Aqua Quantum
EXHIBITED AT
The National Gallery of Denmark, 2024
AR Sculptures, AI film.
A Rose is AI Rose is ARose Performance
EXHIBITED AT
KUNSTEN Museum, Aalborg 2024
AR Sculptures and LED mask perfomance
Franciska Clausen X Ida Kvetny
EXHIBITED AT
Museum Sønderjylland, Brundlund Slot Museum 2024
AR Sculptures and AI Film
AIDAY
EXHIBITED AT
ARS ELETRONICA 2024
Handmade
EXHIBITED AT
CHARLOTTE FOGH CONTEMPONTEMPORARY, DK 2023
PLASTER CAST FROM 3D MODELS VRSCULPTED FROM SMK OPENS ARVHIVE
HERMES
EXHIBITED AT
NIKOLAJ KUNSTHAL, DK 2022/2023
Ida Kvetny
HERMES, 2022 – 𐀁𐀔𐁀
AR sculptures and XR film project based on SMK Opens’ 3D digital archive.
Duration: 6:30 min (loop)
The co-existence and the balance between digital and physical objects often feel forced, with one or the other seemingly unnatural in the habits in which it might be placed. Somehow these objects seem disconnected, almost as if they infringe on the opposite. Ida Kvetny’s approach, however, balances this tight rope with ease, creating a harmonious existence of both physical and digital objects in a practice that seems to extend the digital beyond its natural reach – the screen. With an expanded digital practice, Kvetny’s physical paintings and clay sculptures find a natural existence and space in her surreal VR settings.
In her piece HERMES, which is included in CryptoPong, the surreal narrative has a surprisingly grounded feeling when knowing that Kvetny has physically crafted and created some of the objects in the video, only to scan them and add them into the narrative. One of her paintings has also become the skin on one of the dancing avatars “Apollo’s Torso Hybrid” which is present in the video. Her craftsmanship starts outside the screen, only to be translated and built upon or changed once transferred into the digital.
For her AR sculpture, however, the craftsmanship is made into something digital, only to be brought into the physical world again. Again, something purely digital becomes surprisingly grounded through the simplicity of bringing it outside.
In the context of the subject of the exhibition, such as NFTs, blockchain technology, web3 and the metaverse, Kvetny’s surreal narratives lend themselves naturally. HERMES might be considered a glimpse into one of the many metaverses out there. It is, as if, she has built her own realities and worlds, in which she invites the viewer to partake in, and extend into the real world.
Text by curator and art strategist Stina Gustafsson
CRYPTOPONG PARTICIPATE
EXHIBITED AT NIKOLAJ KUNSTHAL, DK 2022/2023
Kvetny&Velasco
CryptoPong Participate, 2022
Mixed media installation
CryptoPong Participate is an interactive art installation honoring the 50th anniversary of the Pong game with a reference to some of the earlier interactive moving-image installations from the 1960s focusing on behaviour and consumerism such as Valie Export’s legendary work Ping Pong from 1968 and Agnès Varda’s later work Ping Pong, Tong, et Camping from 2006.
In 2022, CryptoPong Participate explores a new interactive aspect of consumerism and digital behavior. Aspects that include behavior on the blockchain with its transparency of transactions, NFT collectables, gamification and how we relate to a new reality combining the physical and the virtual world with digital assets being verified.
CryptoPong Participate places you in a game setting and invite you to interact and play. In the physical game a NFT project is hidden and the player has the opportunity to choose a digital or a physical dimension of the art work, questioning art work’s authenticity, ownership and value.
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SWAN
EXHIBITED AT
FAABORG KUNSTMUSEUM; DK ( Kunstnerkolonien DR ) 2022
A hommage to Christine Swane -XR Project (AR, VR, MX)
Ida Kvetny works in a number of different art forms painting, ceramics, installation art and XR (virtual reality, augmented reality, 3D and NFT), and several of these are represented in the works in the exhibition. The inspiration comes from, among other things from comics and psychedelic art, and in the artistic, multimedia work arises peculiar dream-like universes of surreal Grade. Ida Kvetny speaks about her art and artistic process Among other things, self: “I want to show that the digital expression has something to offer relation to aura and to challenge the concept of authenticity. I see it as an obligation as an artist to enter the dialogue and the negotiation about the reality of the future”. The works in the exhibition are inspired in various ways by Faaborg Museum, the surroundings and of the historical artists at the museum. The two ceramic works are inspired by Svanninge Bakker’s soft forms, but they also act as a bridge – or tokens – into the film, which can be seen as a digital landscape painting, inspired by The life and work of the Fynbo painters. Two 3D hybrid figures appear here, created in virtual reality and inspired by two sculptures by Kai Nielsen, but the figures can also be downloaded via the QR codes onto the guests’ own phones and thus freed up in all rooms. In the film, you can see and hear in addition, an avatar; a graphic representation of and tribute to Christine Swane, which is based on an actual historical exchange of letters focuses on the conditions for women at the time artists. The soundscape in the film is based on the artist’s filming in and around Faaborg in 2022.
