Confessional Culture into Art – Brought to you by Hyundai Motor Company
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Confessional Culture into Art – Brought to you by Hyundai Motor Company


The power of The Shed is that it is
a commissioning center. So we start with an artist and their idea and we support them to make
that idea a reality. Artist are the antibodies of culture because artists go into where they live
and the state of their time and look for toxins and dangers where
they’re living and address those. The exhibition Manual Override features
Lynn Hershman Leeson, Morehshin Allahyari, Sondra Perry, Martine Syms and Simon Fujiwara. The title refers to the moment
in 80’s action films when a piece of technology has gone awry
and a lever or a red button appears in which someone can come in, stop the system
and save the day. And so my work, as a critic, working
within technology and with artists who use software, I’ve really found in the last ten years
in conversations that there is no button, there is no lever. Technology that we use is often unseen,
It’s working beyond us. And so the artists that are gathered
in Manual Override all make a practice of critique of technology and help us understand how we can
intervene, override or step into the technological systems
that dominate our time. The format of the exhibition focuses on
the work of Lynne Hershman Leeson, whose electronic diaries form the kind of
central plaza or spine of the exhibition. I do artwork that bridges
science and technology and try to explore issues of our time
and issues that use the technology of our time. So, The Electronic Diaries derive from just
my trying to teach myself how to use a camera. It was me talking directly to this cycloptic eye that became almost a therapist for what
had gone out of my background. And this revealed for me many traumas
that I experienced, but I was just one person that just became
a cell of a culture. And may people experience the same thing
I found out after these pieces were shown. So, I continued to do the diaries because
I found them helpful to me and also because they related
to a lot of people. Around Lynn’s work are four other artists
of a younger generation who work with themes that she has been
exploring for almost forty years and are in conversation with them. Martine Syms’ shame space mythic being is a kind of fictional rendition of a studio
or an artist’s studio in which visitors can text with the artist’s
imagining of a shadow self, in which they can participate in about
200 hours of conversation. And outside on the acrylics of the piece
you see a kind of risk modeling which companies usually do
to identify vulnerabilities. And so there’s a kind of fictional risk model
for an individual. It’s an intentionally frustrating piece in which you don’t have a conversation
that’s really two way and there is commentary there on how we expect
kind of immediate reactivity to technology. What Norah Khan and Lynn and all those artists
have done in this show, Manual Override, is really to take their artistic practice
and intersect that with their interest in issues around technology and how an artwork can be born
from that inter-disciplinary look. One of the central conceits of the show
is how we are all coded. So, literally coded through technology, coded through our genetic legacies, coded through culture and social systems
around us. And so my hope is that each of the works,
the new commissions and the old, help people come to a space in which
they understand that if we are coded then there’s also potential for re-coding, re-working and re-writing our codes. I think that now the tools are of our time
for artists are the things that are invented in our time, like the issues of our time. Technology is the tools, the paintbrush
is the way that we see things for today.

One Comment

  • Евгений Екимов

    С удовольствием смотрю видео этой рубрики. Кроме самого содержания восхищает посыл свежести и красоты современного мира, его неуклонного этического развития. Спасибо художникам, кураторам и всем кто связан с этим проектом 💎

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