RELICS OF CHAOS
Curated by Kat Rickard
DURATION: November 18th, 2017 – January 21st, 2018
The world is in a state of fragmentation with simultaneous global unification. The complexity of technical processes is continually increasing and global capitalist production processes are beyond the understanding of the average individual. The question remains, if the world is maneuvering into a dystopian postmodern and an apocalypse? Digital technologies have led to great cultural, economic and social changes and supply a constant flood of information. The amount of images shared in social media connects us constantly with even distant areas and result in a seemingly all-encompassing feeling of belonging. The digital revolution enables us to identify with a certain group without any sort of personal contact and cultural connection and accepting and incorporating attributes of their visual language. Even though the diversity in detail with its rich facets refers to the multicultural heritage of the world the chaos surpasses the comprehensive faculty of the single individual.
The works of the exhibiting artists – Nadja Schütt and Leonard Traynor- have devoted themselves to decay and chaos. Between the poles of utopia and dystopia, their works search for possible remains and relicts of civilization. The artists analyze figures, media and technology, as well as architecture and everyday objects in very individual manners. In a cultural anamnesis, they explore through the different media the chaos that surrounds us, get inspiration from the surrounding picture flood and define their own personal cultural heritage. Their heterogeneous works display aspect of reality – the space in-between is open for imagination and interpretation. Thereby the definition of chaos is as different as the artists themselves.
Nadja Schütt defines chaos in her content; her illustrations and graphics deal with the absence and dissolution of order within society as we know it. The very idea of such is recognizable in a complex, seemingly chaotic overlapping of colors and semi-humanoid forms. Their subjects, which are often found by the artist online and edited to her liking, take a critical look on the social processes of decay. Schütt, through her practice, alienates many of the recognizable characteristics of these figures, creating an ambivalence and anonymity affecting society at large in the greater contemporary context.
Leonard Traynor often combines old and new technology in not only his personal practice, but to a greater degree in his installations and multimedia arrangements. His tangle of cables, monitors and control devices for picture, sound and light unveils his logic at second glance, his meaning buried deeply within the works context while also hiding it in plain sight. Traynor’s chaos system is plays with the idea of visual disturbance and the non-humanoid attributes we encounter on a daily basis.