The exhibition Too Much World, Too Little Reality addresses the circulation of digital images and technologies as presented in the work of artists Minji Sohn, and Ben Quinn. This two-person exhibition points to the relationship between art, technology, and daily life as described by artist Hito Steyerl in a text titled Too Much World: Is the Internet Dead?
Steyerl writes, “[I]f images start pouring across screens and invading subject and object matter, the major, and quite overlooked consequence is that reality now widely consists of images: or rather, of things, constellations, and processes formerly evident as images.”
The exhibition Too Much World, Too Little Reality exists in the hybridized context of a gallery within a home, to intimately examine the universal shift in reality construction Steyerl captures. How does this new condition of reality penetrate even our most private worlds?
The exhibition includes painting, sculpture, installation, and video of a performance by Minji Sohn. It was curated by Katy Crocker and Ralph Vázquez-Concepción, and will be on view until August 20, 2015. For any questions or to schedule a visit write to us by clicking here.
Minji Sohn (b. 1990, Japan) produces work that oscillates between obsession and play. A performance and installation artist, her approach is one that explores the way reason and emotions —purpose and havoc— exist both parallel and commingled in the human mind, sometimes to deleterious effect. Deploying technology and her body her work apply formulaic thought to impulses or actions that challenge logic or preclude pragmatism. Sohn then capitalizes on the aesthetic disruption that her interventions create. For Too Much World, Too Little Reality produced two artworks, an installation and a performance piece, titled no bitch and Peace, Cut, Throw respectively.
Ben Quinn (b. 1991, USA) works incorporating images sourced from the Internet, with a pictorial style that invokes expressionism, as well as geometric and non-geometric abstraction, as filtered through a meme. His maximal style dialogues with previous moments in the heroic (and absurd) history of modern and postmodern painting. Quinn imbricates diverse painting techniques with digitally printed imagery in a savage mode that appears to both praise and object to the status of painting in contemporary art history.
Here is the group of paintings by Ben Quinn included in Too Much World, Too Little Reality:
All photos by Cranium Corporation, 2015.