These new artists emerging from the retro-aesthetic born of the Internet age are

Result #1

These new artists emerging from the retro-aesthetic born of the Internet age are united by their desire to share the experience of the past through artworks that address the present and are imbued with the history of cultural displacement. Here, the artists display a passion for dislocating the fractured subject, whether by juxtaposing images of a well-known art object with an image from the web, or by subjecting a renowned painting to a series of digital manipulations. In this way, they evoke a kind of expressive and imaginative dystopia. Their desire to dissolve the dividing line between the past and the present brings to mind the sadomasochistic fantasy of a future society in which the past will be obliterated, or at least physically obliterated, in the very act of making it visible.In the exhibition, the participants were asked to create new works that they would use as materials for their own projects. This is an understandable impulse, given the impossibility of creating such works on a large scale. But the artists would not have been able to physically carry out such an operation. They were asked to create works that were neither large nor extremely heavy, and which could only be carried on the shoulders of a single person. The artists were instructed to create works that would not be perceived as artworks but rather as a means of conducting research into the use of technology.The works that were created were displayed on a range of wooden platforms and pedestals. On each platform, a steel rod had been nailed to a wooden beam that, as if ready to swing, was suspended by a small crane. This simple, almost simple tool, which is also an instrument used in the construction of a new work, transformed the gallery into a place where artworks are carried on the shoulders of the viewer. The work that was the subject of this show, Neue Galerie Tübingen, 2000–2001, was a very small piece that was mounted on a wall. At first glance, the pieces small footprint looks like a foot or a piece of sand.

Result #2

not doing what they can to gain a serious following. Their work—as seen in the group exhibition Las horas de la borra (The Horrors of the Moon), organized by Jesús Palomino—may have been missed, but the lack of a clear and convincing theme, an immediate and strong enough mood, made up for the lack.

Result #3

These new artists emerging from the retro-aesthetic born of the Internet age are making work that is still heavily influenced by the old masters. In fact, since the 1960s, the contemporary art world has been faced with a profound crisis of identity. The crisis is particularly visible in art that is ostensibly critical, but that in fact has become a merely formalist posture. And the result of this crisis has been a permissive attitude toward the works of these artists. The crisis of identity is linked to the permissiveness of the middle-class consumer society that has been built over the past few years in Europe. And the result of this permissiveness is that artists are free to work in an atmosphere of mystery and privacy.This exhibition revealed how the artists in question are preparing for the possible availability of their work in Cologne. The show is dominated by three young artists. In one case, they are forming pieces that are very clearly linked to their earlier works. The first is Bastian Wolff, who has been exhibiting his work in Cologne for a while. His pieces are based on images that he has encountered in his travels: a Russian doll in a museum, a group of boys riding a bicycle, and so on. The figures have been modified in a way that is reminiscent of Cremers work. One might call these works photos, in the best sense: they present themselves as pictures in a gallery, with a visual, tactile, and audible quality that is most easily observed, but also one that is read from afar. Another of Wolffs works is a woodcut of a woman sitting on a bench. She is wearing a white dress, a white sweater, and a pair of shoes, but her hands are covered in sand, and the sand around her covers her. The camera is trained on her, and one can see only the bare branches of a tree that are visible in the background. At the same time, the camera is also aimed at the bench and at the bench itself, a direct subject of observation that confirms the authenticity of the image.

Result #4

doing their best to strike a more optimistic tone, while also confronting the fact that we are living in a time when the latest fashion and lifestyle trends are being driven into the corner of art as a source of entertainment and identity, while at the same time digging deeper into the problems of our technological heritage. In a sense, we can be thankful, because in a time when we are being bombarded by information overload and when we are being bombarded by information overload again, the art that generates it is a welcome addition to the mix.

Result #5

These new artists emerging from the retro-aesthetic born of the Internet age are also concerned with, among other things, their physical existence and their relationship to the world of objects.The exhibition, titled ARENA, was organized according to an empty space, in which three groups of works were installed: a rough wooden bench with a hole cut in it, a chair placed high up on a high metal pedestal, and a transparent, translucent, transparent plastic pan. They are certainly not intended for everyday use, but they nevertheless managed to transform the gallery into a surreal labyrinth. It was impossible to distinguish between a domestic chair and a statue, between a chair that sits on a pedestal and one that sits on top of it, and between the two. These objects, placed together, seemed to represent the artists and the spectator in a surreal triangulation: they are in the same position, yet different. The works, which are positioned by a scale, were thus interchangeable. With a piece like Lees open metal chair, the viewer couldnt tell if the metal was solid and the plastic transparent; but with Lees chair, the question is avoided entirely. The plastic pan, which extends over the edge of a table, is the same size as the steel chair. The former is placed on the floor, where it occupies a primo part of the space, while the latter is placed on the floor, which becomes the work itself, while the metal pan extends over the edge of the table. All of these objects are identical, but different. They stand on pedestals that are also divided into a triangle and a parallelogram, and they also stand on metal shelves that are divided into a double-curved line and two rectangular sections. The objects are placed on the floor in a manner that suggests a pyramid, with the difference that the faces of the metal and the plastic are different. And these objects stand on the floor on steel stands. They are also positioned as a group, with one of the inverted and the other of the upright.

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