DRAWING IN THE AGE OF ELECTRONIC EXPRESSIONS
With works by Sanela Jahić (SI), Takahiro Yamaguchi (JP), Julius Stahl (DE),
Daniel Franke (DE), David Bowen (US).
The exhibition DRAWING IN THE AGE OF ELECTRONIC
EXPRESSIONS is part of Transmediale & CTM’s Vorspiel, January 26-29.
VERNISSAGE: Saturday 28 January 2012, 20.00
All participating artists will be present.
With Performance by “Sanela Jahić - Fire Painting”.
Further Performances of “Fire Painting”:
Saturday 4 Feb, 21.00
Exhibition dates: 29.01.2012 - 5.02.2012
Finissage: Sunday 5 February 2012, 20.00
Opening hours: daily 12.00 - 20.00,
Friday 12.00 - 22.00
Free Entry (or donate what you like)
The exhibition “Drawing In The Age Of Electronic Expressions”
deals with visual art techniques – in particular painting and
drawing – and how the role of the artist has been transformed
by the impact of digital technology, so that ”the fate of image
is from now on numerical” (Edmond Couchot) and the significant
areas are now scattered in bits and bytes, until only “point
universes” (Flusser) remain. Can the producer leave the surface
and program equipment, with data controlled by insects and
machines, which in themselves turn into the actual producers
or synthesize sounds into images?
In their attempt to avoid the classical visual image, which
would mean to “hang pictures on the wall”, the artists
re-interpret this gesture in a new way. Even when their works
do not produce something visual, an image appears to be their
only possible form. Both sound sculptures and performances that
include many amenities, fire-spectacles or housefly-installations
experimenting with controlled “randomness”, all these works
deal with the movement of drawing, letting this technical spectacle
become the ultimate image itself.
Within these subjects, the role of the artist gains more and
more importance. The different interpretations of the observer
not only provoke the question “Who is the artist?”, but also reiterate
it over and over. In this constellation the image neither represents
a result nor a starting point. It appears to be much more a
“porous membrane”, both present and obsolete; dominant and
invisible at the same time. In this manner, the exhibition focuses
on the artist and not primarily on the artworks, expatiating upon the
whole system as machinery. In this act of transformation,
software and art switch places. A “drawing machine” develops
and at the same time the artist steps back – deliberately.
In this position, literally “vanishing”, he/she paradoxically becomes
more dominant than ever. By keeping a physical distance to
his/her artwork, the artist re-interprets his/her role and maintains
a boundary to him-/herself through self-observation. This act turns
a form of non-existence into powerful presence.
Find info of LEAP’s second Transmediale exhibition
(26.1) “BodyControlled #2” here: www.facebook.com/events/364495646900289/
LEAP (Lab For Electronic Arts and Performance)