REBOOT – PLUTSCHOW GALLERY, Art Paris, 26-29.03.2015
“Ours is a culture based on excess, on overproduction: the result is a steady loss of sharpness in our sensory experience. All the conditions of modern life – its material plenitude, its sheer crowdedness – conjoin to dull our sensory faculties (…) what is important now is to recover our senses.” Susan Sontag
The presented works are arranged around the trinity of Nature, Art and Science. This synergy has been particularly developed since the Enlightenment. Within the time of industrial revolutions and the Modernity the balance of power has been shifted and lately created a new scenario in the age of the postindustrial society. The result of the constrained production and consumption in the light of technological evolution has filled the disciplines with deeper apprehension than ever before. Scientists are restively warning about the risk of ecological and social diseases. In the same time contemporary art soppose to a critical position in this correlation by demonstrating a wary skepticism towards the use and abuse of new technologies, the endless exploitation of nature and the precarious duality of the globalized world.
David Casini’s works provide a secessional idea of the relation between art and science, where human is posed in an empirical position in order to explore Nature with the help of Science. Beyond the mooning concept of the Wunderkammer there is an ecologically conscious statement by using recycled materials (and sustaining immaterial cultural heritage.)
Along the idea of rediscovering Nature with help of humanized Science, Otto Piene played a pioneer roll in the post-war history of art not only as a founder of the so-called ZERO movement but also as a professor of Visual Cultural Studies at MIT, Boston. He fundamentally questioned the configuration of the world around him. In doing so, he offered a unique insight into the difficulties of ascribing definitions and explanations of the environment, or perhaps even meaning, to both the practice of art-making and to the art object itself.
Zineb Sedira with her time-based photography series directs the eye towards a specific place and a specific story of human intervention into a natural environment. The anesthetized images of sugar clamps indicate a critical view on industrial mass production and uncontrolled exploitation of commodities and introduce distraction as a mode of reception.
Miltos Manetas refers to the social interrelation of the trinity under review. His conceptual paintings address the variables of our current media environment, and attempt to assess the enabling aspects of media imagery; a sense of togetherness and shared humanity, or the distancing elements such as ennui, escapism and alienation.
Gal Weinstein enlarges the personal experience of the contemporary reality into a vivid reflection on geopolitics.
Peter Wüthrich has a very explicit allusion towards collective knowledge and its representation. He analyzes social and historical patterns trough the notion of book. The book is seen as a culturally overloaded object, a pledge of knowledge and as a fetish after the era of the Guttenberg Galaxy. On the other hand the altering function of books in the contemporary society allows us to earn an implicit understanding regarding the rolls of art and science integrated to it.
These rebooted relationships are clearly visible at the booth of Plutschow Gallery with a number of high-profile, boundary-pushing works of art being presented.