London Design Museum in November 2016. Oxman’s exploratory 3D printed death masks are part of Stratasys’ “The New Ancient” collection and uniquely emulate the resolution and complexity found in nature. Divided into three sub-series, entitled “Past,” “Present” and “Future,” one mask from each sub-series will be visible to visitors at the Pompidou. Combining designs of past civilizations with design processes and capabilities of the modern world, the death masks leverage Stratasys’ unique PolyJet 3D printing technology with full-color and transparent multi-material capabilities, matching for the first-time the variety and nuance of ancient crafts. The third death mask, from the subseries “Future,” combines synthetic biology and advanced Stratasys 3D printing to host microorganisms within the mask.
“BC - AD”
By blending technologies from the farthest ends of human existence, Ganchrow and Drach showcase how simple designs powered by clever thinking can translate into beautiful, functional, and history-changing objects. The “BC - AD” collection features a series of stone-age tools made of flint stone, which have been redesigned and modernized with the use of Stratasys high-resolution PolyJet 3D printing. While the flint stone tools are formed through the pre-historic method of ‘knapping’ – flint stones striking against one another to create a new form – the scanned pieces were then given 3D printed axe handle, fitting the contours and shape of the flint stone with absolute precision.
“Descendants”
With this collection, Widrig addresses the increasing possibility of superior artificial intelligence and technological singularity, and how future synthetic bodies might look and feel. Overlapping high resolution 3D scans of male and female figures with intricate digital compositions, the ‘humanoid’ figures were 3D printed with Stratasys multi-color, multi-material 3D printing. Stratasys unique 3D printing technology combines rigid and soft materials, allowing Widrig to achieve both human and futuristic structures in life-size human scale. According to Widrig, with advanced technologies such as 3D printing already facilitating the customization and enhancement of the human form, the concept of a post-human era of non-biological intelligence is now much more conceivable.
“We are proud to be part of ‘Printing the World’ at the Pompidou,
celebrating the multitude of possibilities achievable within art and
design with 3D printing,” concludes Kaempfer. “The exhibition allows the
audience to re-evaluate the role of artist/creator, and opens up new
ways of thinking when it comes to production. We encourage visitors to
explore our diverse 3D printed collaborations on display and share our
excitement over the significance of the technology to disrupt
traditional design.”
