Dreams Are Made Of This
The exhibition serves as a powerful reminder that our perception of reality is shaped by technology, while simultaneously acknowledging that these very technologies can distract us from certain aspects of the world around us. By deconstructing the mechanisms that create this bias, we can transcend the dichotomy between the natural and the technological.
Beneath the deceptive allure of counterfeit opulence lies a concealed residue woven into these digital images, unveiling the enduring repercussions of extractive practices. The artwork unveils a digital sludge, a tangible consequence and byproduct of such practices. An evocative example is portrayed through a painting depicting Kadyrov's Prada monolith combat boots, symbolizing the sacrifices made by soldiers. The truth behind this imagery is only revealed upon closer inspection, as if zooming in provides access to a hidden reality. Similarly, the choice of air conditioning units sourced from a land cruiser, adorned with leather upholstery reminiscent of casinos, stands as a symbol of technological advancements cleverly utilized as tools for the extraction of wealth.
Through this new body of work, both artists communicate the potential falsehoods associated with progress. Aaron Roth employs the contextual motif of automobiles, promising luxury and comfort through the latest technologies. In stark contrast, Vikenti Komitski utilizes the image of discarded electronic devices from a defunct EU project, destined for destruction, to extract their precious metals. These objects, despite their attempts to convey sophistication, ultimately reveal their obsolescence while remaining undeniably real.