The Good Life

The good life is what we long for. Fantasies of the good life feed our habitats and identities, from personal desires to political projects and commercial culture. They inspire future visions and filter images of the past. Sara Cwynar’s practice across photography, collage and film toggles between different epochs and aesthetics, revealing how the quest for the good life has been driven by evolving ideals, values, and taste, yet always grounded in conventionality and predictable comforts. Exploring the backbone of iconographies and clichés, where common constructs meet reassuring genres, Cwynar tackles the critical concept of visual truth and deciphers a reality of mundane objects and pictures merely reformulated by algorithms. Responding to the way technology challenges our vision, she creates a timeless and indelible reservoir of upfront, non-hierarchical images that resist the internet, the primary source of visual knowledge and experience in the XXI century.

Exhibition dates: 12 July – 20 September 2019
Open times: Tuesday – Friday: 1.00 – 6.00pm, Saturday: 10.00am – 1.00pm

This exhibition is supported by the Government of Canada. Blitz is supported by Arts Council Malta through a Cultural Partnership Agreement.

#blitzvalletta #malta #contemporary_art #exhibition #art #artinmalta #artspace #valletta

UN/GREEN: NATURALLY ARTIFICIAL INTELLIGENCES

Adnan presented the boattr.uk project during the RIXC festival.

The 2019 RIXC Festival 2019 aims at complicating the pervasively employed notion of “green” by providing a cross-disciplinary platform for the discussions and artistic interventions exploring one of the most paradoxical and broadest topics of our times. The festival will feature the “Un/Green” exhibition opening that takes place in the Latvian National Museum of Art, and the 4th Open Fields conference which aims to ‘un-green’ greenness, eco-systemically reconnect post-human postures, and discover and unpack ‘Naturally Artificial Intelligences.’

‘Green’, symbolically associated with the ‘natural’ and employed to hyper-compensate for what humans have lost, will be addressed as the indeed most anthropocentric of all colours, in its inherent ambiguity between alleged naturalness and artificiality. Are we in control of ‘green’? Despite its broadly positive connotations ‘green’ incrementally serves the uncritical desire of fetishistic and techno-romantic naturalization in order to metaphorically hyper-compensate for material systemic biopolitics consisting of the increasing technical manipulation and exploitation of living systems, ecologies, and the biosphere at large.