Human artistic production becomes a set of tropes to be learned and remixed as data.
The catalogue of exhibition and catalogue accompanying the show has been carefully thought out and is a well-thought-out, if slightly arcane, collection of information. What is not mentioned is that the artist is also a writer, a musician, a curator, and a critic. His contributions to this marketable commodity have been to the extent that they are not merely the product of a specialized market. They are also the result of his personal life, his relationship with his wife, and his artistic interests. The list of artists he has contributed to art-marketing literature is impressive, and here we are again, in the midst of the media-driven obsession with self-branding, as a growing number of artists have turned to the market to acquire their names and likenesses.
The first piece in the show was a map of the American Southwest, which is, in fact, a map of the United States. The work was accompanied by an audio tape of interviews with an anthropologist, a curator, and an artist. The maps form a narrative, but the interviews are simply a series of off-the-cuff observations, and the artist has decided to make them available for listening in his exhibition. The mapping of the American Southwest is as familiar as that of any other place, and the artist has used it as a point of departure to create a new, more general map of the world. The question that remains is how the artist will be able to interpret the new map, to create an art that is both a map and a map itself.
Its possible that this exhibition will lead to a more specific definition of the post-human. By exploring the similarities between art, technology, and culture, it will also make the difference between the tech-savvy and the tech-novelist.
Human artistic production becomes a set of tropes to be learned and remixed as data. The work of art is like the data: a combination of human and nonhuman, with the artist becoming a part of the work of art. In this sense, the artist becomes the subject of the work, and the work becomes the object of the artists desire. In this case, the artists desire is to be an icon. The work of art is thus both an act and an icon.The exhibition included works by three artists: Gediz Baksoy, Fumio Nanjo, and Manfred Pernice. Baksoy created a series of sculptures in collaboration with artist Gediz Baksoy, who is a former member of the group K-PV. The work consisted of a wooden box with a metal handle. Inside the box, a row of wooden chairs faced the handle. A table in the shape of a chair was attached to the handle. A series of hand-painted chairs was set on the table. The objects were arranged in the form of a collection of wooden chairs. The chairs were covered with a white sheet of paper. A small TV with a microphone was placed in front of the chair, while a recording of a music track played on the small TV. The music was taken from a song by the band K-PV. The work was entitled K-PV (all works cited, 2017), and consisted of a chair with a white sheet of paper covering its top and bottom. The music was taken from the 1990s pop band K-PV. The video showed the band performing their hit I Love U.S.T.O.Q. The band was dressed in white linen underwear. A woman was seen from the waist down. Her breasts and a handbag were visible. The video was projected on a wall, and the images were taken from a video. The womans voice was that of the artist.
It is a fetish, a social condition, a product of the marketplace. The artist/marketer is the one who makes this fetish the commodity and who has the power to transform it. This is the case with the art of photography, which, as a form of social critique, is also an art of data. In this respect, the work of many artists is rooted in the social and economic systems that sustain our daily lives and that form the basis for our society.