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Dear Visitor,
you have reached the offical artist website of
Daniel Dressel.
you have reached the offical artist website of
Daniel Dressel.
1. This website is an organic entity, a tool for reflection, communication and sharing, rather than just a way to represent something or someone.
2. On a puely technical level, websites are programmed to change according to the viewer's device, it's screen size and according to the viewers browser. In other words: the coding behind the website's appearance is constantly negotiating with the software and the hardware that is being used to display it's content.
3. This website follows a strict no-cookie policy. It neither uses cookies, nor does it collect any of your personal data without your knowledge: NO ADS, NO GOOGLE ANALYTICS, NO AFFILIATES, NO CROSS-SITE REQUESTS.
All content on danieldressel.com by Daniel Dressel is licensed under a
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License,
unless stated otherwise.
# H A S H T A G : S E L E C T E D W O R K S
2010 - 2021
Someone once asked me: Where is home?
I don’t know. But in the past I often asked myself: "Is it possible to get lost if you don’t know where you are going?"
Even though I still have no answer to this question, I know now that the question on the one hand comes from a sense of helplessness when faced with the disparity of the world, on the other hand from an experienced lack of power toward systems that are beyond our control. Yet I also like this question because it is romantic: It indicates a sense of ‘longing’. As such the question contains a fantasy that wants to influence and change the present moment. In that sense, maybe ‘to get lost’ means to interfere with the structure of the world in order to move toward a different, perhaps better future.
Daniel Dressel, May 2020
The Shed: AK9
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Installation:
Single Channel Video Projection (1080p) / 14:25min
2-Channel Audio (16 Sound Transducer Speakers)
Projection Screen: 16 individual panels (Burned remains of AK 9 cast in Polyester Resin)
2 Seats (Burned remains of AK 9, cast in Polyester Resin)
#damage_and_loss, #auto-biography
#togetherness, #speculative_fiction
#togetherness, #speculative_fiction
2016
Our Homeland Is Each Other
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Sculpture / Text / Website
97 Puzzle Pieces (Various Materials cast in Polyurethane Resin)
Wooden Frame
Dimensions: 10cm x 12cm x 8cm
146 Names: Website with a Collection of Texts
Nework Graph
#togetherness, #speculative_fiction
2020
For Sylvanus
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A Memorial for Sylvanus Tutu Donkor
* 09.04.1983 / Accra, GH
† 06.06.2009 / Amsterdam, NL
#damage_and_loss, #auto-biography
2013
Habitat
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2-Channel Video Installation
Channel 1: Video, 1080p / 6:45min (Robins / Palmtree House, Kew Gardens, London)
Channel 2: Video, 1080p / 9:45 min (Parakeets / Suburbia, London)
6-Channel Audio
2 Curved Projection Screens, Deck-Chairs
#identity, #migration, #privilege
#postcolonialsim, #urban-ecology
#postcolonialsim, #urban-ecology
2019
Jetwash / 5min / 360°
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Installation in Public Space
Mercedes Benz 310 KA
Video 1: Projection, 1080p / 5:00 min
Video 2: iMac, 1080p / 3:40 min / Seamless Loop
#togetherness, #speculative_fiction
#identity, #migration, #privilege
#identity, #migration, #privilege
2019
Fractals
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4K Video
Single Channel Video, 4K / 30:00min
Seamless Loop
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
#class-society, #violence
2016
Polygon
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4-Channel Video Installation
Synched Video- and Audio-Rotation across 4 Floating Projection Screens (back-projected)
Loop, 60:00min
8-Channel Audio
#togetherness, #speculative_fiction, #identity, #migration, #privilege
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
2017
Spectre
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Installation
24 remaining panels of the original 2012 Olympic Truce Wall, London
Blue Ratchet Straps
Dimensions: 250cm x 180cm x 56cm
Rolling Text-Projection / 6:00 min
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
#class-society, #violence
2017
Arc of Opportunity
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Lecture Performance / Video Tryptich
Lecture Performance, 30:00min
Sensation
Monitor 1: Video, 1080p / 2:45min (Sensation by Damien Hirst, Surveillance)
introducing:
Monitor 3: Video, 1080p / 9:45 min (Live Work Studio: Converted Van)
Supernova
Monitor 2: Video, 1080p / 3:01 min (London's Regeneration Supernova, Arc of Opportunity)
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
#class-society, #violence
2017
Taking a Stance
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Essay
Limited Edition of 30
#damage_and_loss, #auto-biography
#togetherness, #speculative_fiction
#identity, #migration, #privilege
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
#togetherness, #speculative_fiction
#identity, #migration, #privilege
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
2016
Appearance / Play
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Play: Intervention in Public Space (Amsterdam, NL)
Floating Black Cube (6m x 6m x 6m)
Single Channel Video, SD / 2:16min
Appearance: Intervention in Public Space (Feilitzsch, DE)
Floating Black Cube (6m x 6m x 6m)
Single Channel Video, SD / digitized Super8 Kodachrome / 5:17min
#togetherness, #speculative_fiction
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
#critique_of_capitalism, #art-and-gentrification
#class-society, #violence
2010 / 2011
Soccer Cam
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Video
Single Channel Video, SD / 6:57min
#togetherness, #speculative_fiction
#postcolonialsim, #urban-ecology
#postcolonialsim, #urban-ecology
2012
A State of Transition
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Intervention in Public Space
Cycling a Rock from the Czech Border to Amsterdam
Postcard
#damage_and_loss, #auto-biography
2012
Untitled (Howling with the Dog)
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Site-Specific Installation
Helmbrechts, Germany
Backyard: Outdoor Speaker (visible through the window)
Empty Room: 7" Monitor, Microphone Stand, Microphone, Headphones, Amplifier, Delay Pedal
Single Channel Video, Portrait (A Howling Dog - in the empty room)
Seamless Loop
#togetherness, #speculative_fiction
2013
"To hack a system requires getting to know its rules better than the people who created it or are running it, and exploiting all the vulnerable distance between how those people had intended the system to work and how it actually works, or could be made to work."
Edward Snowden, Permanent Record (Metropolitan Books, New York, 2019), p.53
If a good hack is able to debunk the rules behind a system, then 'hacking' does not just belong to the digital world.
It exists wherever rules do.
Edward Snowden, Permanent Record (Metropolitan Books, New York, 2019), p.53
If a good hack is able to debunk the rules behind a system, then 'hacking' does not just belong to the digital world.
It exists wherever rules do.
