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Tobias Klein (簡鳴謙)
Tobias Klein, PhD, is an internationally recognized Artist and Architect. His artistic work attends to the synergies between contemporary CAD/CAM technologies with spatially, culturally and historically specific design narratives.

Through his creative practice involving thinking, making and writing, he established the notion of Digital Craft as an operational synthesis between digital and physical materials and tools as poetic (Poïesis) and technical (Technê) expressions. This approach challenges the traditional dualistic separation of digital workflows and analogue making and material understandings.

Academia
Tobias Klein is an Associate Professor at the School of Creative Media (SCM) at City University of Hong Kong, and, since 2020 the Program Leader of Master of Fine Arts in Creative Media (MFACM).

Klein's impact extends beyond the confines of his academic position. He has been regularly invited to lecture and facilitate workshops at renowned institutions internationally (including University of Cambridge, University of Pennsylvania, University of Oxford, University College London, Tsinghua University); and exhibit his work in prominent art events (i.e. International Architecture Exhibition, Ars Electronica, Taipei Digital Art Festival, Microwave International New Media Arts Festival, AAVS Global Summit, USJ Architecture & Design Symposium). In 2013, Klein founded and became the director of the Architectural Association’s Visiting School, Post-Industrial Landscapes. Recognized for his exceptional contributions to the field, he was an appointed Guest Professor at the TU Innsbruck Studio 3 Institute for experimental architecture from 2010 to 2012. His international engagements demonstrate the recognition and appreciation of his expertise and the value he brings to the academic and artistic discourse on a global scale.

Education
Klein holds a PhD from the Royal Melbourne Institute of Technology (RMIT), a Master of Architecture and Diploma in Architecture with Distinction from University College London's, Bartlett School of Architecture a German Bachelor equivalent in Architecture from the RWTH Aachen University.

Déjà vu (2023)
Déjà vu is a kinetic artwork complicating practices of seeing and encouraging alternative approaches to what is conceptualized as visuality. Two panels mounted on a motorized swivel machine form a diptych. The motif, a 3D scanned and recomposed landscape is printed on lenticular lenses which allow the refraction of light and change the content of the landscape according to the viewing angle. The refractive repetitions reveal distorted orientations through pixelated wilderness that uncover and generate new territories. Déjà vu brings into conversation the digital and nature, encouraging hybrid negotiations of the spaces we encounter and see. Déjà vu is direct and dense, without vistas - unapologetic, non-hierarchical, and not subservient.

Meta-morph (2022)
The work is based on a 3D scan of a 16th–17th century late Ming dynasty, Lingbi rock from Lingbi in Anhui province. It is created through digitally carving several elements of the original 3D-scanned rock which are re-composed by placing them vertically on top of each other. They are connected with several small tendril-like structures emerging at times from the rock forming two contrasting characters. The first reassembles a slender silhouette in sequential S-shaped curvature and counter curvature. The surface dominates in this state. The other is dominated by the large incision cutting through the upper part of the rock, dissolving the solid silhouette, opening the structure and revealing the volume of the rock.

Meta-morph negotiates the tensions with/in the material(s) but also chronologies and spatialities. The literal morphing of materiality made visible through the work attends to the transformative potential of materials achieved through their skilful manipulation facilitated through diverse creative processes Klein tests. This particular work enables him to question the limits of sculpture engaging the notion of expanded sculpture to approach landscape and its materialities but also histories from the position of a contemporary observer.

Cymatic Ground (2022)
Cymatic Ground (collaborative work with Alvaro Cassinelli) is an industrial garden made from laser-cut and acid etched steel plates. It is a resonating, ephemeral garden where sand is carried as liquid flowing in reverberating patterns. Interfacing Art and Science in interdisciplinary collaboration, Klein created a sonic extension of the landscape as a liquid shapeless continuum, made visible through vibrations. The work articulates the invisible frequencies within each material and shape, where energies brought into harmonies create overlaying vibration, agitation and movement. These natural frequencies show the interplay between geometry and sound. Cymatic Ground attends to Klein's interest in negotiating (in)visibilities through multisensorial and interdisciplinary engagements with materials. It also complicates the understanding of landscape from the posthuman perspective engaging with more-than human sources shaping the spaces around us. Klein's use of sound is symptomatic of new materialist approaches to matter and explorations of the agency of not only things but also affects and senses.

Unruh (2020)
Unruh (collaborative work with Victor Pok Yin Leung and Jane Prophet) consists of three main components attending to the complexities of control within and beyond structures. First, the work is propelled primarily by an engine that drives a belt, introducing a motion in one axis to the work. It is a linear movement, a source of energy induced into an otherwise stable system, in balance. Second, the main body of the work is balanced by two-axis, suspended within a gyroscope-like structure. Introducing the energy, through shifting the first axis, generating an imbalance that, through the second axis is continuously rebalanced resulting in a sudden shift of the work. Both are visible and reacting to re-stabilizing a system within the context of gravity, forming homeostasis within the shifting system. The third, is a system of spherical magnets, moving within a series of hollowed, tendril-like 3D printed black structures. The work attends to Klein's interest in spatial and material negotiations through the use of movement and sound.

