Translated into English by Dörte Eliass
There are two complementary approaches which determine the current discourses around technological progress: a panic characterised by technophobia on the one hand and a technophile version promising salvation on the other. Besides their ideological nature both share the assumption that it is impossible to limit technical objects to their pure materiality. Yet in a present that is determined by algorithms, data industries and artistic intelligence it not only seems to be necessary to rethink the differences between subject and object, but it also appears essential to recognise changed conditions of knowledge production. In view of the alienating of thinking and the rationalisation of knowledge, the artistic contributions distance themselves from the idea of progress of a referentialism accelerated through technisation.
The artworks presented explore practices of imitation, translation and repetition and examine the extent to which a desire for authenticity, originality or essence is expressed through re-enacting models. Via a media detour and in the regressive recourse to simple, partly analogue formats of artistic pseudo-activity such as fictive settings, fakes and copies, the works create distances which nevertheless neither seek to establish anything like an authority nor a neutral viewpoint of analysis. Neither is their aim to expose stagings as such. Rather, they result in anachronistic qualities and partially in provocations of the unforeseeable.
Yet, in this context instead of becoming “productive” in the sense of a post-Fordist imperative for innovation and creativity and instead of generating new insights about the effects of the coincidental, moments of an “as-if” come into being and dissolve at the same time. So the works harbour potentials of elements destroying their own reality. They break with their own contingency, with their claim to be at one with themselves and so within post-modern paradoxes they behave to originality and truth concepts, their social and political implications, precisely as to an arts system that seems to depend on construction, eventisation and the mystification of certain types of subject.
The exhibition concept avoids imposing a one-dimensional reading particularly on those works that in a way question conceptions of essence, in order to preserve the integrity and the breaks between the individual works instead of foregrounding the continuity of a context of meaning.
Allianz Cultural Foundation
Stadt Wien – Kulturabteilung MA 7
MA 7 – Interkulturelle und Internationale Aktivitäten
Stadt Wien – Film, Kino, Neue Medien
Europäisches Künstlerhaus Oberbayern
Istanbul Bilgi University