In English, \u2018close\u2019 can mean many things. \u2018A close\u2019 (a dead-end alley), \u2018to get close\u2019 (to get intimate, near), \u2018the close\u2019 (the end). The video and sound installation The Close by Belgian multidisciplinary artist David Claerbout serves as a multi-perspective inspiration for the theme of this exhibition. As Claerbout\u2019s work is an investigation of the influences of technology on the photographic and filmic image over the past century, it serves as a metaphor that inspires this exhibition\u2019s focus on how technological developments have affected the artistic depiction of the human figure, an extension of how we see ourselves as humans with respect to these advancements.<\/p>\n
In Claerbout\u2019s video installation, he takes a 1920\u2019s black and white image of a close, a narrow passage leading to a tenement, specifically noted for separating the poor and keeping them out of sight. In his treatment of this image with 3D technology and its accompanying music, he gives an otherwise silenced and forgotten boy attention and a voice. But as much as the title The Close pertains to both place and filmic action, we know that this image is not real, so perhaps also the end, or the close, of an era when we could trust what we perceive from a photographic image.<\/p>\n
This compression of time between past, present and uncertain future creates the narrative of the exhibition. In it is the ever-present tension that technology injects into the human experience. On the one hand, advancements have been a gift of possibilities and solutions, while on the other, they might be seen as threats to humanity itself. Through these reactions ranging from optimism to doubt, this exhibition aims to offer a pragmatic approach that embraces innovation with caution while protecting traditions and knowledge in a search for balance between these two seemingly contradictory positions.<\/p>\n
<\/p>\n
Artists:<\/strong><\/p>\n Martha Atienza<\/p>\n Ed Atkins<\/p>\n Ernst Barlach<\/p>\n Felix Beaudry<\/p>\n Christopher Bucklow<\/p>\n Tom Burr<\/p>\n Edward Burtynsky<\/p>\n Seba Calfuqueo<\/p>\n David Claerbout<\/p>\n Thomas Demand<\/p>\n Tishan Hsu<\/p>\n Alfredo Jaar<\/p>\n Claire Kerr<\/p>\n K\u00e4the Kollwitz<\/p>\n Alicja Kwade<\/p>\n Nicol\u00e1s Lamas<\/p>\n Oliver Laric<\/p>\n Joep van Lieshout (AVL)<\/p>\n Robert Mapplethorpe<\/p>\n Martin Margiela<\/p>\n McCallum & Tarry<\/p>\n Juan Mu\u00f1oz<\/p>\n Max Neumann<\/p>\n Berenice Olmedo<\/p>\n Noemi P\u00e9rez<\/p>\n Andr\u00e9s Quintero<\/p>\n Paul Mpagi Sepuya<\/p>\n JA Su\u00e1rez-Londo\u00f1o<\/p>\n Wolfgang Tillmans<\/p>\n Franz Erhard Walther<\/p>\n","protected":false},"excerpt":{"rendered":" In English, \u2018close\u2019 can mean many things. \u2018A close\u2019 (a dead-end alley), \u2018to get close\u2019 (to get intimate, near), \u2018the close\u2019 (the end). The video and sound installation The Close by Belgian multidisciplinary artist David Claerbout serves as a multi-perspective inspiration for the theme of this exhibition. As Claerbout\u2019s work is an investigation of the […]<\/p>\n","protected":false},"featured_media":3054,"menu_order":0,"template":"","meta":[],"categorias_expos":[15],"class_list":["post-3053","exposiciones","type-exposiciones","status-publish","has-post-thumbnail","hentry","categorias_expos-proximas"],"yoast_head":"\n