Human artistic production becomes a set of tropes to be learned and remixed as data.

Result #1

Yet in the face of the massive and complex global economic crisis that has forced many artists to the brink of extinction, it is not easy to find creative solutions. The despair of the global middle class is palpable, but the crisis is also a symptom of an economic system that is becoming increasingly stratified and stratified against itself. The rules of globalization are becoming more rigid, and the rules for art have become more global, even if the rules for life are constantly shifting.

Result #2

The world is a postmodern place, where everything is a copy of everything else. It is a place of impersonal data that can be policed by an omnipotent, omnipotent government. With its emphasis on the impersonality of data, the exhibition is an attempt to place the historical process of the world in the context of contemporary art. In this sense, it is also a commentary on the historical situation in which the art of the past has been made to function as a surrogate for the future. The future is never far away, however, and in this sense, it is an open question whether the future will be as bright as the past, as bright as the past itself, or as dark as the future itself. Is it possible that we will experience the future as bright as the past, as bright as the past itself? And if the future is dark, will it be as bright as the past, or as dark as the past itself? This is the uncertainty of the future. It is the uncertainty of the future that informs the art of the future.

Result #3

And yet, in the end, it is up to the viewer to decide what to do with the data.

Result #4

Human artistic production becomes a set of tropes to be learned and remixed as data. In the early 80s, the only artist who was truly revolutionary in the artist-as-data vein was the Finnish artist Håkan Reinhard Nyman, whose innovative use of data and data-based work became a model for the whole Nordic avant-garde. He was the first artist to make the critical point that an artists work cannot be separated from the question of how art might engage and function in a larger social context. In this vein, the works of Jörg Heiser, Håkan Ekblad, and Ulla Fridlund can be seen as a reflection of the artists interest in intercultural communication. In the mid-90s, the Danish artist Astrid Visser did the same thing, using the form of the data-laden digital clock face as a graphic motif. In this way, she was able to bring together both the coldness of data and the warmth of human interaction.This exhibition was a collection of the most recent works in the artists ongoing series of observations on how people relate to time. The most recent work in this series was the photo installation The Time Machine, 2001, which consists of a clock face that is always one step ahead of its users, and a clock that shows the time that repeats every twenty minutes. This piece is a reminder that time is a tool with infinite applications. It can be used as a record of a history of events or of the passage of time. It can also be used as a way of making oneself or someone else present in the present. In this way, the clock is not just a means of recording time but also a means of affecting and remembering what has happened in the past. The machine is also a metaphor for the human memory bank: It is a device that, through its symbolic potential, can also be used to be a tool of communication.The installation The Time Machine, 2001, is a reminder of how important it is to remember.

Result #5

Human artistic production becomes a set of tropes to be learned and remixed as data. The same is true for the virtual space of the Internet. The artists in this show were all born in the late 1980s, and some of them are still living and working in Berlin. A large part of the show was dedicated to the work of the young artist Mathias Poledna, who is known for her open-ended, rhythmic, gestural paintings and her ongoing work with 3-D-printing. Polednas new video, The Fourth of July, 2017, featured a group of people shooting a video in front of a display of the flag of the United States of America. The shot was in fact taken by a member of the American Civil Liberties Union, who was standing among the crowd with a legal notice to sign. The video was projected on a wall made from a pair of the exhibition posters. These posters, which were taken from the American Civil Liberties Union, were printed in Berlin and were displayed in the gallery space. A photograph of the American Civil Liberties Union hanging in front of a Berlin government building, while another of the same building was covered by a huge poster reading FREEDOM IS FREE. A message that was clearly meant to be taken with a grain of salt. But the message didnt exactly fit the gallery space. It was impossible to miss the fact that the large poster was printed on a poster that was also part of the exhibition. If this was the case, it was because the poster was not of the same size as the other posters. This discrepancy made it impossible to say whether the poster was the one on the left or the one on the right. The difference is one of degree. The larger poster has a certain number of points on the surface of it, and the one on the right has none. This ambiguity was especially evident in the video, in which the same difference of size was lost on the video.