OPENING EXHIBITION: AUTHENTICITY IS DEAD, LONG LIVE AUTHENTICITY & PERFORMANCE
The aphorism “Authenticity is dead, long live authenticity!” proves vital in the prolific debate on authenticity in the post- digital age. Authenticity is in the eye of the beholder. There is a general understanding of its meaning, oftentimes based on notions of introspection and soul-searching; some, however, deem the debate altogether irrelevant. However, for a younger generation of artists, new technologies contribute to a new understanding of the scope of authenticity. Digital tools, such as the blockchain, prove valuable when it comes to tracing provenance, or the attribution of authorship. Increasingly, artists advance the circulation of their work from burden to strategy. The exhibition comprises a number of online and offline works, some of which are specially commissioned for the Impakt Festival, including works made during artist residencies prior to the exhibition. The exhibition stretches across two venues in Utrecht. The galleries Fotodok and Casco at Lange Nieuwstraat 7 in the city centre contain works by DIS, Harm van den Dorpel, Tobias Kaspar, Oliver Laric, Jonas Lund & Sebastian Schmieg, Elise van Mourik, Amalia Ulman and Beny Wagner.
OPENING PERFORMANCE MINJA GU (KR) – PASTA NOWADAYS
For the performance Pasta Nowadays, Minja Gu collects all of the various pastas available from local supermarkets. Fromover 70 different pastas available, 30 different types can be identified; 24 of the packages have recipes on the back. The ultimate pasta combines all of these 24 recipes, including 12 kinds of cheese, beef, pork, ham, 5 kinds of seafood, herbs, spices and vegetables.
Minja Gu― Artist
Minja Gu’s works appear frail and intimate, and almost indistinguishable from everyday life. Gu is predominately interested in what society uses and then discards. She recycles back into presence and with grace, wit and poetry the many supposedly valueless remnants of daily consumerism, such as leftover coffee cups or plastic bags. In addition to her physical artistic production she also initiates activities that run in parallel, or could be considered parasitic to everyday participation in society. These have included running the marathon at her leisure to complete it in a day-and-a-half, a time-period too slow and also not grandiose enough for the media to remain interested, and a ‘symposium’ on love that involved a quite plausible and again totally unspectacular 12 hour get-together of the same age on a roof-top.