Exhibition

Flow My Tears, Christopher Tracey

6 Mar 2020 – 30 May 2020

Regular hours

Friday
16:00 – 21:00
Saturday
16:00 – 21:00
Thursday
16:00 – 21:00

Acud Galerie

Berlin
Berlin, Germany

Address

Travel Information

  • U8 Rosenthaler Platz

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Flow My Tears, Christopher Tracey is a group exhibition curated by Schrott Kipple and Paul DD Smith with works by Elisa Barrera, Tom Hardwick-Allan, Stephen Kent, Nico Lillo, Lotte Maiwald, Gili Tal, Torben Wessel, Lea von Wintzingerode, Alison Yip.

About

“The world will be Tracey, traced with an eternal visage. The lipstick traces of a kiss planted on every mirror, fitting every mouth, every reflection.”

Schrott Kipple, The Exegesis of Christopher Tracey

For the exhibition Flow My Tears, Christopher Tracey, the life and work of the late American author Philip K. Dick becomes a prism through which nine artistic positions are displayed.

The dissociative and unsettled subjectivities that Dick explored in his writing have become oddly commonplace in the current era of pervasive digital surveillance and the splitting and multiplication of the self across ever expanding networks. The political leaders and campaign managers of the present day have become increasingly adept at warping the realities of their electorate. Fake news, deepfakes and targeted feeds of information within socially atomised communities seem to evoke the malevolent influence of the demiurges that populate Dick's fiction. Through the mining of data and observation of digital activity, algorithms create fictional versions of ourselves to sell products and services. The messages sent to these digital profiles can seem at times absurdly incorrect or chillingly appropriate. The artists and audience of an exhibition are themselves a community vulnerable to the intentions and inventions of the curators. The meaning and judgement produced from and about an artwork is contingent on its context and framing and therefore always a contestable proposition. A goal of this exhibition is an exploration of the pathos, absurdity and dangers of interpretation

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