EOS
EXHIBITED AT
KUNSTHAL CHARLOTTENBORG ART CINEMA: OCT 20 – NOV 29, 2020
With live performance with Jeanette Albeck & Noah Rosannes
Ida Kvetny has intuitively mediated her subconscious ideas of the future into a virtual universe and augmented sculptures. Here a half-human half-tree stands in an elevated position watching over a gloomy landscape as if it were Yggdrasil. Around the tree, women hang in contorted positions. Below, cyborgs are gesturing with tubes connected to them, and muscular metallic bodies dance on skin-like surfaces. The boundary between the biological and the virtual world is blurred.
In Greek mythology, Eos is the goddess of the dawn and daughter of the Titan Hyperion. Kvetny’s work is inspired by Dan Simmons’ science fiction novel Hyperion, which describes a future intergalactic reality. Herein, an assemblage of artificial intelligences has bred a diabolical figure controlling that mankind does not surpass their technological intelligence. Like a mythological tale about the consequences of humanity’s hubris, Kvetny’s work questions what digital dawn we are witnessing and how our bodies will adapt to the future.
Ida Schyum
cand.mag in art history
The 27.th Bathroom
Nikolaj – Københavnskunsthal 40 år 2021
A hommage to Peter Greenaways 26.th Bathroom.
SULT 2020
SULT / KULTURMØDET MORS
Collaboration with composer and musician Jeanett Albeck for Kulturmødet Mors 2020
SULT is a remix of a song from from the theater play BRØGGER
Tekst Suzanne Brøgger
Musik Jeanett Albeck
Video Artwork Ida Kventny
Remix Mikkel Holtoug
THE KVETNY GALAXY I & II 2019
This film is a collaboration between an author and artist. The author has written a text inspired by the artist’s work, where after the artist again has created a new digital work inspired by the words. The Kvetny Galaxy II unfolds a “Surreal Universe”. The dense dazzled scenario feel, right out of a dystopian magical tale. 3D scanned ceramic sculptures, VR-sculpted animations and classical music lead you by the words into the galaxy. The psychedelic scenes are warped and dreamlike, dripping with saturated colors. There’s a dark feel and an open composition with amoebic creators with transparent souls. The landscape is strange and salute the Metaverse. Meanwhile, the floating forms and deep blues calls to mind Chagall. With an inspiration by Freud the viewer becomes an conduction archaeologist of the mind. To uncover buried thoughts and feelings, to place them in context, to try to understand the relationships between them. The different worlds look something like an archaeologist’s lab turned upside down, with strange, unidentifiable organisms and artifacts left and right. Using an “ancient language that transcends time, place, and culture,” the nightmarish landscapes provoke thought and wonder and dread. Philosophical and artistic influences aside, this dark world is a way to connect the digital and the analog world.
The Kvetny Galaxy 2019
This is the story of an inner, psychedelic journey into Ida Kvetny’s universe
By
Curator, Mette Woller
She was lying on the mattress with her eyes closed. Her body sank down deeper.Suddenly, the back of her head exploded: Like two palms from behind, psychedelic colours flowed in front of her head – en route to embrace the face. At first, she only sensed their presence from the corner of her eye, but after a while she was enclosed. Strong pink, orange and blue colours in drop-shaped patterns swam side by side with lazy eyes that one could float into. Fragile birds lay mislaid in cocoons. Little faces could be seen everywhere. Everything happened so fast. Hybrids of animals and humans fluttered in front of her eyes. Her body became liquid and melted into the space around her. It was a time and spatiality she had never experienced before. Shapes she didn’t know existed. Unidentified organisms that were in- and outside of her body. All of a sudden, everything detonated into crystals and she found herself floating in a stellar universe. The earth was gone, but she was not afraid. A calm voice called through the thousands of shooting stars that splintered around her. Without making a sound, the voice asked if she was ready. A black figure with a diamond-shaped face starred without eyes in the distance. It came closer and insisted on showing her that which she had repressed and did not want to see: To peel off layers of her pain to find the subconscious. Their dialogue passed in silence. Together, they flew towards The Kvetny Galaxy. She inside it. Engulfed by darkness.Blazing fires slowly lit up the darkness. It was a sharp and bluish light that turned into blue smokescreens that became tears on her cheeks. They petrified and turned into fossils from the past that she could bring along. She softly opened her eyes and found herself back in the room, but in a parallel world that contained an extra dimension. She had landed in The Kvetny Galaxy. The 3-dimensionality of reality was flat compared to this world. Transparent walls of smoke with traces of psychedelic colours cut through the space. The entire room breathed as one big organism: Like a giant duvet breathing in and out. A blue, deformed face with a red mouth came floating over her belly. It had long string-like, mechanical arms that slowly began to repair her and put her turmoil in place. At the same time, a green figure with blue hair circled around them on a flying carpet. The third eye at the back of the carpet was shinning bright. Her belly floated to the side and down into the mattress. The blue face told her that she would encounter objects on her way that would give her a new insight. And then it was gone again. The walls of the room lay down and opened up to the outside. A painting was still hanging. She floated into it. The body followed every line and moved behind them. There were sculptures whose flesh she could dissect by moving through them. The painting opened up into an urban space. A large, black face with colourful veins and a gentle, yellow mouth kept guard over the city like a shining moon. She flowed passed it and over the roofs of the houses. Islands with ceramic figures floated between the rooftops. Ceramic avatars looked curiously as she passed them. They became a part of her inner self. There was a promiscuity of shapes and colours that only existed here: A love and a darkness that called attention to new world orders. She slowly returned to the mattress. Gently rose and went outside. The houses were no longer laden with negative energy. She could now see the beauty of the world she existed in. The world was as new.
