[I]n the image of...
Curated by Michele Thursz
Location: Pfizer Building, 630 Flushing Avenue, Brooklyn, NY 11206
Opening reception: April 18, 2019, 6:30-9:30 pm
Exhibition dates: April 18-May 8, 2019
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MA Curatorial Practice at the School of Visual Arts is pleased to present [I]n the image of..., curated by MA Curatorial Practice fellow Michele Thursz.
[I]n the image of… explores technology’s increasing abstraction of language, space, and culture, and builds upon the shared experience and development of the technical image. With the use of augmented and virtual reality, 3D imaging, and custom algorithms, the exhibition expands upon traditional genres such as sculpture, painting, and cinema to present artworks as worlds within worlds, portals to other spaces and experiences.
The exhibition reflects on shared experiences attained through technologies and images built on code: a technical and linguistic instrument traversing both virtual and physical states. The images and spaces produced by coding languages are dialogical and interactive in ways that are inherently different from traditional media. If these coded images and spaces allow spectators to choose between varying levels of engagement, can it also be said that they offer portals to varying levels of existence?
Included in the exhibition is Michael Rees’s Pneumatopia: Synthetic Cells, a modular sculptural system combining air-inflated, inkjet-printed PVC vinyl forms and an augmented reality application. Willy Le Maitre presents two bodies of work that investigate images as performative spaces. Both the Tiger Compound Series, 2017, and The Clear Lake Archipelago, 2018, are phenomenological dwellings for what Le Maitre calls “experience images.” Also included are Siebren Versteeg’s algorithmic paintings, Double Lean with Shim and Double Lean with Shim II, 2014, Three Clowns, 2017. These paintings are reproduced in the same vein as the technical image.
As an exhibition, [I]n the image of… can be seen together as a single installation investigating relational experience through the apparatus of technology. Rather than present works of art as such, the exhibition layers traditional genres and optics—media, images, virtual objects, animations, digital tablets, virtual reality headsets, code, and the naked eye—as abstractions giving way to a unified experience shared between artist and audience.
Image credit: Michael Rees, Synth Cell 009, String Thing, Rooster, air-inflated PVC vinyl, inkjet print on vinyl, augmented reality app, 2018. Image courtesy of the artist.