群展 布兰德霍斯特博物馆，慕尼黑，德国
Contemporary art is characterized by an examination of the relationship between the body and technology. Many artworks from recent years reflect how we experience ourselves and our environments in the highly technological and networked present. Yet this relationship can be traced far back into the 20th century. The post-war period was marked by rapid technological change, which has become the pinnacle of ideological instrumentalization. It satisfied the need for novelty as much as the need to overcome the traumas of war. At the same time, technology became a crystallization point for global threats and fears of change, or even loss of control. Within this broad spectrum, ranging from euphoria about the future to critical distancing, sculpture also engaged with new technologies. These served equally as means of emancipation as surveillance and (external) control, and profoundly influenced our understanding of bodies.
Across two floors of the museum, “Future Bodies from a Recent Past” presents for the first time a structured frame of reference for this narrative, ranging from the post-war period to the present. Throughout, it becomes clear that sculpture is particularly well suited to picking up and reflecting on these changes—not only because sculptures are physical objects in space and therefore provide a possibility for projecting our own corporeality, but also because they share their materials and production methods with the world that surrounds us. This permeability to outside influences is also evident in the works included here. The exhibition charts a journey through forms and modes of expression in sculpture, which have changed more in the last 70 years than probably ever before in its long history.
How has the relationship between humans and technology shifted since the 1950s? Can the boundaries still be clearly drawn? Where do our digital extensions, such as computers or cell phones, begin and end? What does this mean for our ideas of corporeality and materiality? And what are the social implications of these developments for our (collective) self-understanding? With these questions in mind, we invite you on a tour of the exhibition.
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