Post-Digital Mirror, 2006-2022

Post-Digital Mirror, 2012-2016 / Exhibition view, Invisible Man, Wood Street Galleries, Pittsburgh, 2019 / Lenticular print on aluminum composite, 4 panels, 1.10 × 1.80 m (each)
Post-Digital Mirror, 2012-2016 / Exhibition view, Invisible Man, Wood Street Galleries, Pittsburgh, 2019 / Lenticular print on aluminum composite, 4 panels, 1.10 × 1.80 m (each)
Post-Digital Mirror (A6 & A7), 2014 / Exhibition view, Monochrome, The Société, Brussels,BE / Lenticular print on aluminum composite, 2 panels, 1.10 × 1.80 m (each) / Photo : Freddy D’hoe
Post-Digital Mirror (A6 & A7), 2014 / Exhibition view, Monochrome, The Société, Brussels,BE / Lenticular print on aluminum composite, 2 panels, 1.10 × 1.80 m (each) / Photo : Freddy D’hoe
Post-Digital Mirror (A1, A2 & A3), 2011-2012 / Exhibition view, Noise, 55th Venice Biennale of Art, 2013 / Lenticular print on aluminum composite, 3 panels, 3.30 × 1.80 m
Post-Digital Mirror (A1, A2 & A3), 2011-2012 / Exhibition view, Noise, 55th Venice Biennale of Art, 2013 / Lenticular print on aluminum composite, 3 panels, 3.30 × 1.80 m
Post-Digital Mirror, 2011-2012 / Exhibition view, Extra_Vague, Galerie RX, Paris, Fr / Lenticular print on aluminum composite, 3 panels, 3.30 × 1.80 m
Post-Digital Mirror, 2011-2012 / Exhibition view, Extra_Vague, Galerie RX, Paris, Fr / Lenticular print on aluminum composite, 3 panels, 3.30 × 1.80 m
Post-Digital Mirror (X1), 2013 / Exhibition view, Post-Digital, TZR Galerie Kai Brückner, Düsseldorf, DE / Lenticular print on aluminum composite, 2.20 × 1.10 m
Post-Digital Mirror (X1), 2013 / Exhibition view, Post-Digital, TZR Galerie Kai Brückner, Düsseldorf, DE / Lenticular print on aluminum composite, 2.20 × 1.10 m
Post-Digital Mirror (X3), 2013 / Lenticular print on aluminum composite, 2.20 × 1.10 m
Post-Digital Mirror (X3), 2013 / Lenticular print on aluminum composite, 2.20 × 1.10 m
Post-Digital, TZR Galerie Kai Brückner, Düsseldorf, 2013 / Exhibition view
Post-Digital, TZR Galerie Kai Brückner, Düsseldorf, 2013 / Exhibition view
Post-Digital Mirror (C A1), 2012 / Lenticular print on aluminum composite, 1.10 × 1.80 m (detail)
Post-Digital Mirror (C A1), 2012 / Lenticular print on aluminum composite, 1.10 × 1.80 m (detail)
Post-Digital Mirror (B4, B5 & B6), 2010 / Exhibition view, Eurasia, The Cat Street Gallery, Hong Kong, 2012
Post-Digital Mirror (B4, B5 & B6), 2010 / Exhibition view, Eurasia, The Cat Street Gallery, Hong Kong, 2012
Post-Digital Mirror (CA3), 2013 / Exhibition view, Post-Digital, TZR Galerie Kai Brückner, Düsseldorf, DE / Lenticular print on aluminum composite, 1.10 × 1.80 m
Post-Digital Mirror (CA3), 2013 / Exhibition view, Post-Digital, TZR Galerie Kai Brückner, Düsseldorf, DE / Lenticular print on aluminum composite, 1.10 × 1.80 m
Post-Digital Mirror (E2), 2013 / Lenticular print on aluminum composite, 0.90 × 1.20 m
Post-Digital Mirror (E2), 2013 / Lenticular print on aluminum composite, 0.90 × 1.20 m
Post-Digital Mirror (E3) (E4), 2013 / Lenticular print on aluminum composite, 0.90 × 1.20 m (each)
Post-Digital Mirror (E3) (E4), 2013 / Lenticular print on aluminum composite, 0.90 × 1.20 m (each)
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Video: © Dirk Rose, 2013

Cinema created movement-images and images in movement. When used artistically, the new technologies create fractals, rhizomes and the movements of and in the image. We have gone from the multiple facets of a mirrored reality to an epidermis of layered images. A panoptic of the interface and the artefact in which curved topologies can emerge from what seems to be a geometrically ordered outer skin, in a minimalist Baroque all of structural fluidity and infinite visual pathways. Between Alice through the looking-glass and Icarus soaring across infinite skies, the modernist monochrome makes a sudden reappearance in works consisting of multiple digital monochromes piled on top of one another to create fleshless luminous “post-digital mirrors”. But in this new “gaze craze” it is distance which allows you to attain a kind of indeterminateness without limits, a fourth dimension which opens onto an aesthetics of ephemeral and stratified temporality…

Extract from “A New Regime of Images” by Christine Buci-Glucksman / More >

Le cinéma avait créé l’image mouvement et l’image en mouvement. Les nouvelles technologies dans leur usage artistique créent le fractal, le rhizome et le mouvement de et dans l’image. On est donc passé des facettes d’un réel en abîme propre aux miroirs, à un «épiderme» feuilleté d’images. Un panoptisme de l’interface et de l’artefact, où la topologie courbe peut surgir d’un épiderme apparemment ordonné géométriquement, dans un baroque minimaliste fait d’une fluidité structurale et de trajets visuels infinis. Entre Alice qui traverse les miroirs et Icare aspiré par l’infini du ciel et des trajets, le monochrome du modernisme ressurgit soudain dans cette pièce de multiples monochromes numériques superposés pour recréer «un post -digital mirror» lumineux, vidé de toute chair. Mais dans cette nouvelle «folie du voir» la distance conditionne l’accès à une indétermination sans frontière, une quatrième dimension qui ouvre sur une esthétique du temps éphémère et stratifié…

Extrait de “Un nouveau régime des images” par Christine Buci-Glucksman / Plus >