Ida Kvetny GAZE 2019
By
Ida Marie Hede
The Kvetny dark of night encloses the city. City lights flare. A fluttering activity begins in the small civilization. No one knows the origin of each object, but the place is filled with things. What things? How did they get here? The treetops murmur and whine glitteringly in silver, they want to answer, the trees begin to stutter a slow tale of creation:
In the dawn of time – no, at once – the Kvetny Organism came into life – she grew out of nothing, or maybe out of a wormhole or a thought . Now she was bald, now she coquettishly flicked her hair. Then she resembled a woman, and then an atmosphere.
A soft, upholstered sleeping mask appeared and covered the Kvetny organism’s half closed eyes. Her hands suddenly moved on their own and grabbed the small controllers. Thus, an aura of wild authority manifested itself in and around the Kvetny organism. She enjoyed pulling the controllers and listening to the low pulse of the machine.
In the calm Kvetny dark of night a circle rotated 360 degrees. It moved in small, angry and tickling thrusts to one, then to the other side across bridges and through passages. She pulled on the controllers, the circle withdrew its eyes. Pixels appeared like buds shooting into the night. No pixels occurred randomly, even though they appeared in a crowd. Each octagonal image comprised a sad heart.
The Kvetny organism woke, threw her hair to one side, then to the other. With the wind in her face she stretched her sculptural body in a flood of mother-of-pearl, twisted her head back and let herself multiply in new bodies. She was fond of many detachable hands and many detachable masks. It was the dark of night’s walk-in closet. Filled with limbs that could float freely. You could put a large finger through the lever in her back. From her glazed, metallic skin, from her DNA and from her eyes and from her rays into the world, she begot everything hallucinatory and all the glittering snakes that were found in humans’ hair and around their arms. The Kvetny organism begot many things. She was athletic and bizarre. She trained like a fury with her chic little kettlebell that had her own image chiseled into it. She allowed it to float through the digital wormholes of the night.
The Kvetny organism whispered-summoned all the things with which she wanted to populate the world: Billboards with 80s kissing mouths. Fighter amazones with aluminum lustre. The mime floated through a Möbius band. She invited everyone who wanted to change their eyes to look through the machine of the upholstered glasses. All the eyes of the city appeared. They looked through the dark of night at the flirting, outdated pictures. The pictures turned to the side and became things of several dimensions. The digital breath of the Kvetny organism had resuscitated every single old drawing in the world and now the drawings recirculated, crowding like small punks, thrown from parallel world to parallel world. They were cracked in precisely the right way. Corny and shimmering of old symbolic and new meanings.
It was a great sorrow to the Kvetny organism that surfaces always froze and that pieces of cloth stopped flowing freely in the warm night winds. The brusque monuments barked at her, they were wild and stupid dogs. She left solidified old fathers on their piedestals. She was all in silver. As the organism that she was, she floated everywhere like oxygen and gave high fives to the other floaters.
TALK SHOW 2018
An XR project made for Politikkens Forhal. VR sculpted animations combined with fragments of voices from the technicore!
FLASHFORWARD 2017
FOKUS FILM FESTIVAL NOKOLAJ KUNSTHAL & THORVALDSENS MUSEUM IN COPENHAGEN
How does one best activate the third eye? What characterises the aesthetic experience? And what are black holes and wormholes in astronomy? You may nd the answers in Ida Kvetny’s subtle stop motion work Flashforward. The soundtrack has been borrowed from YouTube where various more or less famous people, including artists Laurie Anderson and Siri Hustvedt, philosophise and explain – and provide the voices for the artist’s animated ceramic gures. Flashforward offers subtle insights into the Internet lumber-room of narrative energy, pocket philosophy, fake news and facts.
BLUE BRAIN CORAL 2017
For both the ceramics and the animations, it applies that the figures and shapes from the paintings, so to speak, “step out” of the images in order to be reshaped in another body, be it the clay or the screen. As an artist, Ida Kvetny is an exponent of the generation that is at once the Western world’s last witness to the time before the mobile phone, internet, computer games, etc. and who are at the same time the first young recipients and consumers of the possibilities of the new technology. A range of experience and change. “In a digital age, I try to explore a primitive language that transcends times, places, and cultures. I work with phenomena and archetypes at a time when concepts such as collective subconscious, memory storage and artificial intelligence form a new perception of reality. ” Ida Kvetny: Vulture-Eye, 2017 The chronological narrative has lost its logic and new myths and images are created. Man’s perception of himself, of reality, time, events, and truth has been twisted. It is this experience, this realization, that is the element in Kvetny’s universe.
INTERNATIONAL MERMAIDS 2012
Animation and performance at Carlsberg Byen
