the work series bionic angel takes as its starting point the future transformation and technological control of human evolution.
rapid development in the field of so-called "g-r-i-n technologies" (genetics, robotics, information and nano-technologies) are changing our bodies, minds, memories, and identities, but also impact on our progeny.
these technologies all converge with the aim of enhancing human performance. prenatal genetic determination enables children to be built to plan. clone bodies become depositories for ersatz organs whilst manipulation of atomic structure creates new bodies which far outstrip the old ones in terms of robustness, elasticity and durability. the new bodies are adapted to the needs of the high-speed data highway. these developments based on genetic algorithms and neuronal networks mean that biological evolution can now be controlled; they open up the way to a new and superior form of existence for the human being.
such acts of transgression were already implicit in the idealised body images of greek mythology which the italian renaissance adopted as the perfect expression of radical transformation in terms of the understanding of body, mind and science - secular man became a utopian promise.
referring to such idealised body worlds from antiquity and the renaissance, the work series bionic angel takes up themes of metamorphosis from classical greek mythology as treated by the roman poet ovid. scenarios of creatures in the throes of transformation articulate the inevitability of genetic self-creation in the future of human history. the moment of metamorphosis itself serves as the key metaphor for the technology-driven transformation of the human body in its future post human and possibly immortal existence.
DIEHL starts its “Flaneur” selection with 42 works of the Soviet photo journalist Dmitry Baltermants. Best known for his pictures of the Soviet battlefield during World War II.
During World War II, Baltermants covered major battles for Izvestia and for the Red Army newspaper Na Razgrom Vraga. He fought and photographe...
Le 24 mars 1976, le peuple argentin subit un coup d’état militaire. C’est le début d’une ère de répression sanglante, où quelque 30 000 personnes disparaissent et près de 500 bébés sont volés. Mais s’ouvre également une période d’ultralibéralisme d&ea...
Blindspot Gallery is pleased to present Coastline featuring emerging Chinese photographer Zhang Xiao’s award-winning series Coastline that focuses on the continuous 18,000 kilometres of China’s coastline. The series does not merely capture the seaside landscape of these coastal areas, but also witnesses the changes o...
Du dépouillement des clichés de Catherine Lambermont se dégage une poésie narrative. Ses images composent une suite d’instants d’observation libre. Son travail réhabilite le continuum qui caractérise chaque frontière. La frontière est le lieu du lien. Entre le corps et l’es...
Eric Rondepierre a choisi de montrer au sein d'un travail multiforme, certaines des oeuvres qui ont partie liée au cinéma, depuis ses débuts en 1992. Sur un parcours de vingt ans, 56 pièces ont été prélevées dans dix séries : Excédents, Annonces, Précis...
Simone Nieweg is a photographer of gardens and landscapes. Her work, as it has manifested itself over the past thirty years, knows no other interest. At the same time, a certain serenity hovers over her pictures. In them, nature seems entirely focused on itself. One immediately notices that human beings are absent. The allure of colors and shapes...
« Je ne peux m’empêcher, atteste Gérard Uféras, d’associer la pratique de l’Art à la notion d’amour et de partage ». (extrait de son livre Etats de grâce, éditions du Fantom)
«Egyptian pack» evokes many associations - here are both Petersburgers favorite topic of werewolves (see the movie of E. Yufit «Corpsmen werewolves») and references to the Perm animal style.
Also we can recall British film «The Wicker Man» (1973) with its ritual procession of the man-beasts, ho...