Collection Fotomuseum Winterthur © Aneta Grzeszykowska
Expositions du 10/4/2015 au 7/6/2015 Terminé
Fotomuseum Winterthur Grüzenstrasse 44+45 CH-8400 Zürich Suisse
Fotomuseum Winterthur is launching a new exhibition format titled Situations, which allows to react more quickly to developments within photographic culture.Fotomuseum Winterthur Grüzenstrasse 44+45 CH-8400 Zürich Suisse
Ryan Trecartin, "Junior war", 2013
With Ryan Trecartin’s Junior War we enter the world of “the most consequential artist to have emerged since the nineteen-eighties” (New Yorker), virtually through the back door. The film was produced in 2013 as a frenetic re-montage of scenes that Trecartin shot with a handheld camera during his last year of high school. The night-vision lens transforms dancing, drinking, speeding, and joking adolescents into green, shimmering beings with spooky eyes that almost seem to be from another world. They are the radical and real precursors to Trecartin’s post-human, composite beings that later appear in his films and who, part-machine, part-flesh, seem to suffer from verbal diarrhea. The images stem from the time before everyone constantly made films with their Smartphone.
Heather Dewey-Hagborg, "Stranger Visions", 2012–2013 and "DNA Spoofing", 2013
Heather Dewey-Hagborg explores issues relating to genetic surveillance and proposes in response strategies of DNA obfuscation. At a time when ever more genetic information is being collected by the law enforcement and security industries and when the technology of DNA analysis is becoming widely accessible, the artist reveals how easy it is to gather strangers’ DNA and produce a probable likeness. Dewey-Hagborg’s 3-D printed masks offer a form of post-photographic portraiture, an uncanny facsimile constructed from freely gathered human hereditary material. Her work raises political concerns related to the use of forensic DNA phenotyping and the reliability of its physical results. Should we now be legislating for biological privacy?
Hito Steyerl, “Proxy Politics: Signal and Noise”, 2014
“An image becomes less of a representation than a proxy, a mercenary of appearance, a floating texture-surface-commodity. Persons are montaged, dubbed, assembled, incorporated. Humans and things intermingle in ever-newer constellations to become bots or cyborgs. As humans feed affect, thought, and sociality into algorithms, algorithms feed back into what used to be called subjectivity. This shift is what has given way to a post-representational politics adrift within information space.” (Quote from "Proxy Politics: Signal and Noise")
Aneta Grzeszykowska, "Selfie", 2014
Aneta Grzeszykowska works with sculptural, performative, and photographic elements in her Selfie series. As in her works Untitled Film Stills (2006) and Acrobat Book (2008), in this new series she explores the outer limits of photographic self-representation. Regardless of whether addressing the body, identity, or control over one’s self-image, Grzeszykowska confronts both seminal and contemporary themes in the history of art. For Selfie, the Warsaw-based artist reproduces parts of her own body in dyed pigskin. In a stringently composed series of images, Grzeszykowska presents deceptively real, painted fragments of herself.
To find more details on the event : http://situations.fotomuseum.ch/portfolio/item-13/">http://situations.fotomuseum.ch/
