Three things that started my day at the computer:
We live in a time of hypernature. Technical knowledge and organic life are merging in new ways. Boundaries between reality and simulation are blurring. New dependencies and symbioses are appearing. Nature itself is becoming art. Over a period of nine weeks, the exhibition Hypernatural Forces will show artistic positions around the theme of hypernature in the Mixing Plant from June 2 till August 6, 2023.
Visitors enter the territory of a roaming robot pack. Listen to the beguiling song of invasive plants. Or wander through deserted landscapes of electronic waste and organic fiction.
Late style: a thing I’ve been thinking about of late:
What do we mean by “late films”? For Theodor Adorno, the maturity of late works of art did not resemble the kind one finds in fruit: “they are, for the most part, not round, but furrowed, even ravaged.” Granted, Adorno was writing about Beethoven, but this idea of contrarian lateness still survives in debates around the term’s use in cinema. Intransigent and confrontational, late films are both a summation of a filmmaker’s oeuvre and a stripping down of their style. They’re masterful distillations of decades of craft, sheared, in a senescent bid for simplicity, until whatever’s left is honed and impenetrable to the point of alienation.