REVIEW: Marc Lee at Annka Kultys Gallery

The more I go visit exhibitions, the less I feel excited about traditional, ‘ordinary’ art. I probably like 20% of the paintings I see, not to mention sculptures. On the other hand, the more and more I experience non-traditional art, the more I fall in love with it. Multimedia art is going to be more and more central in the art scene in the years to come and everyone should start approaching it and talking about it. Because contemporary art focuses not just on the contemporary, but also on the future: on what technology has been achieving in the past years and what innovations it will bring in the next decades.

© Marc Lee, Courtesy the artist and Annka Kultys Gallery.

If this first paragraph actually had that much power that the reader started googling ‘multimedia art’, or ‘multimedia art gallery’, it will be verifiable how one of the galleries looking to this digital future is Annka Kultys Gallery, in London. It focuses precisely on future generations of artists who work mainly on digital platforms: this represents a challenge not only because the program of the gallery furthers away from the ‘normal’, ‘traditional’ art, but also because it forces to ‘think out of the box’, in curatorial and commercial terms. It is easy to hang paintings on a wall, but how do you handle the projection of a video? Do you use headphones, or do you keep the audio on? And who wants to buy an app made by the artist if you can also find it for free on Google Play?

And these same questions have been asked when preparing the last exhibition Non-Places, a solo show by the Swiss artist Marc Lee – which, by the way, closes tomorrow, on 25th May! It comprises four artworks, four apps designed by the artist that underline how every space, every environment is inevitably connected to the online world. Through these apps showing in real time the tweets that people uploaded in a certain location, it becomes clear how virtual space is nowadays a huge, new world, almost mimicking physical cities but with no real connection to them, if not only for that ‘location’ icon we activate on our phones.

© Marc Lee, Courtesy the artist and Annka Kultys Gallery.

And to have an even clearer sense of this, the app 10.000 Moving Cities – Same but Different, AR (2018) underlines how even in the area where we are standing right now, people are tweeting and the environment is being absorbed by virtuality. With AR and an iPad, we are able to see blocks forming simil-buildings containing tweets people have been uploading in that same area where we are. But wait… a sheep! Weird animals start appearing on the screen. This apparent randomness reflects nowadays’ confusion: our human world is destroying, for no apparent reason, the flora and fauna of the Earth. Places are emerging and environments are constantly changing, which has an important impact on animals, insects, and all those ‘other’ beings around us.

This parallelism is actually quite powerful, and if, on the moment, we laugh at seeing a sheep on the gallery floor and we are more focused on enjoying the AR experience, on our way home we reflect about what we have seen, and we finally analyse the artwork and the important meanings it hides.

And the same happens with Me, Myself and I, the most interactive AR app of the four. The same concept of buildings made up of blocks is used once again, but in this case they need to be filled with the visitor’s face. The phone takes automatic shots with the internal camera, and each of them goes and fills a block. The user is required to travel across this multi-faced city until every block is filled in order to access the next level. There are 6 levels in total, and while the first one requires 2/3 minutes to finish, the last one could also take up until 30/40 minutes.

Apart from the fact that visitors unconsciously help one another finish the levels, one of the most impressive things about this ‘game’ is, once again, its practicality, how the visitors have the desire to fulfil the practical features the app has. They want to be part of the artwork, not just a contemplative audience. And the same happens: the visitors become aware of the message the artist is trying to communicate by seeing their same faces literally stuck on the buildings of a virtual city. They reflect on the message, narcissism and the cult of oneself’s images, at the basis of nowadays’ society.

© Marc Lee, Courtesy the artist and Annka Kultys Gallery.

The thing is, I hope that visitors actually think about what they see, and they don’t forget the whole experience as soon as it is over. AR, and all the other important technological innovations employed in art, are some of the most powerful artistic mediums today because they are the news. No one (or, at least, just very few people) have VR visors in their homes, and as soon as a new VR exhibition is on it is bombarded with visitors because they all want to live this new experience everyone has been talking about. But the meaning conveyed by the artwork cannot be forgotten: the medium has to be just a way of enhancing what the artist has been wanting to communicate to the world. And, maybe, this is the biggest challenge of technology and multimedia art: presenting an artwork is not enough, the visitors also have to be guided through its usage.

But at least it is a challenge, and it stimulates the art-world to think in new terms. Without challenges, there is only boredom.

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REVIEW: Aaron Scheer FINAL_007 (02) at Annka Kultys Gallery

This review is also available on Artlyst.com https://www.artlyst.com/reviews/upcoming-curators-review-exhibitions-annka-kultys-cell-project-space/

Annka Kultys gallery is a compact and clean space, the whitewashed walls a perfect backdrop for her latest showing of Aaron Scheer’s colour-popping digital paintings. Based between Berlin, Germany and Gothenburg, Sweden, ‘FINAL_007 (02)’ marks Scheer’s first solo exhibition in the UK and is on view until March 2 2019.
Scheer works with a range of digital devices, creating his works using the screens of his phone or laptop. The collection of seven works printed on paper continues his ongoing exploration of digital media, using painterly techniques to create artworks. To allow the visitors to have an understanding of his technique, the gallery included in the exhibition an insightful video created by Scheer himself, showing how he composes his digital, colour-saturated palettes by swiping and screenshotting the screen of an iPad. Through layering carefully composed monochrome images or desktop folders, sometimes manipulated using brush strokes effects on Photoshop, he creates vivid compositions with vibrant colour contrasts.

Aaron Scheer Annka Kultys Gallery
DANA X, Aaron Scheer, 2018 at Annka Kultys Gallery

On the surface, these works are pleasing just to look at because of the interplay of texture and colour, but there is a deeper meaning behind the German-born artist’s modern creations. He is interested in the relationship and cross-over between humanity and technology, with a focus on the ever-increasing connection and interdependency between man and social networks. The vivid blue of the Rothko-like painting Digital Archaeology V, or the bright green in the background of Facbook_7aec5af, both on view at the gallery, remind the viewer of apps such as Facebook and WhatsApp. Through applying a classical art compositional approach to digital mediums, he can explore the challenges of our ever increasing digital world, from perceptions of reality to big data and automated production.
As illustrated by the curator of the gallery, contact between Kultys and Scheer started a few years ago, when the German artist connected with her online. She then decided to include his artworks in the group show ‘CACOTOPIA 03’, an annual exhibition featuring the works of five recent graduates from art academies that ran from December 5, 2018, to January 19, 2019. Following the success of that exhibition, Scheer became one of the new artists represented by the gallery.
Scheer’s exhibition is contextualized in the gallery’s history, which has focused on multimedia and digital art since its opening in September 2015. Located in the borough of Hackney, in east London, it encourages artists to bring their digital artworks to the gallery and functions as a point of contact with the press and collectors. For anyone interested in the world of digital art, it is worth a visit.