The Technological Hand

The Technological Hand

Together with new works by Jan Dibbets, a group exhibition will be presented that deals with changed image-finding strategies in contemporary art, based on a concept by Markus Kramer*.

Increasingly, technological tools are shaping our everyday lives and being reflected in contemporary art. For centuries, art objects have been shaped by the artist's hand. By contrast, today's works of art are often created using technological-transformative processes and in reference to existent cultural artefacts.

In this context, the aesthetic specifics of imaging technologies are being highlighted particularly. These new approaches are combined in part with compositional (“painterly”) strategies, in part they stand alone, becoming objects of aesthetic interest in isolation (“photographic”).

Such developments have already been examined in an institutional context – for example, in the Museum of Modern Art New York in the exhibition “New Order: Art and Technology in the Twenty-First Century” (2019), in the Städel Museum in “Photographic Objects” (2017), in the Musée d'Art Moderne de la Ville de Paris in “Pandora's Box” (2016), or in “Images” (2016) in the Fridericianum in Kassel.

The exhibition “The Technological Hand” now bridges the gap from current contemporary positions back to selected, groundbreaking reference works by artists from the 1960s to the 1990s, with whom the Konrad Fischer Galerie has been working for many years.Together with new works by Jan Dibbets, a group exhibition will be presented that deals with changed image-finding strategies in contemporary art, based on a concept by Markus Kramer*.

Increasingly, technological tools are shaping our everyday lives and being reflected in contemporary art. For centuries, art objects have been shaped by the artist's hand. By contrast, today's works of art are often created using technological-transformative processes and in reference to existent cultural artefacts.

In this context, the aesthetic specifics of imaging technologies are being highlighted particularly. These new approaches are combined in part with compositional (“painterly”) strategies, in part they stand alone, becoming objects of aesthetic interest in isolation (“photographic”).

Such developments have already been examined in an institutional context – for example, in the Museum of Modern Art New York in the exhibition “New Order: Art and Technology in the Twenty-First Century” (2019), in the Städel Museum in “Photographic Objects” (2017), in the Musée d'Art Moderne de la Ville de Paris in “Pandora's Box” (2016), or in “Images” (2016) in the Fridericianum in Kassel.

The exhibition “The Technological Hand” now bridges the gap from current contemporary positions back to selected, groundbreaking reference works by artists from the 1960s to the 1990s, with whom the Konrad Fischer Galerie has been working for many years.

The Technological Hand

  • Konrad Fischer Galerie's Exhibitions 9
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