Neither the Dog nor Protest or Self-immolation have been updated for years. Unfortunately, app creators remain largely oblivious to the fact that every app has to be updated on a regular basis so that it is fully compliant with the latest version of any given operating system. This app questions the very nature of human relation to digital technology, as well as its limits. In 2015, the concept of the original installation was translated into an app by Pawel Janicki and Malgorzata Sikorska, designed and developed to encourage users to explore the intersection of the real objects with their virtual counterparts. It is a mobile version of an art installation by Zbigniew Kupisz, which was exhibited back in 1994 in Wrocław. On the official Piotr Wyrzykowski website, we find out that the “Protest app is a tool for expressing your civil revolt opinions used for creating a peaceful virtual demonstration.”Īn app titled ‘The Dog’ was also created as part of the WRO Biennale. In 2014, Piotr Wyrzykowski – a performer, new media artist and double winner of the WRO Media Art Biennale – created two apps titled Protest and Self-immolation. Variant: SONIC app by Interval Studios (Joshue Ott and Kenneth Kirschner) – another app art exampleįollowing global trends, and the introduction of new technology and systems, new media, interactive and net artists of the late ‘80s (who associated with the WRO Art Center and WRO Biennale) paved the way for app art in Poland. This exploration of music, science and nature is considered one of the greatest works of app art to date and is the first app in MoMA’s collection. The artists overestimated the general public that, as it turns out, didn’t recognize the allure of the instant art creation.Īpp art might have not found its wider audience, but it certainly inspired other artists, such as Björk who collaborated with Snibbe on the Björk: Biophilia album/project, consisting of a living and breathing ecosystem of sound and multimedia. Perhaps, it was simply superseded by the functional apps and trite yet entertaining games, which inundated the App Store and Google Play platforms. App art is still a niche medium that fell short of the artists’ intentions. If the intention of app artists was to reach a wider audience, consisting of the exponentially growing number of smartphone and tablet users, then they must have failed somewhere. Niche experiment with interface and touchscreen
Here Hear – latest app by Rafaël Rozendaal MotionPhone(the app is currently unavailable) was a networked work of art by Snibbe (also based on one of his previous installations), that is created and expanded simultaneously by a number of people tracing their fingertips on their iPhones’ touchscreens. Gravilux and Bubble Harp are meant to introduce “real folks”, and not only art enthusiasts, to generative and interactive art.
Their apps include: Tripolar (unfortunately this app has got no updates), Gravilux, Bubble Harp, MotionPhone (the app is currently unavailable) (Scott Snibbe), Finger Battle, Clouds (Rafaël Rozendaal) and Yellowtail (Golan Levin).Īs opposed to Rozendaal who created something from scratch, Snibbe designed digital versions of his early art installations which have previously been displayed IRL, in art galleries and museums. Artists such as Scott Snibbe, Rafaël Rozendaal and Golan Levin all ventured into the field of digitalised, joint-multisensory experience artwork shortly after the App Store (2008) and Google Play (2009) were launched. It is no wonder that the pioneers of app art are those artists whose practice was already focused on video, net and interactive art.
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