Bleeding
       
     
 Does information live forever? One would tend to answer this question with “yes”, and the reasoning would be that information lives in its own immaterial sphere, that it is ephemeral and ageless.It is not that easy, though.  To be used by us, information has to be communicated. To do so, we introduce it into our imperfect material world, and every process of such communication, using whatever medium is available, alters the information it carries, if ever so slightly.  In these works we see images which are exposed to a dramatically accelerated process of ageing. The paintings on the walls of the famous Borujerdi house already were damaged by forces of nature, and now their representations are introduced into an aggressive environment of hardware and software. Just like the decay of organic material, the images, which now consist of pure information, are robbed off their structural integrity and quickly move to states of higher entropy. Just like wind and weather erode a canyon, like bacteria feast on a cadaver on the forest floor, the net of machines digest this information. Imperfect sensors, biased algorithms and bleeding ink jets create a artificial cultural fever dream, a colorful mould that is crawling over the once masterfully crafted paintings.  Marc-André Weibezahn
       
     
Bleeding
       
     
Bleeding

Digital print on transparent foil, Acrylic, Wood - 2018

21.30.100 cm

 Does information live forever? One would tend to answer this question with “yes”, and the reasoning would be that information lives in its own immaterial sphere, that it is ephemeral and ageless.It is not that easy, though.  To be used by us, information has to be communicated. To do so, we introduce it into our imperfect material world, and every process of such communication, using whatever medium is available, alters the information it carries, if ever so slightly.  In these works we see images which are exposed to a dramatically accelerated process of ageing. The paintings on the walls of the famous Borujerdi house already were damaged by forces of nature, and now their representations are introduced into an aggressive environment of hardware and software. Just like the decay of organic material, the images, which now consist of pure information, are robbed off their structural integrity and quickly move to states of higher entropy. Just like wind and weather erode a canyon, like bacteria feast on a cadaver on the forest floor, the net of machines digest this information. Imperfect sensors, biased algorithms and bleeding ink jets create a artificial cultural fever dream, a colorful mould that is crawling over the once masterfully crafted paintings.  Marc-André Weibezahn
       
     

Does information live forever? One would tend to answer this question with “yes”, and the reasoning would be that information lives in its own immaterial sphere, that it is ephemeral and ageless.It is not that easy, though.

To be used by us, information has to be communicated. To do so, we introduce it into our imperfect material world, and every process of such communication, using whatever medium is available, alters the information it carries, if ever so slightly.

In these works we see images which are exposed to a dramatically accelerated process of ageing. The paintings on the walls of the famous Borujerdi house already were damaged by forces of nature, and now their representations are introduced into an aggressive environment of hardware and software. Just like the decay of organic material, the images, which now consist of pure information, are robbed off their structural integrity and quickly move to states of higher entropy. Just like wind and weather erode a canyon, like bacteria feast on a cadaver on the forest floor, the net of machines digest this information. Imperfect sensors, biased algorithms and bleeding ink jets create a artificial cultural fever dream, a colorful mould that is crawling over the once masterfully crafted paintings.

Marc-André Weibezahn