Copyright 2007-2012
Built with Indexhibit

27.9 – 22.11.2018

Opening: 27.9.2018 (6 pm)

‘Kodak’, Andrew Norman Wilson's most recent video work, articulates the will to accumulate and preserve things - people, objects, technologies, buildings, intellectual property, companies, images, memories - across time, emphasizing how these things consolidate and disperse, are materialized and then digitized, and come into light and then cease to be visible.

Grounded by a three-act narrative, in a reversal of docudrama form, the imagery begins with faded archival collage and ends in vivid computer-generated 3D models. This psychic-material shift from memory based on photographic archives to digitally composed fantasies suggests a broader technological shift - the subsumption of the modern analog contingency of photography into digital postproduction and a return of the tableau of Western historical painting through a wholly constructed digital “realism.”

'Kodak' is coproduced by the Stolbun Foundation, Kunstlerhaus Stuttgart, Center for Contemporary Art Futura (Prague), and KRIEG (Hasselt).

Andrew Norman Wilson is an artist and curator based in Los Angeles. His videos and installations address a heady rush of images, technology, and bodies caught in the streams of circulation and representation that our era demands. Recent exhibitions include Dreamlands at the Whitney Museum of American Art (2017), the Gwangju Biennial (2016), the Berlin Biennial (2016), the Bucharest Biennial (2016), On Sweat, Paper and Porcelain at CCS Bard in Annandale-on-Hudson, New York (2015), Art Post Internet at Ullens Center for Contemporary Art in Beijing (2014), Scars of Our Revolution at Yvon Lambert in Paris (2014), and Image Employment at MoMA PS1 in Queens, New York (2013). He has lectured at Oxford University, Cambridge University, Harvard University, Yale University, Universität der Künste Berlin, and UCLA, where he is now visiting faculty. His work has been featured in Aperture, Art in America, Artforum, Buzzed, Frieze, Gizmodo/Gawker, The New Yorker, and Wired. He has published writing in Artforum, e-flux, DIS, and a Darren Bader monograph from Koenig Books.