“The Future’s Ecology” is Bogdan Perzyński’s second solo exhibition at Liliana Bloch Gallery. Perzyński will present two major works: “Table” (2018), a large-scale photographic installation, and “Epimentheus,” a single channel video installation. Significant precursors to these works and the exhibition are “Table” (2015), “How to Explain Demoncracy” (1989) and “32°47’56.6640 N 96°50’9.2040” (2016).
In his current body of work, Perzyński offers a shift in perspective: he tilts our gaze down toward the ground. He does this in Epimentheus with drone imagery and a new video display, and in Table with lens-based photography, digitally generated images, pictures from the newspaper, and archives from the Web. The work excavates art’s social and political foundation, often violent in nature, and brings it thoroughly into the present day.
Perzyński compares his practice to goal-oriented data hoarding but in this show more then ever he speaks about the hazards and profound limits of digital culture: the system is no longer voluntary. He reaches more deeply towards instinct and working with friends, to the informal and the improvisational. This doesn’t preclude his current efforts for deliberate, even programmed relentless labor.
Following the opening reception, the exhibit will be on view through May 5.
“The Future’s Ecology” is Bogdan Perzyński’s second solo exhibition at Liliana Bloch Gallery. Perzyński will present two major works: “Table” (2018), a large-scale photographic installation, and “Epimentheus,” a single channel video installation. Significant precursors to these works and the exhibition are “Table” (2015), “How to Explain Demoncracy” (1989) and “32°47’56.6640 N 96°50’9.2040” (2016).
In his current body of work, Perzyński offers a shift in perspective: he tilts our gaze down toward the ground. He does this in Epimentheus with drone imagery and a new video display, and in Table with lens-based photography, digitally generated images, pictures from the newspaper, and archives from the Web. The work excavates art’s social and political foundation, often violent in nature, and brings it thoroughly into the present day.
Perzyński compares his practice to goal-oriented data hoarding but in this show more then ever he speaks about the hazards and profound limits of digital culture: the system is no longer voluntary. He reaches more deeply towards instinct and working with friends, to the informal and the improvisational. This doesn’t preclude his current efforts for deliberate, even programmed relentless labor.
Following the opening reception, the exhibit will be on view through May 5.
“The Future’s Ecology” is Bogdan Perzyński’s second solo exhibition at Liliana Bloch Gallery. Perzyński will present two major works: “Table” (2018), a large-scale photographic installation, and “Epimentheus,” a single channel video installation. Significant precursors to these works and the exhibition are “Table” (2015), “How to Explain Demoncracy” (1989) and “32°47’56.6640 N 96°50’9.2040” (2016).
In his current body of work, Perzyński offers a shift in perspective: he tilts our gaze down toward the ground. He does this in Epimentheus with drone imagery and a new video display, and in Table with lens-based photography, digitally generated images, pictures from the newspaper, and archives from the Web. The work excavates art’s social and political foundation, often violent in nature, and brings it thoroughly into the present day.
Perzyński compares his practice to goal-oriented data hoarding but in this show more then ever he speaks about the hazards and profound limits of digital culture: the system is no longer voluntary. He reaches more deeply towards instinct and working with friends, to the informal and the improvisational. This doesn’t preclude his current efforts for deliberate, even programmed relentless labor.
Following the opening reception, the exhibit will be on view through May 5.
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