About Me
托比亞斯‧克萊恩
Tobias KLEIN
托比亞斯‧克萊恩出生於德國波恩，在德國和奧地利修讀建築學，並畢業於英國倫敦大學巴特雷建築環境學院。
克萊恩藉著大量且廣泛的媒體實驗，加上特定場景和文化的設計敘述、憑直覺的非線式設計過程及參考歷史建築，將當代CAD技術和CAD / CAM技術融合為一。他以創造者兼工匠自許，既是建築師、又是設計師及文化推動者。憑藉自己的多重身份，可以縫補十五、十六世紀時期知識與體力勞動之間的分裂，以及克服十九世紀時期自動機械化與詩意創作之間的鴻溝。
他的作品範圍廣泛，如《虛擬日落》著眼「群眾外包」／「眾包」現象，運用複雜網絡中的文化元素，去建立與同步發生的抽象事件的情感關係，亦有作品運用三維打印基礎材質晶體的人工環境反應性生長聯繫情感，繼而產生文化價值和影響力，以及沉淀數據。
克萊恩目前於香港城市大學創意媒體學院任助理教授。
Tobias Klein, was born in Bonn, Germany. He studied Architecture in Germany and Austria and finished his studies at the Bartlett School of Architecture, University College London.
Through a plethora of diverse experimentation with media, he generates a syncretism of contemporary CAD techniques and CAD/CAM technologies with site and culturally specific design narratives, intuitive non-linear design processes, and historical architectural references. He sees the multiplicity of his roles – architect, designer and cultural agitator-- as that of the creator-craftsman who finally has the chance to overcome the fifteen- and sixteenth century schism separating intellectual and manual labour, as well as the nineteenth-century gulf dividing automatic mechanization and poetic creation.
His works range from crowd-sourced phenomena, such as the work virtual sunset, that includes cultural components within complex networks to achieve emotional relation, to synchronized, abstract events, and to the artificial, reactive growth of crystals in 3D printed substrates, in an environment that allows cultural values and human participation to influence and sediment the data.
He is currently working at the School of Creative Media, City University of Hong Kong as Assistant Professor.
不自然解剖學
Unnatural Anatomies (6 pieces)
2007–2017
裝置
3D 打印樹脂 / 3D 打印尼龍、硫酸鋁、霓虹燈泡、阿加力筒 / 3D 打印 (Z corp)、骨頭 / 玻璃、3D 打印聚合物、骨頭
縱觀應用藝術史，新製造技術與創新材料運用之間的相互作用，促使了全新應用程式、媒體和藝術表現形式的產生。「工匠」往往能夠結合設計各個面向，將圖像、物件和兩者的組合來構建空間。
技藝與製作的融合，亦即技術與藝術的相互作用成就了「整體藝術」（Gesamtkunstwerk）的創作，在對自然界的模仿和三維掃描，以及其擴增和嫁接的新自然界之間創造出中介空間。
In the history of applied arts, the interplay between new manufacturing techniques and the use of novel materials has led to new applications and media and artistic expressions. The Craftsman was able to combine all aspects of design in applying the ability to construct space through image, object and assemblage of both.
The inclusion of techne and poiesis - the technological as well as the artistic interplay, enable the creation of total works of Art - Gesamtkunstwerke - that form a liminal space in between imitation and a 3D scan of the natural, and its augmentation, to become grafted new nature.
個展+
Solo Exhibition+
2018
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「揭視點」，油街實現，香港。
CUT & SEA, Oil Street Art Space, Hong Kong
2017
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「擴增面具」，The Container日本東京。
Augmented Mask, The Container, Tokyo, Japan -
「自然不自然」，香港視覺藝術中心，香港公園，香港。
Simulacra Naturans, Hong Kong Visual Art Centre, Hong Kong Park, Hong Kong -
「平衡對談」，工業美術館，太平洋設計中心，美國洛杉磯。
Balanced Conversations, INDUSTRY GALLERY, Pacific Design Centre, Los Angeles, USA
2015
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《反向表現 》、《緩緩自拍三》、《看不到的人類盤骨》，矽谷藝術館，美國聖荷西。
Inversive Embodiment, SLOW SELFIE III and Invisible Human_Pelvis, Solo Show at Art Silicon Valley, San Jose, USA
群展+
Group Exhibitions+
2017
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《面具L》及 《虛空的容器一》，「體驗時代」，應用創新實驗室，奧地利維也納。
Mask L and Vessels of Vanitas II, in "Age of Experience”, AIL (Angewandte Innovation Lab), Vienna, Austria
2016
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《虛空的容器一》，《原子＋元組：重寫數碼時代中的工藝》，貝爾維尤藝術博物館，美國西雅圖。
Vessels of Vanitas I, in "Atoms + Bytes: Redefining Craft in the Digital Age", Bellevue Art Museum, Seattle, US -
《都市掃瞄》，「築 · 聽 · 覺」，chi K11 art space，香港。
URBAN SCAN, in "Urban Sense", K11 Art Space, Hong Kong, Hong Kong
2015
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《緩緩自拍》，國際電子藝術研討會，溫哥華博物館，加拿大。
SLOW SELFIE, ISEA (International Symposium on Electronic Arts, Museum of Vancouver, Canada
2014
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“INCUNABULA”，於「重現1914：時裝展覽的四個面向」展出，威尼斯雙年展2014，威尼斯。（期後獲比利時安特衛普時尚博物館納入永久藏品。）
INCUNABULA and 1914 Now: Four Perspectives on Fashion Curation", Venice Biennale 2014, Venice, Italy (afterwards in the Permanent Collection of the MoMu Antwerp, Belgium)