Love, Death & Blue

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The installation expands The RGB Liquid Crystals cycle, which explores the possibilities of displaying colors. The initial consideration that digital color is never accurate in its depiction, and that it exists in thousands of incarnations, is shifted by this exhibition towards analog competition. “Traditional” graphics coupled with color schemes to calibrate printed output, like the seemingly sophisticated PC digital color system, strive to exceed the precision of its media.

 

We are searching for nuances of the colour blue that refers to our post-internet situation and the interchangeability of virtual and real worlds, besides it is the colour of the sky, water and infinity, and colour of right wing or repressive forces of state. The exhibition title paraphrases the title of an episode from the popular Netflix show Zima Blue. In this episode, the artist Zima looks for the meaning of art and life, abandons realistic depictions and finds the abstraction, finds blue and transforms from a robot into a human and backwards. The exhibition also finds blue as a default colour of the digital age and works with it from scale of analogue print, an artifact to digital imaging, blue sound, blue light and concept of a robot and its rights. Individual imaginary chapters of the exhibition move from topic of imaging digital color, that is always dependent on the imaging medium and is never exact, to topic of sound as a carrier of colour or sound without content. Next layer constitutes contemplation on the blue digital light emitted from screens. This highly-energy visible light (HEV) is also an essential part of our lives, while at the same time we don´t know, in what ways our organism absorbs this light and to what extent it can be harmful or beneficial. Blue exhibition platform is concluded with a text, contemplating on questions, to what extent our behaviour is programmed and whether we aren’t robots.

 

Jana Bernartová’s project is based on her long-term interest in the phenomenon of colour, her interest in how colour appears to us in various technological and cultural contexts, and how it is influenced by the physiological limits of our perception. This exhibition is, in a sense, the culmination of the artist’s interest, as she expands her artistic research with curatorial activity. Jana Bernartová asked artists and theorists to create a special “something on blue” for the exhibition. Often she let them fluctuate between theory and artistic expression, or dissolved the boundaries of these areas. Thus, the text is not only intended for paper, for reading, but can also be made into a movie or a performance. Sound can be perceived analogously as colour. The exhibition is a collective discussion of the theme of blue.