Curated by Vincent Honoré and Nicoletta Lambertucci, the premise of Networked Flesh moves beyond human corporeity in the digital era and is more concerned with empowered bodies that operate through networks to “perform, transform, transcribe, reconfigure or reinvent” and brings works together that view fluidity within a context of positive potential.
Exploring a condition of sublimation, the exhibition includes paintings, sculptures and drawings and includes work by both established, historical and emerging artists.
“[T]he screens that now people our lives.” The phrase, from the opening line of Deep Screen‘s press release, that ran at Parc Saint Légerfrom March 14 to 24, is telling; though McLuhan perfectly predicted the repercussions of this kind of technological shift on society, it does not cease to amaze. And while the ripple effects are vast and transformative to every aspect of ‘civilized’ life (this should always be in quotation marks), each particular industry is affected in its our peculiar way. The art world, for what its worth, has weathered the transformation in stride, taking its viewership and its platform from the stark white walls of museums directly to the screen on which you read your daily mail. The future is lazy, people.
“Since the border between the real and the virtual is increasingly porous, many artists today consider the internet, with its cycles, networks, fluids, pollution, folklore, and beliefs, as their new natural milieu,” write Camille Le Houezec and Jocelyn Villemont of the curatorial platform It’s Our Playground, in their press release. “In this ecosystem, the majority of the artworks move about freely, unconstrained by lighting or how they are positioned on display, dehierarchized, “liked,” shared, occasionally imitated, and living out an uninhabited existence in their documented form.”
Borrowing a “display-case exhibit form” from traditional art institutions, Le Houezec and Villemont invited 13 artists and artist duos working on the “post-internet” realm— including Cory Arcangel, Renaud Jerez, Rachel de Joode, Marlie Mul, and Tilman Hornig—for an encased exhibition that is nonetheless “completely of the physical world”—or, as they call it: “a view of art in 2015 through a glass screen”. **
Parc Saint Léger brings a new exhibition by the name of Deep Screen and running at the Pougues-les-Eaux, France art space from March 13 through March 24.
Borrowing from Paris’s National Museum of Arts and Popular Traditions (MNATP), Deep Screen exploresthe screens that inhabit our modern lives, overrun with computers, smartphones, and tablets that filter our reality and predominate our perception and absorption of contemporary art. The press release reads: “Far from being an apologist virtual tours , the immersive Deep Screen invites you to an experience of exposure to any materiality.”
Mexico City’s Lodos Gallery is hosting the latest exhibition from Renaud Jerez, titled Yesterday and running from August 29 to November 1.
The Berlin-based artist comes to Mexico for the first time with a new set of work, consisting of two sculptures made with CNC cut on isolation foam as well as a painting, showing once again that his affiliation with so-called post-internet art does nothing to curb his classical approach.
Curated by Dorothée Dupuis, the exhibition takes inspiration from Joseph Cornell’s experimental 1942 film, By Night with Torch and Spear, and Jerez explores the greater narratives promised by technology and the “increasingly schizophrenic relationship between the mass produced devices/images and the bodies that use and consume them”.
Ilja Karilampi is presenting solo exhibition SweSh Xpress at Geneva’s Marbiers 4, opening April 24 and running to May 17.
Following up Renaud Jerez’ Lucky Strike, running March 29 to April 19 at the same space, the announcement comes with an extended trailer originally animated by Daniel Swan as ‘RENAUD JEREZ / ILJA KARILAMPI *** GENEVA’ and featuring the familiar hyper-hip hop tropes of the Karilampi oeuvre.
Hence, as the global protagonist of last year’s The Hunter in the Armchair, published via Motto, Karilampi’s “countries almost making out”, as seen from high-speed cross-border trains meets the “Prada, Gucci, Young Thug, Napalm Death, Jean-Paul Gautier” of Jerez’ previous press release prose –all while cycling around the unified European countryside and listening to Juicy J.
Following a growing and dynamic discourse in contemporary art around pollution and a general collapse in systems and processes, Geographies of Contamination presents works by ten artists, all premiering in London and spanning synthetic and organic matter, generating an unsettling cross-section of our modern condition.