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Konrad Wyrebek | Also on show Geert Mul and Boris Tellegen

Galleries Galerie Ron Mandos

Prinsengracht 282
1016 HJ Amsterdam
info@ronmandos.nl
+31 (0)20 320 70 36

Open Wed - Sat / 12-18 hrs

9 Apr — 14 May

Time 9 Apr, 17-19 hrs

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Konrad Wyrebek, Machine on Melting Ice, 2015-2016

Opening | Saturday April 9, 2016, from 5 to 7 pm. 
Frontspace: Konrad Wyrebek Backspace: Geert Mul | Boris Tellegen aka DELTA
All three artists will be present. Open for public. RSVP here

Galerie Ron Mandos is proud to present 2°C above acCLI-M8 X a solo show by Konrad Wyrebek curated by Domenico de Chirico. Wyrebek addresses the issue of Climate Change / Global Warming in close interrelation with the noisy global information system, by aesthetically investigating its consequences, causes, influences and the changes it generates. 

The exhibition title is a cryptic descriptive pun - in itself corrupted - containing the words:

  • 2°C = it’s the average projected rise of temperatures on earth, and the line that scientist fear we will cross.
  • the word "acclimate"
  • the word “climate”
  • the word “mate”= M8 - as a average person in our society (maybe not so well informed or bothered about the environment and global issues but more focused on they own playground and day to day reality)
  • the word “climax”

Global information system The amount of information we are exposed to on a daily basis, can be interrupted, transformed and even corrupted; which also raises the question as to how far is humanity already in the trajectory towards melding into the digital world— and its ever faster rate of information spreading scope. A trajectory that will eventually lead to assimilate the human mind and body to the "machine". On the one hand a big part of both traditional and new—digital—media, aren’t but just drops in the ocean of the day-to-day news feeds of the wider audiences.  For the more attentive though— they look more like a flood.  It should also be considered that the same media are businesses with their own set of interests and commercial objectives; and the latter can account for a lot in the general line of their informative output. The actual outcome is a wide and subtle system made up largely of manipulation and noise.

On the other hand disinformation causes the spread of deliberately false and distorted news to cover for inconvenient truths; that is precisely the tool used by power to exert control over people, by diverting their attention towards trivial topics or purposely orchestrated situations. Powerful state apparatuses regularly coordinate the spreading of false news and misleading information in order to support the establishment.

In the meantime, the general public is kept stocked on TV sports channels or mushy soap operas.  Their attention controlled via the lowest forms of entertainment and through the creation of precarious socio-economic conditions which force individuals to be mostly concerned with how to make ends meet, thus being oblivious towards broader themes— i.e. politics, corruption and environmental issues. For this reason, the most pressing need is presently that of educating people on how to attend to their own awareness and information.

Climate Change On the global warming front, we’ve reached an alarming climate change milestone. The message is clear: global warming is no longer a future threat but a present reality —and a menacing one for our present civilizations. In addition, the world’s appearance is constantly shifting and mutating. With the concepts of environment and landscape increasingly tending to overlap, they’ve both become subject to similar consequences deriving from human actions.

Threading through a flowing succession of upcoming pixelated images, the show advocates for the chorus of a great part of the scientific community who believes that without further commitment and action to reduce greenhouse gas emissions, the world will have to face a series of changes potentially disruptive for the Earth’s ecosystem and its people. Climate change has thusly become an ethical issue, mainly because those who are and will be most negatively affected by it are those who are least accountable for having caused the problem.

The Artist Konrad Wyrebek is a young British Polish artist who lives and works in London. In his attempts at outlining a personal visual vademecum, his work unveils an unexpected beauty in the corrupted and pixelated images typically run by contemporary mass media and new media —the main communication channels of current times aesthetics’ frame of reference. Wyrebek’ mark making—in his large format abstract paintings and video paintings—speculate on the interplay between the artist’s emotional gesture on the one hand and the rational calculated contribution of technology on the other. Each of the paintings in his body of work is unique and every finishing layer is treated with a complex process. Images are pixelated via an array of deliberately set digital compression processes, resulting in a final amount of data corruption caused by their transferring through different software programs and devices. The artist’s work process can be defined as open-ended since his paintings offer the possibility of different interpretations by making people wonder about and question what they’re looking at —in the context of the real effective world around them. Text by Domenico de Chirico  

Backspace ChainOfEvents | Geert Mul (NL, 1965) lives and works in Rotterdam. For the past 20 years he has researched the possibilities of re-combining images from databases in videos, prints and interactive installations with specialized computer animation. For these purposes Mul is continuously developing software: programs that generate a context related, endless and varying combination of images based on image properties such as content, structure, composition and color. ChainOfEvents refers to one of the titles of Mul’s latest ‘lenticular’ prints. The lenticular technique is known from ridged postcards; if you look at the picture from a different angle, another image becomes visible. The artist used a total of ten image layers for each print, depending on the position of the viewer, each image can be observed. Using image analysis software, each image has been selected from a collection of 1.2 million random images taken from the Internet. Mul makes it possible to comprehend the notion of a database, a large set of digitized data that is stored in a certain structure, in a single image. By doing so he gives the intangible database a physical presence. 

Geert Mul won the prestigious Dutch Witteveen+Bos Art & Technology Award in 2010 for his entire oeuvre. He has performed and exhibited his works a.o. in the Museum Boijmans van Beuningen in Rotterdam, Stedelijk Museum in Amsterdam, The National Museum of Modern Art in Kyoto, Museo Nacional Reina Sofia in Madrid, National Gallery of Modern Art in New Delhi, Institute Valencia Arte Moderne, Witte de With in Rotterdam, Museum of contemporary Art in Chicago, the International Biennial Turijn and Ruhr European Capital of Culture 2010. In 2016 Stedelijk Museum Schiedam will showcase the exhibtion: Geert Mul – Match Maker, 25 Jaar Mediakunst.

New Works by Boris Tellegen aka DELTA (NL, 1968) is well known under his alias Delta, as a pioneer of European graffiti art. He played a prominent role in connecting the London, Amsterdam and Paris art scene in the eighties. Combining his work in typography with his training as an engineer at Delft University of Technology, Tellegen brought perspective, three-dimensionality and sculpture to graffiti art. Over the past ten years, his artistic practice transitioned from graffiti and lettering towards the development of complex installations in which he examines the symbolic power of walls, and how to transcend their boundaries. Although graffiti and its connection with street culture is always presence in Tellegen’ work, it no longer functions as his exclusive medium. Instead he implements mixed media from architecture, industrial design, painting and collages, in his work. Tellegen subsequently assembles, covers and tears apart his well-structured sculptures to create abstract, graphic landscapes that disrupt our perception of space. From a frontal view many of his compositions appear to be flat. However, upon closer inspection from the side, the viewer can see that Tellegen has built up layer upon layer of materials. His background in the eighties, when the urban street became his canvas as a form of resistance against order and the establishment, laid down the base for his current practice. His work investigates the tension between planning and happenstance: the semblance of order undone by schematic chaos. Tellegen explores an alternative outcome where automated forces unleash develop structures and a mind of its own. 

Boris Tellegen works and lives in Amsterdam. His work was shown a.o. at Abundance, Alice Gallery in Brussels, Kunstraum Kreuzberg Bethanien in Berlin, Kleerup Gallery in Stockholm, Elms Lesters Gallery in London, NIMK in Amsterdam, Permspace Gallery in Tokyo, Houston Gallery in Seattle and Musee des Beaux Arts in Tourcoing.

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