Former Caradt researcher Martine Stig shows her new series Through a Glass Darkly from Friday 2 October untill 6 December 2020 at the exhibition Gimme Shelter at Fotomuseum Rotterdam.
Through a Glass Darkly is part of the long-term project Art for Machines
. Art for Machines is a research project in which Martine Stig focusses on the changes that the photographic image has undergone in the transition from analog to digital. Where at first sight only the image-carrier has changed – from celluloid to sensor – in fact the entire medium has been transformed. Function, application and meaning have changed completely, without losing the aura of authenticity. In fact, the photographic image has become bilingual; it is both image and data and can be read by man and machine.
Through a Glass, Darkly is a series of black and white portraits. Coloured stripes and dots -graphic language used in image recognition technology, grammar of machine vision- silk screened on the glass. Signal and noise, the quantifiable and the non-explicit, the photographic and its reduction, combined.
The research project Art for Machines started in the context of a research period at Caradt.
The work of Martine Stig is nominated for the Somfy Photography Award and part of the exhibition Gimme Shelter at Fotomuseum Rotterdam. This exhibition can be visited untill 6 December 2020. Check the site for more information and tickets.
‘Doing research connects my practice with teaching; it strengthens and brings them closer together.’
Martine Stig was a researcher within the Cultural and Creative Industries research group from 2016 until 2020. She is also a tutor at the Master Institute for Visual Cultures. She is co-founder of the practice and research-based art cooperative Radical Reversibility.
The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?
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