AUTHENTICITY IS DEAD, LONG LIVE AUTHENTICITY!
26 October - 6 November
— 30 October 2016
— 30 June 2020
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 of Casco/Fotodok and the Rietveld Modelhuis. The Rietveld Modelhuis at Erasmuslaan 9 is an early twentieth-century home, designed by Gerrit Rietveld. Still fully furnished, it is a clear example of the Het nieuwe bouwen movement, which came to prominence in the 1920s and ’30s. The bright, domestic setting provides the backdrop to works by General Idea and Korakrit Arunanondchai; this is also a great opportunity to visit this architectural heritage site.
Korakrit Arunanondchai― Artist
Bangkok-raised artist Korakrit Arunanondchai engages a myriad of subjects such as history, authenticity, self-representation, and tourism through the lens of a cultural transplant. His work seeks to find a common ground in artistic experiences through a pastiche of styles and mediums.
General Idea― Artist
General Idea was founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson. The collective interrogated media image culture through now legendary projects like File magazine, as well as paintings, installations, sculptures, mail art, photographs, videos, ephemera, TV programs and even a beauty pageant. The group’s transgressive concepts and provocative imagery challenged social power structures and traditional modes of artistic creation in ever-shifting ways, until Partz and Zontal’s untimely deaths from AIDS-related causes in 1994.