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Self portrait - when everything was beautiful (spring), 2017 - Galloire

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Addie Wagenknecht

Addie Wagenknecht is a renowned American conceptual artist who works in the fields of emerging media, open-source culture, pop culture, and hacker culture, exploring the tension between human expression and technology. Using Melvin Kranzberg's first law of technology as a reference, which states: "Technology is neither good nor bad; nor is it neutral," Wagenknecht toys with the idea that technology can be all those things. In her work, which combines digital technology with painting, sculpture, photography, and installation, she deals with the concepts of privacy, freedom, surveillance, consumption, and feminism in our digitally dominant society.

Self portrait – when everything was beautiful (spring), 2017

Details

  • Description: Alone Together: To create this series of mechanically assisted paintings. Wagenknecht modified a Roomba to paint on canvas as it enacts custom algorithms. As the Roomba maneuvers around the canvas, Wagenknecht reclines. The Roomba relentlessly attempts to navigate around her body because it is designed to continue on a trajectory until the entire area has been mapped by its algorithm. The result is a void in the shape of a female form surrounded by the blue strokes of the robot. The paintings reference Yves Klein’s Anthropométries in which he directs nude female models, who he referred to as “living paintbrushes,” to press their pigment-covered bodies against canvases in front of an audience. In contrast, Wagenknecht abandons the spectacle of the objectified female nude in favor of drawing attention to what is absent. There is no performance or process documentation on display and the female form is only acknowledged in the negative space of the paintings.
  • Dimensions: 228.6 × 203.2 cm
  • Edition Type: Unique - IKB dry pigment and resin on canvas

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