Curator: Avi Lubin
@KunstHaus, Potsdam (D)
The exhibition Circular Movements attempts to examine art’s unique modes of action in a dismal period and during dark times. It raises questions concerning the borderline between action and activism, as well as concerning Arendtian ideas like action as interruption, multi-vocal thinking and the relations between the actor/author and the storyteller.
Thomas Hirschhorn’s large scale pixel collage tries to integrate the growing phenomena of facelessness in pictures reproduced today. It seems that, in order to be authentic, a picture needs to be pixelated or partly pixelated. Pixelating––or blurring––has taken over the role of authenticity. The justification for pixelation or blurring is either to “protect the viewer,” to keep something in the picture “protected,” or to “protect” whatever information is supposed to appear in the picture. Hirschhorn believes that pixelation can build up a new form, opening towards a dynamic desire of truth––truth as such, truth as something reaching beyond information, non-information or counter-information.
Thomas Hirschhorn, Miroslaw Balka, Ragnar Kjartansson, Jenny Brockmann, Roey Heifetz, Tomer Sapir.