Hiromasa Fukaji, JP, David Guerrero, US, Jessica In, UK, Carl Lostritto, US, Manuel Tozzi, AU
GROUP EXHIBITION September 9 – October 29 2022
on Friday, 9 September 2022 from 7 – 9 pm.
Manuel Tozzi will be present.
7:30 pm Introduction to the exhibition by curator Jan-Philipp Frühsorge.
At the same time our neighbour Gallery Conrads opens the exhibition UMBRA with Natascha Schmitten.
REMOTE CONTROL brings together 5 artistic positions from the USA, UK, Japan and Austria working in the field of generative art. The practice of these artists – on the one hand digital in conception and on the other hand – in the form of plotter drawings analogue in result – is characterised by a multidisciplinary approach that includes, for example, music, architecture, video and other media.
Jessica In (UK) Architect, designer and programmer.
For the series “Neural Piranesi”, she had Piranesi’s complete graphic oeuvre (approx. 1000 architectural representations) interpreted by AI analysis software and in this way generated new compositions that take up the fantastic formal language of the original capriccios and continue it conceptually.
In her “Penrose Tile Drawings”, she draws on ideas of the mathematician Roger Penrose, who in the 1970s sought ways to develop patterns that unfold in an infinite manner and never repeat themselves.
David Guerrero (US) Artist. Musician and programmer creates plotter drawings that are surprisingly reminiscent of manual-analogue charcoal drawings in their aesthetics. The precision of the digital machine is countered here and the drawing process combines gestural traces with the clarity of a programmed form.
Carl Lostritto (US) Professor at the College of Architecture and Design , in Knoxville, Tenesse. In his process of finding structure, “natural systems” often play a role. The underlying algorithms of the drawings are based on these processes of growing, branching and clustering without simply illustrating them.
Manuel Tozzi (AU) plays in his works with the simple bitmap aesthetics of computer programs of the 1980s. In this retrospective look at a bygone technological era lies the knowledge that each of these images, in their apparent naivety, also tells of the tremendous changes that took place in their wake.
Hiromasa Fukaji (JP) chooses natural phenomena as the source material for his plotter drawings. The precise observation of these processes anchored in nature seem too complex to be translated into algorithms. Yet Fukaji succeeds in creating surfaces of water, wood or rock that do not repeat nature, but depict something of the elemental fascination of their construction. In the technical image, nature does not lose its aura; on the contrary, the digital form gains it.