Curator: Kathleen Forde
Breaching the divisions between portrait, landscape and history painting, generating moving images that no longer belong to ‘time-based media’, rethinking the monumentalism of land art in the age of Google Earth, and now exploring an expanded arena of choreography and performance, the innovative form of John Gerrard’s work keeps pace with the subtle complexity of its subject-matter.
In the contemporary world, simulations are no longer just secondhand copies, but are increasingly both engine and autopilot of leisure, economy, politics and warfare. Gerrard’s work offers us portraits of this world through the prism of its own technological medium: using the very software that enables the operations of entertainment, industry and warfare, Exercise explores the violence of technology and the optimisation of the human in relation to discipline and choreographed display.
Curator: Kathleen Forde
Breaching the divisions between portrait, landscape and history painting, generating moving images that no longer belong to ‘time-based media’, rethinking the monumentalism of land art in the age of Google Earth, and now exploring an expanded arena of choreography and performance, the innovative form of John Gerrard’s work keeps pace with the subtle complexity of its subject-matter.
In the contemporary world, simulations are no longer just secondhand copies, but are increasingly both engine and autopilot of leisure, economy, politics and warfare. Gerrard’s work offers us portraits of this world through the prism of its own technological medium: using the very software that enables the operations of entertainment, industry and warfare, Exercise explores the violence of technology and the optimisation of the human in relation to discipline and choreographed display.
34470 Istanbul, Turkey