Painting 2.0 : Malerei im Informationszeitalter
Beschrijving Painting 2.0 : Malerei im Informationszeitalter
Tent. München, Museum Brandhorst, 14-11-2015, 30-04-2016 ; Wenen, Museum moderner Kunst (Mumok), 04-06-2016, 06-11-2016. - Groepstentoonstelling onderzoekt de aanpassing, absorptie en transformatie van de schilderkunst in het tijdperk van de informatietechnologie in Europa en de Verenigde Staten vanaf de jaren '60. - Coll. VAM: Immendorff, Jörg, Hört auf zu malen, 1966, p. 45 ill. kleur. - Painting 2.0 will be the first exhibition to tell the story of painting's adaptation, absorption and transformation of information technologies in Western Europe and the United States since the 1960s. Its historical starting point in Pop Art and Nouveau Réalisme's programmatic appropriation and re-contextualization of commercial imagery precedes the advent of digitalization and the Internet by some thirty years. Painting's capacity to absorb and transform other media became explicit at the same moment as its legitimacy was fundamentally challenged by cultural forms of mediation which Guy Debord theorizes in his influential critique as 'The Society of the Spectacle' (1967). 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. 'Gesture and Spectacle' surveys the ways in which gestural techniques were mobilized to combat or 'humanize' spectacle. It presents works in which the painterly mark is used as means to assault, to undermine spectacular forms of commercial media. 'Eccentric Figuration' brings together various aesthetic manifestations of the bodily in painting under the influence of media and spectacle. There is a strong registration of corporeality and a play with mimesis among this group of artists whose forms range from the literally figurative to a visceral mode of abstractly figuring the bodily in and through the material of paint. 'Social Networks' centers on those ways in which painting represents a 'network society', both through the mobilization of images on canvas and by representing the artist's life-worlds.