Saturday, July 2, 2016

Aleksandra Domanović at Tanya Leighton

Aleksandra Domanovic at Tanya Leighton

At one end they're working on meat grown from stem cells floating in bioreactors filled with fetal bovine serum "fed" proteins and sugars, stimulated and toned for texture by electric current, and at the other end the cattle, with the rise of cheap genetic manipulation technologies like CRISPR, are themselves undergoing a smoothing of their rough points, genetically clipped for capitalistic ergonomics, streamlined; both technologic ends are moving towards bags of convulsing meat, orbs in sterile conditions possibly with mouths or just painted with nutrients like an inverse gyro-meat spinner continually growing and slathered with nutrients, a "cow" is just a scaffold for its muscle, a self-feeding machine that could even be genetically clipped of its ability to feel, to do anything but self-feed, what is a cow but a human technology of meat-production so happily installed with a self-growth AI.

These the terms Domanovic is working with, and sculptures that appear to contain their own streamlining, made for be packed for their transit, appendageless. The images art is working with today are as fantastical as ever, and the democratization of the image, when a young man can turn the artworld on its head simply by disseminating its images, as opposed to its gate keepers in ivory publications before, into the diaspora of them in feeds and phones, young art is seeming to once again turn to strong images.

See too:  Biennale vs Triennial