Liste Art Fair Basel 2024 | Linda Lach, Billie Clarken

Liste Art Fair Basel
10 – 16 June 2024

 

wanda gallery | booth 42

 

Linda Lach, Billie Clarken

Every digital movement leaves a mark. The featured artists explore the future of digital representation of both individual and collective, the consequences of the accumulation and circulation of data and the resulting (post)visuality, repetition, multiplication, overlapping content, contextual morphing and noise. Discusses the speculative nature of the individual’s embedding in piles of data, those transmitted by users, experienced and created by ourselves.

The presentation involves showing two emerging women artists of the 90s generation who have experienced fully globalization and witness the recontextualization of access to data and visuality. The artists use databases, codes and images as an (open) source for their works coming out of an analysis of contemporary times.

 

Showtime Liste | Linda Lach

 

 

 

 

 

Linda Lach (b. 1995) – Polish interdisciplinary artist and astrophyscist based in Warsaw. Looking for new ways to visualize and interpret data, she uses the synthesis of visual language into the form of charts and graphs based on algorithms. Through constant observation, map- ping and deconstruction of reality, the artist, referring to pataphysics, combines the anxiety of the necessity of constant decision-making with the visual ordering of the potentiality of different scenarios, variants of the real. Lach is interested in repetition subjected to chance and human relations with the digital world and the unlimited possibility of assigning meanings and functions to data and objects leading to their obliteration. In data, she seeks answers to questions of memory and identity in a world of false evolution. Lach studied at the Academy of Fine Arts and the University of Warsaw (PL), Department of Physics with a specialization in Particle Physics (PL).

 

 

Billie Clarken (b. 1992) – American visual artist based in Berlin. Using images from mass culture, she points out the paradoxes of projected identity, in search of inauthenticity and the associated spectacle refers to the condition of society in late capitalism. She acquires and utilizes appropriated digital memory by creating a certain set of data, a network of representations liberated from the tyranny of representation. Clarken is not only referring to the status of images distanced or detached from their source, but more importantly to cultural constructs. The artist becomes a user of images, materializing and fetishizing the satirical representation of the immortal image by punctuating the meanings which the culture producing it has secondarily bestowed upon it. Clarken studied at the Universität der Künste (DE) and Virginia Commonwealth University, Photography and Film Department (USA).