The Invisible Human-Abdomen (2013)
The Invisible Human-Abdomen visualizes a process of mutation over time. The final object is the result of highly complex processes transforming the photographic data of a human body into a skeletal with 3D printing. Parts of the body are restored, but it is only through the second process of crystallization that the Gestalt is, in a sense, reborn. This skillful move, contextualizes the work within the genre of Vanitas. The manifested crystallisation gives form to the human body contradicting its usual effect on the body where formation of crystals results in death.

Inversive Embodiment (2016)
Inversive Embodiment is a fully 3D printed, suspended amalgamation of the author’s own body data (scanned and captured with Magnetic Resonance Scanning) and the ecclesial geometries of Sir Christopher Wren’s Masterpiece, St Paul’s Cathedral. Interfacing the body and architecture Klein explores spatial complexities articulating the resonances between the physical and the digital, the personal and the cultural and the human and the divine.

2023

 * 18th Venice Biennale International Architecture Exhibition, Italy
 * 28th International Symposium on Electronic Art at the Goethe-Institut Paris, France

2022

 * Art Basel Hong Kong 2022, Hong Kong
 * Tongyeong Triennale, Korea
 * Solo Exhibition at Oil Street Art Space, Hong Kong

2021

 * Art Gallery of SIGGRAPH 2021 Virtual
 * Solo Exhibition at Art Basel Hong Kong 2021, Hong Kong
 * Fine Art Asia 2021, Hong Kong

2020



 * Solo Exhibition “Metamorphosis or Confrontation” at University Museum and Art Gallery, Hong Kong

2019

 * 14th Digital Art Festival Taipei at Museum of Contemporary Art (MoCA), Taiwan
 * NUIT BLANCHE 2019 at Le100ecs, France
 * 25th International Symposium on Electronic Art (ISEA2019), Korea

2018

 * Microwave International New Media Arts Festival 2018 at Hong Kong City Hall, Hong Kong
 * VIII Tashkent International Biennale of Contemporary Art - 2018, Uzbekistan
 * Recto VRso - ART & VR at Laval Virtual Art & VR Gallery, France
 * Art Palm Springs 2018, USA

2017

 * solo exhibition “Augmented Mask” at Container gallery, Japan
 * Art Basel Hong Kong 2017, Hong Kong
 * 9th biennale internationale des arts numériques at Centre Culturel François Villon, France

2006-2016

 * Venice Biennale 2014
 * Microwave International New Media Arts Festival 2013 at Hong Kong City Hall, Hong Kong
 * “Friday Late” at V&A museum, UK
 * solo exhibition “Augmented Exuberance” at Slaughterhouse Gallery, UK
 * 12th international Architectural Venice Biennale, Italy
 * "Emerging Talents, Emerging Technologies, Architecture Biennial Beijing 2006", China

Further Readings

 * VR Calligraphy: Transposing Chinese calligraphy as choreographed movements into whole-body performances in VR  (2023).
 * Signs of Life - hearts, blood, and our breath - an artistic dialogue on Embodiment and Boundaries (2022). DOI: 10.1080/13528165.2023.2222497
 * Spatial Photograms: Experimental Cyanotype Photography using 3D Scanning and Printing Technologie (2022).
 * Common datum (2021). DOI: 10.1145/3450507.3457433
 * Metamorphosis or Confrontation (2020). ISBN 978-988-74707-2-4
 * Through the Looking-Glass: A Synthetic Practice Model of Technê and Poïesis in Computer Aided Design and Manufacturing (2019).
 * Imitation - Classification - Construction Vessels of Vanitas and the Changing Meaning of Ornament (2019).
 * Atom, Bit, Coin, Transactional Art Between Sublimation and Reification (2019). ISBN: 978-962-442-421-8
 * Augmented Fauna and Glass Mutations: A Dialogue Between Material and Technique in Glassblowing and 3D Printing Volume 51 (4) (2018). ISSN: 1071-4391
 * Cut & Sea 揭視點 (2018). ISBN : 978-988-19025-4-2
 * Image as chemical atemporality  (2018).
 * Vessels of Vanitas and Glass Mutations (2018).
 * Arch Magazyn Architektoniczny SARP Nr. 6 (32) (2015).
 * Exuberance: New Virtuosity in Contemporary Architecture (2010).
 * Digital Architecture: Passages Through Hinterlands (2009).