#post-media

Post-Media Virality: When We Are the Medium (of the Virus)

Disrupting a Sense of Linear Time

On Luke Gnadinger’s website we find a statement in which the artist describes his work as, “…being post-media and concerned with the ways domestic ‘containers’ impart a shaping force on our notions of home and identity. Generally, this foregrounds what would otherwise be supplemental or armature. While not limited to, this often employs the industrial history and materials of ceramics, photography, or coding languages to position the work someplace between archival-object and design-object, disrupting a sense of linear time.”

There is an intriguing balance of rustic and digital in Gnadinger’s work. He seems as comfortable using “a hexadecimal editor to produce coding aberrations”, as he is creating somewhat traditional, functional, ceramic vessels. He incorporates found objects that evoke nostalgia in installations of a very modern sensibility. In “House”, the effect is entirely modern, but “Fluids” mines a collective memory that elicits a sentimental response. The vintage ceramic knobs on the fixture have been recoated with slip and fired again by Gnadinger, giving the artifacts a new sheen that makes nostalgia more seductive.

In “Super Great Horse Art”, the packaging concept merges bourbon and horse racing culture in a pointed commentary on art as product in Kentucky. As both are Sacred Cows in the Bluegrass State, the implications, however undeniable, are still somewhat bold for a Kentucky-born artist, and it seems an especially clear example of Gnadinger’s statement about positioning work “between archival-object and design-object”.

Another balance that fascinates is the notion of complex ideas expressed through graphic forms of great simplicity. Those “Horse Art” bottles recall generic labeling from the 1970’s, and in the curiously titled “ighborhoodNe” the forms are equally fundamental, with red map diagrams that have the effect of stamps. There is an ornate quality to the surface design, yet the work remains straightforward and uncluttered, allowing for a direct understanding between the artist and the viewer. For being so conceptual an artist, Gnadinger’s work is refreshingly accessible, but never dumb.

Since receiving his degree from Transylvania University in Kentucky, Gnadinger has worked as an assistant and been a winter resident at Penland School of Crafts in North Carolina.

Gnadiniger’s work is currently featured in show MAP/PING in Morlan Gallery in Lexington, through December 5, 2017.

Hometown: Louisville, Kentucky Education: BFA, Studio Art, Transylvania University Website: www.lukegnadinger.com Instagram: lukegnadinger/

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Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

ARTICLE || Nice bookreview of Provocative Alloys : A Post-Media Anthology (2013, free download). So, basically, an introduction to an introduction in Post-Medium (Krauss) and Post-Media (Guattari) discussions. 

Joseph Nechvatal, Hyperallergic.com  Art’s Post-Media Malaise (read)   

(Note to self: further reading, after finishing

Aesthetics of Installation Art

19 January 2014 - 5:34pm -- capprich

lab

Micropolitics of the Post-Digital: From street protests to transitional spaces in Brazil

transmediale/festival 2014

Participants: Oliver Lerone Schultz, Marcus Bastos, Fabiane Borges, Lucas Bambozzi, Adriano Belisário

Respondence: Karla Brunet

Location: Haus der Kulturen der Welt, auditorium

Time: Sun, 2.2. 12:00h - 14:00h

Insurgent political movements, techno-shamanism, and the formation of a sustainable networked society in the Brazilian political and cultural landscape

Reflecting on a post-digital approach as a condition in which the utopian promise of the global technological progress is put under crisis, this panel investigates practices and projects of de-colonisation of corporate culture, as well as of the “digital” paradigm per se. By specifically focusing on hybrid and syncretic Brazilian contemporary political, cultural and economical scenarios, the post-digital condition highlighted in such context brings together a variety of practices that deal with transitional processes between online and offline existence, ecology of technical and non-technical resources, techno-shamanism from the junction between technology and practices of ancestral knowledge, insurgent political movements and the formation of a sustainable networked society. The panel proposes a multiple angle of analysis where technology becomes an open tool to imagine unpredictable connections in the everyday life from civil engagement to artistic and political activism, and to social change.