| While it is true that when we speak of technology today we are referring to a field in which technological evolution is more rapid than linguistic evolution, we ought to be pragmatic about the noteworthy growth of metaphors in a new environment. Man has always come to grips with new developments by making use of familiar imagery. For the artist, on the other hand, the future is always, necessarily under construction. | If prime time isn't seen as real time it is because artists are distrustful by nature, but also because they began to wonder about the relationship between reality and the instruments of representation. | To go forward with the process of the dematerialization of the work, the conceptual artists often made use of photography and video. | With the end of the era of movements in art, the art scene proceeds toward a slow decentralization of its economic and cultural interests. | The image generation is convinced that media should be used without worrying about their specific properties. It is an art that invites us to look beyond the aesthetic, formal expression; no artist, for example, falls into the trap of outlining a “media” aesthetic. >>> | |
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Doug Aitken Francis Alÿs Arman Bianco e Valente Botto e Bruno Jordan Crandall Ceal Floyer Piero Gilardi Bertrand Lavier Gary Hill |
Jenny Holzer Eva Marisaldi Matthew McCaslin Tatsuo Miyajima Charlotte Moormann Antoni Muntadas Carsten Nicolai Tony Oursler |
Nam June Paik Marko Peljhan Kiki Seror Axel Stockburger Wolfgang Staehle Jean Tinguely Grazia Toderi Franco Vaccari Wolf Vostell |
Palazzo delle Esposizioni Roma 28 giugno - 15 settembre 2001 Palazzo della Triennale Milano 17 ottobre - 25 novembre 2001 |
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| Exhibart photo album Essay by Gianni Romano Gianni Romano interviewed |