curated by Chiara Giardi, Evita Verbrugge, Heiko Schmid, Itay Blaish and Ugo Pecoraio
The exhibition will reflect on current digital culture and online advertisement, taking over imagery from memes, cyborg-like figures, people created by artificial intelligence, virtual reality worlds and even internet porn.
Curated by Chiara Giardi & Kenneth Ting Yu Lin
How do web-based creative practices relate across cultures and national borders? ‘Framed : Wormhole’ is a cultural and professional exchange. It asks questions like: If we take culture to include our online activities and identities, how do their online and offline sides relate to each other?
Curated by Evita Verbrugge, Heiko Schmid & Ugo Pecoraio
Testing, downloading, and conversations at Helmhaus, Zurich.
Curated by Noemi Garay (Panke Gallery)
"Soft Narratives" presents works by Molly Soda, Maya Man, and Chia Amisola - three artists who use the internet to develop their sensitive and multimodal narratives. In the exhibition, the selected works are also interpreted as examples of a new generation of internet artists.
Curated by Heiko Schmid
A shimmering space opens up when the human is touching the non-human. AND THEN WE TOUCH raises our awareness of the performative nature of categories such as humanity and animality and confronts us with our own needs for sensuality, touch and playfulness.
Curated by Heiko Schmid
TWILIGHT OF THE IDOLS: A Simulacrum within Simulacra" is a small digital excerpt from the intricate, research-based artwork TWILIGHT OF THE IDOLS, which explores the Deleuzian concept of the simulacrum. Utilising KUNSTSURFER, it replaces generic online advertisements with artistic representations, effectively transforming the digital realm into a promotional platform for a ﬁctional museum.
Molly Soda employs various social media, including YouTube, Tumblr, Instagram, Twitter, and Substack, to produce and host her work, allowing it to interact with the platforms themselves. Her contributions to the Soft Narratives exhibition are selected based on her recent Substack article, NPC girls, which examines the "flattening" effect that occurs when she posts images of herself online. Once uploaded, photographs intended to capture specific moments or features of the subject merge into a continuous stream of images. Molly Soda explains her observations as follows:
"It's interesting that there's so much discussion around being the "main character" or romanticizing one's life when ultimately everything we post is cast out into a sea of identical images. The older I get, the more I lean into this: becoming a girl in the phone. I'm not being myself, I'm joining the others."
By creating her works in the prevailing formats and using the popular tropes of social media, Molly Soda situates them explicitly while simultaneously relinquishing control by allowing the particular framework of each platform to structure her artistic practice.
This process reflects and affirms a desire for the dynamics and aesthetics of the dominant internet platforms. Moreover, continually switching between platforms enables multimodal expression and provides sensitive insights into the circumstances that internet users face when going online, as well as the ability to negotiate these conditions.