“Disembodied and shed of much content, these apolitical, asexual, ahistorical works – are prepared for high-speed travel. [….] In our era of infinity scrolling, where knowledge circulates across networks at an unprecedented rate, Comrades of Time Comrades of Time suggests a renewed confidence in the plastic arts for continued art making.”
“There are in every culture, in every civilisation, real places—places that do exist and that are formed in the very founding of society—which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call them, by way of contrast to utopias, heterotopias.”
The poor image is an illicit fifth-generation bastard of an original image. Its genealogy is dubious. Its filenames are deliberately misspelled. It often defies patrimony, national culture, or indeed copyright. It is passed on as a lure, a decoy, an index, or as a reminder of its former visual self. It mocks the promises of digital technology. Not only is it often degraded to the point of being just a hurried blur, one even doubts whether it could be called an image at all. Only digital technology could produce such a dilapidated image in the first place.
Hito Steyerl – In Defense of the Poor Image
“According to Pfeffer, art’s brief is no longer to generate unique,original images, but to seek reflection in a de-subjectivised approach to the existing stocks of object, images and spaces. The order of the day is to understand the world from the vantage point of abstraction and not to abstract from the world”
Geographies of Contamination, 2014.
David Roberts Art Foundation
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