Amid a revolution in technological discoveries, both the notions and the definitions of human and humanity are changing faster and more radically than ever before.
The Renaissance image of man as benighted beneficiary standing above from the natural world lies buried under the environmental degradation of which humanity is known to be the cause.
As scientific advances reveal the depth of relations – simultaneously hybridized and symbiotic – between human and non-human life forms, this refined view is one of essential unity. As much material as mental, their impact on the body is matched by their ability to alter perception.
The ensuing anthropological discussions are underscored by a vivid ecological debate on the planetary threats facing humanity in the Anthropocene age. Suggesting as they do a significant turn in perceptions of status, role, and responsibility, this is a phenomenon that resonates strongly in Contemporary Art.
The National Museum in Szczecin and Bornholms Kunstmuseum have prepared a joint exhibition and publication project with participation of over a dozen artists from Poland and Denmark who in their artistic practice take up the theme of redefining humanity in an era of profound change and in the face of an uncertain future.
Living in the Present Future brings together artists who emphasize an ever-stronger fusion of body and consciousness with technology (Roman Lipski, Amalie Smith, Lea Guldditte Hestelund); those who are familiar with man’s close relationship with nature and non-human life (Artur Malewski, Ewa Juszkiewicz, Emil Westman Hertz), and those focusing on the ethical and existential dimensions of life in a rapidly changing world (Izabella Gustowska, Aneta Grzeszykowska, Peter Frimand, SUPERFLEX).
Using the appropriate for art tools, the primary goal of thi exhibition is to enhance recognition of the widespread reflection on these topics in the field of contemporary humanities.
The exhibition is accompanied by Polish-Danish-English publication prepared by the curators in co-operation with invited scientists: Izabela Kowalczyk (Uniwersytet im. Adama Mickiewicza, Poznań) and Jacob Wamberg (Aarhus University).
- Ewa Juszkiewicz - Untitled - Bez tytułu (oil on canvas, 2014, Zachęta Sztuki Współczesnej Szczecin)
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- Ewa Juszkiewicz - Collage on paper (2017)
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- Emil Westman - Untitled - Bez tytułu (niedatowany)
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- Aneta Grzeszykowska - Selfie#17
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- Aneta Grzeszczykowska - Headache - Ból głowy (2008, wideo)
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- Izabella - Gustowska - Trucizna (2018, własność artystki)
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- Roman Lipski - Untitled - Bez tytułu (2018)
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- Superflex - We Are All In The Sme Boat (2018, neon)
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„Living in the Present Future”
Venue: The National Museum in Szczecin – Museum of Contemporary Art
Time: 23.01–3.05.2020, OPENING 23.01.2020, 6pm.
Curators: Marlena Chybowska-Butler, Magdalena Lewoc, Mathilde Renberg
Artists: Peter Frimand, Aneta Grzeszykowska, Izabella Gustowska, Emil Westman Hertz, Lea Gulditte Hestelund, Ewa Juszkiewicz, Roman Lipski, Artur Malewski, Amalie Smith, SUPERFLEX
Living in the Present Future is the result of cooperation between two museums: The National Museum in Szczecin and Bornholms Kunstmuseum. The project is a part of MARE ARTICUM international program.
Previous presentation in Bornholms Kunstmuseum:6.10.2019–5.01.2020
- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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- Wystawa czasowa „Living in the Present Future” (fot. Anders Beier)
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