What makes it possible for a work of art to live simultaneously in the aesthetic and social worlds? How can we encourage or enhance a “multi-temporality” and cross the line between “common objects” and “artistic objects” without succumbing to the privatization of culture as a form of property? Questions like these are the crux of the year-long program SYMPTOMS OF THE FUTURE.
The group exhibition IMAGE — CAMERA — IMAGE presents works by Esther Shalev-Gerz and Jasper Rigole. It looks into the production of images, exploring how we relate to, read and consume images once the technology of their making and distribution changes.
John Berger concludes in his essay “Seker Ahmet and the Forest” that the accidental link between the Turkish painter and German philosopher “is an example of how, at this stage of world history, there are truths which can only be uncovered, as Heidegger would say, unconcealed, in the folds between cultures and epochs.”