Restart

Restart, created between 2008 and 2010 and exhibited for the first time in Germany in the Ludwig Museum, Koblenz, puts forward a series of decisively new approaches. Aspects of the clash of civilizations, the entanglement of our technologies in the forms of our desire, the role of cultural – and intercultural – memory in commerce with our contemporary situation intersect in a medial attentiveness that lays before us the ambivalence, the seduction, and the disquiet in the experience of the virtual 3-D space and the – transbiomorphic – animation in a completely new manner. Let’s be clear from the start: “RESTART” is frightfully beautiful, unsettling, and enticing all at once, and it thereby hits a nerve with our contemporary desires and fears without having to become involved in the subconscious innocence-deal of a crisis that has apparently affected us as unexpectedly as only a sudden extraterrestrial comet impact could. Restart, created between 2008 and 2010 and exhibited for the first time in Germany in the Ludwig Museum, Koblenz, puts forward a series of decisively new approaches. Aspects of the clash of civilizations, the entanglement of our technologies in the forms of our desire, the role of cultural – and intercultural – memory in commerce with our contemporary situation intersect in a medial attentiveness that lays before us the ambivalence, the seduction, and the disquiet in the experience of the virtual 3-D space and the – transbiomorphic – animation in a completely new manner. Let’s be clear from the start: “RESTART” is frightfully beautiful, unsettling, and enticing all at once, and it thereby hits a nerve with our contemporary desires and fears without having to become involved in the subconscious innocence-deal of a crisis that has apparently affected us as unexpectedly as only a sudden extraterrestrial comet impact could. Restart, created between 2008 and 2010 and exhibited for the first time in Germany in the Ludwig Museum, Koblenz, puts forward a series of decisively new approaches. Aspects of the clash of civilizations, the entanglement of our technologies in the forms of our desire, the role of cultural – and intercultural – memory in commerce with our contemporary situation intersect in a medial attentiveness that lays before us the ambivalence, the seduction, and the disquiet in the experience of the virtual 3-D space and the – transbiomorphic – animation in a completely new manner. Let’s be clear from the start: “RESTART” is frightfully beautiful, unsettling, and enticing all at once, and it thereby hits a nerve with our contemporary desires and fears without having to become involved in the subconscious innocence-deal of a crisis that has apparently affected us as unexpectedly as only a sudden extraterrestrial comet impact could. Restart, created between 2008 and 2010 and exhibited for the first time in Germany in the Ludwig Museum, Koblenz, puts forward a series of decisively new approaches. Aspects of the clash of civilizations, the entanglement of our technologies in the forms of our desire, the role of cultural – and intercultural – memory in commerce with our contemporary situation intersect in a medial attentiveness that lays before us the ambivalence, the seduction, and the disquiet in the experience of the virtual 3-D space and the – transbiomorphic – animation in a completely new manner. Let’s be clear from the start: “RESTART” is frightfully beautiful, unsettling, and enticing all at once, and it thereby hits a nerve with our contemporary desires and fears without having to become involved in the subconscious innocence-deal of a crisis that has apparently affected us as unexpectedly as only a sudden extraterrestrial comet impact could.