PAINTING 2.0: EXPRESSION IN THE INFORMATION AGE 14 NOVEMBER 2015 – 30 APRIL 2016

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PAINTING 2.0: EXPRESSION IN THE INFORMATION AGE 14 NOVEMBER 2015 – 30 APRIL 2016

Museum Brandhorst, Munich, German.

이제 곧 개막을 앞둔 이 전시는 painting 이라는 장르가 web 2.0. 이후에 어떻게 변화해 왔는지 추적하는 서구권 최초의 전시이다. 여기에서 초점을 맞추는 것은 human corporeal body의 gestural expression이 결국 digital/virtual/internet world를 reintegrate한다는 것이다. 

The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies.  

From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed ‘death’. Moving far beyond its technical definition as ‘oil on canvas’, painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.

A central tactic in painting’s encounter with spectacle is its mobilization of painterly ‘expression’. ‘Painting 2.0’ will demonstrate that since the 1960s the expressive gesture has served as a means of reintegrating the virtual world of the information age into the material domain of the human body indicating the charged border between the human and the technological, as well as the analog and the digital. ‘Painting 2.0’ will trace the multi-faceted history of painting and spectacle right up to the ubiquitous digital formats that characterize our present day, ranging from the interactive Web 2.0, its social media, to data clouds.

Artforum September, 2015

WE ARE LIVING in a Golden Age of painting. Or at least a Goldenish one. Although that claim may sound far-fetched (even to those who neither celebrate nor bemoan the medium’s purported demise), I’d hazard that the past decade has witnessed the greatest efflorescence of painting since the mid-1980s, when the battles engulfing it were at their bloodiest and the stakes seemed accordingly high. Painting persisted, of course, throughout the ’90s and into the early 2000s, when the proliferation of digital-imaging technologies appeared to pose yet another mortal threat. But what doesn’t kill you makes you stronger, and it soon became clear that artists didn’t have to choose between the computer and the hand. Rather, it was the multifarious negotiation between the two that has given painting its latest surge in vitality, making it a rowdy, speculative arena at once linked to and removed from the broader culture.

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