For this iteration of the arco E-Xhibitions we invited Viktoria Binschtok and Renaud Regnery to contribute selected works in a joint presentation. A key interest in both artists practice is weave found and modified material with their own imagery. Their approaches are equally driven by a sensitive reflection of their respective medium and the ability to charter new territories in a conceptually and aesthetically striking way.
Viktoria Binschtok is one of the most articulate voices in the field of conceptual, free-artistic photography and image making working today. Her pivotal body of work 'Clusters/Networked-Images' is one of the most profound tales on our visual culture at large.
Viktoria Binschtok works around the physical echoes of the image flow produced by our digitally connected world. Her photo-graphic work deals with the phenomenon of today’s image economy: the intangibility of image data, our ever-shortening attention span, and the simul-taneous power and immediacy of consumed pictures. Instead of tapping into a single genre or subject, she dissects the vastness of our daily digital image produc-tion, one piece at a time. The precise layering of her works generates visual connections with both subtle and apparent referen-ces to current realities —imma-terial concepts thus take physical shape, compelling us to, once again, ruminate our algorithmic-driven present.
Renaud Regnery comprehends painting as a field full of tension, which on the one hand
evokes the confrontation within the history of the medium and the discussion connected to it, and at the same time holds possibilities of (self-) assertion and allocation. Connected to this is his interest in dealing with inherited, social conventions, their aesthetic manifestations and
The starting point for Regnery’s work is always a deliberate choice of a ‘grounding’ material that
he extracts form a mass-production context – i.e. wallpaper, wrapping-paper, off-products from various printing- and industrial processes. As a psychological and physical reaction to these ‘first
imprints’ – their specific patterns, aesthetics or materiality – Regnery builts the following layers of his paintings. Citing and digitally altering specific details or freely associating ornamental and
‘signal’-style forms he constructs his canvases by an act of reactive 'overpainting' – destroying
one pattern by establishing a new, authentic one.
In that sense Regnery’s paintings function as a performance of their own materiality and
emergence, and are pictures and transitions at the same time. As such, they dock on to spaces
beyond the visual surface, to social relations, to our everyday experiences and our affective habits of vision and desire.
Developed in close collaboration with Viktoria and Renaud, our presentation shows prime examples of both artists ouvre's and brings together recent and fresh from the studio work in a frutiful and lasting dialogue.
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