NEW DAWN — Tools to Touch in Times is initiated, created and directed by Tobias Faisst in November 2019, unites a multi-disciplinary team of avant-garde thinkers from diverse artistic and creative fields.
Animation, computer-generated imagery (CGI)-enhanced photography, design, performance, video, sound design, and custom-made gloves are the result of collective thinking work, forming their own body of aesthetics that will meet and dialogue with other artistic practices and discourses in a multi-disciplinary exhibition. The collaborative project explores the visual and creative potential of organic and speculative futures around one central object: the glove.
The project’s cross-disciplinary character engages and connects on different levels in the conception, production, and creation of content products, envisioning transdisciplinary scenarios where art, design, and technology meet to enable new object-related experiences to be vividly consumed.
It is the year 2070 and humankind has achieved new concepts of aesthetics, science, and technology that allow the understanding and imitation of nature, while enabling new forms of preservation and conception processes. Artificial intelligence has granted humanity the faculty to design unique ecosystems, creating an organic and synthetic future where art and technology no longer follow traditional canons in the conception of a visual culture that vividly reinterprets life and its experience. New tools enable new creations: It is in the hand of the new enhanced humankind.
The idea of fashioning the body possesses a sense of glamour that by far resides not in the mundane and limited conceptions of accessories but rather in the performative use of objects and symbols. Gloves function as a third skin and spark our imagination for ways to expand, fragment, and design the body of desire. Their use, whether in rituals, fashion, or everyday life, casts a spell that transcends sexuality and fetishism, depositing desire as part of a belief system of actant objects. The lure created by the friction of an alien skin has the power to enhance performativity , imagination, and haptic effects, gliding away from limited conceptions of technological prosthetics, commodification, and exchange value.
The space’s architecture was created by Adrian Bolog, with exhibition design and curatorial narrative by Maximilian Mauracher, and implies going beyond the body as a physical organism. The space represents diverse modes of inquiring the dialectic relationship between the digital/virtual and physical/material realms to position itself as part of a multiple curatorial apparatus where its speculative character and design nurtures the ideal of an organic future.