Between pixel and pigment

Hybrid painting in post-digital times

“´There is a fascinating interface between pixel and pigment where digital and traditional art techniques meet and intermingle. This area explores the interplay between digitally generated images and handcrafted painting techniques, creating new visual languages and forms of expression.”

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The exhibition, developed jointly by the Museum Marta Herford and the Kunsthalle Bielefeld and taking place simultaneously at both venues, is dedicated to post-digital hybrid painting and thus reflects our hybrid post-digital present, anchored between the digital and the analog. In this large-scale collaboration, the focus is on a painterly way of thinking that has expanded considerably, especially in the last ten years, through the equal interweaving of content and technology of the hybrid. The international artists fundamentally question the traditional medium of painting. To what extent do the changes influence materialities, image-media structures and aesthetics? How do hybrid spaces, bodies that have become fluid and a feeling of being in-between find pictorial correspondences? With the Kunstakademie Münster as the third project partner, museum practice, academic teaching and research are combined in an experimental way.

The Kunstakademie Münster organized an accompanying symposium, which took place on 19 and 20 July 2024.

Colored lettering on brown background. Written in yellowg: Post-digital painting. Written in pink: re:vise revolution. Written smaller at the bottom in white: Symposium.

What do we learn about the traditional genre of painting and the role of digitization when we look at both through the contemporary practice of post-digital painting? The international symposium, organized by Prof. Dr. Nina Gerlach and Dr. Simon Vagts, Kunstakademie Münster, sheds light on the history, developments and potentials of post-digital painting. Historical predecessors and reference points play a role here, as do the significance and developments from the so-called “digital revolution” to the present day.

With presentations by
Prof. Dr. Nina Gerlach (Kunstakademie Münster), Kristin Klein (Universität der Künste), Prof. Dr. Lev Manovich (City University of New York), Prof. Dr. Fabian Offert (University of California, Santa Barbara), Margit Rosen (Zentrum für Kunst und Medien, Karlsruhe), Dr. Luke Smythe (Monash University, Melbourne) and Dr. Simon Vagts (Kunstakademie Münster)

The contents of the symposium will subsequently be published in a scientific publication.

Admission is free.

Artists:

Sónia Almeida, Tim Berresheim, Salomé Chatriot, Vivian Greven, Wade Guyton, Tishan Hsu, Jacqueline Humphries, Charlotte Johannesson, KAYA (Kerstin Brätsch/Debo Eilers), Peter Kogler, Vera Molnar, Mukenge/Schellhammer, Laura Owens, Seth Price, Rafael Rozendaal, Pieter Schoolwerth, Amy Sillman, Avery Singer, Cheyney Thompson, Philipp Timischl, Corinne Wasmuht, Anicka Yi and others.

In cooperation with:

Logo of the Marta Herford. Black serif font on white.
Logos der Förderer und Kooperationspartner. Die Ausstellung wird gefördert durch die Kulturstiftung des Bundes, die Beauftragte der Bundesregierung für Kultur und Medien, die Stiftung der Sparkasse Bielefeld, die LWL Kulturstiftung, das Bundesministerium Kunst, Kultur, öffentlicher Dienst und Sport Österreich, die Stadtwerke Bielefeld und die Stadtwerke Herford.
In Kooperation mit der Kunstakademie Münster.

Gallerie

Colorful graphic in landscape format with an orderly structure of squares and rectangles of different sizes in bold colors such as red, purple, pink, green, magenta, yellow and turquoise.
Rafaël Rozendaal Abstract Browsing 22 01 01 (Dropbox), 2001, Foto: Gert Jan van Rooij Courtesy of Upstream Gallery Amsterdam
Abstract triangular object, divided into three parts and framed by black and white pigments. At the top left and right uneven, wave-like patterns in pastel purple, white, pink and blue. In the left corner, a horn-like structure with a color gradient from green to yellow. At the bottom, a shard-like white pattern with black and orange lines. Underneath, like a cloud, shades of yellow, turquoise, blue and pink.
Kerstin Brätsch Brushstroke Fossil for Christa (Stucco Marmo), 2021 Plaster, pigments, glue, wax and oil on honeycomb, felt 13 3/8 x 19 5/8 x 2 3/8 inches (34 x 50 x 6 cm) Courtesy the artist and Gladstone Gallery © Kerstin Brätsch Photography by Daniele Molajoli
Ein buntes Bild aus Formen. Im Hintergrund überwiegen grün- und Blautöne. Links ist die Struktur einer gemauerten wand, rechts eine Form zu sehen, die an ein Auto erinnert. Im Vordergrund scheinen Schlieren und Tropfen zu schweben. Sie sind vorwiegend blau und magenta.
Corinne Wasmuht Gewalt, 2001, Öl auf Holz, 227 x 322 cm, Sammlung Schmeer, Aachen © Corinne Wasmuht, Petzel Gallery, Foto: Achim Kukulies
Portrait format picture split into three parts. On the left, white gestural brushstrokes with light beige accents, in the middle a photo detail of a mighty marble building that looks like it is on a tube television, and on the right a flat beige section with the squiggly inscription in capital letters "100 BEST BUILDING DEMOLITION COMPILATION"
Philipp Timischl 100 Best Building Demolition Compilation, 2021 Mixed Media on canvas and silkscreen on canvas, LED Panels, metal truss, media player, Video 29:55 min 200 x 150 x 50 cm Courtesy of the artist, Layr Vienna