MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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J E R R Y G A L L E º 1969, A N T W E R P A Kloosterstraat 5 9 860 Moortsele M +32 (0)496 894 799 E jerry.galle@ hogent.be W fuzzylogic.be Jerry Galle’s work is concerned with the tricky relationship between contemporary culture and digital technology. Using recent software and digital images in an unconventional way, he addresses the role of technology in everyday life and in the creation of art. His work explores how technological imagery brings about new meanings. For Galle, technological images resemble life: they can be geometric or symbolic, playful or dead serious. That their meaning is unstable and wavering triggers a feeling of doubt about what we are seeing, uncertain whether it is an expression of a machine or of a human being and whether the image is artificial or a representation of something that really happened. This doubt has a major role in much of Galle’s work - cf. the binary system of the computer, i.e. the ‘1’ and ‘0’, the ‘yes’ and ‘no’ of our present-day technology. In a society in which hesitation is considered an unproductive quality, technology and its compulsive efficiency have a pervasive effect on social behavior. But when doubt is applied to computer systems, strange things happen: the resulting images become less ‘perfect’ and gain in poetry, playfulness, and meaning. While in his videos, drawings and prints the hesitation can be seen in the image itself, in his generative works the hesitation is directly injected into the operating system of the computer. Self-written software causes the machine to doubt. What we see is the hidden life of images in a machine, for the processes that usually happen at the inside of the computer are brought to the surface of the screen. 5 1 Double Yes (2009) Mixed media installation
P I E T E R G E E N E N º 1979, H A SSELT A Stalingradlaan 56, 1000 Brussels M +32 (0)476 970 676 E pietergeenen@ silenceisgolden.be W silenceisgolden.be The work of Pieter Geenen addresses questions about the landscape, geo-political and geo-social realities. He is interested in the suggestive and evocative qualities of the landscape, and how man relates to the landscape. Within this context he has made works about the division of Cyprus (nostalgia, 2009), the border region of Congo-Rwanda, (scènes troublées, 2009), the refugee island of Lampedusa, (nocturne (lampedusa – fort europa), 2006), the Three Gorges Dam in China, (atlantis, 2008). Working with video, audio and photography, Geenen explores the boundaries of what is visible and audible. In resistance to a demystification of things and as an anti-image of traditional media Geenen explores the subtleness of things, focusing on what is hidden and slow. The spectator needs to complete the blurred gestalt, decode the spatial ambiguities, assume presences and see through all omissions and shortenings. The work of Pieter Geenen has been shown at a.o. the International Film Festival Rotterdam, New York Film Festival, Hong Kong International Film Festival, EMAF (Osnabrück), Images Festival (Toronto), Argos Centre for Art & Media (Brussels), Les Rencontres Internationales Paris/Berlin/Madrid, and at the Liège Biennial (BE) and the Venice Biennial (IT). nostalgia (2009) Video, color, stereo, 13’ Courtesy of Annie Ghentils Gallery 5 2
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MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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