Mixed Exhibition “Technology Won’t Save Us”

TECHNOLOGY WILL NOT SAVE US

International Young Art from Berlin
Selected Artists in Berlin

12. ISTANBUL BIANELİ PARALLEL EVENT 2011

Gábor A. Nagy MACARİSTAN
Adam Bota AVUSTURYA
Jessica Buhlmann ALMANYA
Konstantin Déry MACARİSTAN
Deenesh Ghyczy HOLLANDA
Simone Haack ALMANYA
René Holm DANİMARKA
Franziska Klotz ALMANYA
Alejandro Rodríguez González İSPANYA
Steffi Stangl ALMANYA
Anne Wölk ALMANYA

Art Suites Gallery is opening the new season with a very ambitious and important exhibition in parallel events of the 12th International Istanbul Biennial. Nearly thirty works by eleven artists from various European countries living and producing in Berlin in fields such as painting, installation and digital come together with an exhibition titled “Technology Won’t Save Us”. Using today’s technology-language and technological materials in their production, the artists deal with the mathematical, logical and sensory problems and programs of the world we live in with their artistic approaches.

The coded world we live in no longer expresses process or development. It tells no stories, and the fact that we are in it doesn’t mean we actually live, and the reason for this pause is what is known as the crisis of values. Today, we are still largely programmed by texts. For history, for science, for politics, for art… For example; While we read the world in mathematical and logical ways, the new generation is programmed by techno-images, no longer sharing our values.However, we do not know what these techno-images that surround us are programmed for.

The crisis of values, which has become a constant crisis of today’s social life due to the simultaneous, ordinary, coincidental images quoted here, constantly programming us, was described by the philosopher Vilém Flusser in 1978. It was put forward. The artists who participated in this exhibition, almost all of whom were born in the 1970s, are members of the group Flusser calls “New Generation”. The artist’s work, mostly of paintings, is now a response to techno-images that create a parallel and self-sufficient world.

As Flusser explains, the break with history was reflected in their work by Gábor A. Nagy. All historical texts still programmed in Nagy’s paintings are doomed to be meaningless in the end. These paintings are composed of lyrical pieces; he has reduced the world to a monochrome monochrome surface on which figures that have become intangible motifs appear like floating codes. The image distortions, negativity as a result of forming, symbolically distance and spacelessness are loaded with the meaning of my paintings that he proposes an unhistorical relationship to the world. In this darkened environment, the story context and relationships seem to have set themselves free. Thus, images of Nagy whose general focus is to describe the almost impossible; uprooting is the diminishing of the horizon, and perhaps even a void interpretation, on cannabis dissolution and hyper-technological civilization. As with the other artists in the exhibition, Nagy also increases his defiance with relatively archaic techniques.
With his image in the techno-club, Adam Bota strongly demonstrates that painting is superior to other art branches, especially (digital) photography.It proposes a deep and multi-layered representation with paint, as opposed to the reproduction of the unpretentious and highly schematic world formed by bits and bytes.

Likewise (Franziska Klotz’s works can be examined) the perception and experience of time with nonlinear concepts, questions about the technical changes of the forms and our sensory world views. The fully functional world prevails and gains artistic innovation. This can be seen in Anne Wölk’s abstract covering landscapes or in the meditative-looking figures of Simone Haack.

In a world full of technology and self-infinite and never-ending digital cycles, the mental and physical experience of analog In response to his talent in terms of aesthetic appropriateness and the ultimate state of existence, in TECHNOLOGY WILL NOT SAVE US, different situations of individuality have been discovered. The Berlin-based artists sought and found a magical atmosphere that contributed to research, immersion and penetration into the artistic world, and an alternative form of space that could only be aesthetically pleasing, where individuality could flourish without division and maintain a quiet opposition. The subconscious was also self-absorbed and played a dominant role.As portrayed by Vilém Flusser, the subconscious is perhaps the last powerful ability to counteract technological improvement, infinity, and positive vibrations of techno-images.

Artists have used their aesthetic reflections, the depiction of absence, and the use of space distortion as a visual strategy. they apply. (Franziska Klotz’s works can be examined). Likewise, it questions our perception and experience of time with non-linear concepts, and the technical changes of forms, as in Deenesh Ghyczy’s works, as well as our sensory world views. The fully functional world prevails and gains artistic innovation. This can be seen in Anne Wölk’s abstract covering landscapes or in Simone Haack’s seemingly meditative figures.

Artists like Bota or Nagy suggest a distinctly different painting speed. This is a response to a society that beats and advances with techno rhythms. In order to pause time, they force us to stop by deliberately allowing it to sink in slow motion in the layers and ambiguity of the picture. In this sense, the title of the exhibition carries a positive message. It is a call to come to ourselves and reflect on the ideas proposed for the desire for individual freedom and our own. In the exhibition; parallel realities, artificial intimacy and sublimity and the desire to strive to find an identity become the main motif of a contemporary, even romantic attitude and mindset.

For their aesthetic reflections, the artists are drawn to the depiction of absence and a visual strategy. they refer to the use of field degradation. (Franziska Klotz’s works can be examined). Likewise, it questions our perception and experience of time with non-linear concepts, and the technical changes of forms, as in Deenesh Ghyczy’s works, as well as our sensory world views. The fully functional world prevails and gains artistic innovation. This can be seen in the abstract covering landscapes of Anne Wölk or the seemingly meditative figures of Simone Haack.

This exhibition, which seriously examines our technically saturated life, ultimately ourselves and challenges for a new worldview, is very much to her soul. close…

We are no longer involved in a puzzle. Instead, we are in the middle of a secret in the mystery of meaninglessness, which is now illegible and therefore not a secret we are struggling to solve. Instead, we try to give it some meaning to keep our signature on it. Our new emerging worldview also has no backgrounds, but the world is a front surface with nothing to hide. A cinema screen that we can make sense of through magic. Even though it is not like a projector, it is like knots in the fabric of the screen … Understanding how the individual has woven his world, which is intrinsically knotted and technological, requires imagining existence without a past and reflecting oneself with a significant effort. At the same time, strong and very mysterious urges are needed.