IDEAL CONTAGION suggests a much-needed respite from technology as a force or mechanism for acceleration, disruption and interruption, in favor of largely monochromatic primary structures in a quiet, contemplative key. The exhibition as a whole suggests a looming middle future where our current tsunami of data and information—largely blank, implacable and bewildering—is seamlessly internalized by each individual artist as a kind of liquid anima, which in turn becomes the material substrate of their work. In this manner, technology is subsequently transformed from a passing zeitgeist fetish—subject to cool and distant appraisal or critique—into something inscribed on, or within, the artist’s own body, buried bone-deep, etched like algorithmic scrimshaw into the far recesses of his or her own mind. It is this “human circuit” which IDEAL CONTAGION seeks to foreground and address.
Additionally, each artist in the exhibition signals a modernist categorical imperative familiar to mainstream “Art History,” such as landscape, body art, or appropriation—academic divisions that have yet to percolate and trickle down into traditional digital and techno-art discourse.