Lossy Life
Linda Lach,
Gaspar Willmann
Exo Exo hosted by wanda gallery
as part of
Constellation 2024
wanda gallery, Bracka 20B/3, 00-028 Warsaw
April 6 – May 11, 2024
Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Gaspar Willmann,
Brothers from different mothers I, 2024
Inkjet print and oil on canvas
123 x 82 cm
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Gaspar Willmann,
Brothers from different mothers II, 2024
Inkjet print and oil on canvas
123 x 82 cm
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Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Gaspar Willmann,
JUMAP (casse croute), 2023
Inkjet print and oil on canvas
41 x 30 cm
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Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Gaspar Willmann,
JUMAP (toutes les dents tombent un jour sur un os), 2023
Inkjet print and oil on canvas
25,5 x 41 cm
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Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Lossy Life, 2024
Exo Exo at Wanda, Warsaw
Gaspar Willmann,
JUMAP (in a dream - nobody knows you’re a dog), 2024
Inkjet print and oil on canvas
42 x 28 cm
Inquire
I remember the first time I heard about the Cargo Cult. It is the story of a colonisation and attribution of
abundance and sophistication to a divine power. I see technology here as the arrival of a cargo floating on the
seas. All of a sudden it makes the world vaster, it accelerates the means, makes us meet ones whose existence
we didn’t even suspect, it shortens the distances, multiplies the images. It is the arrival of such a goddess, an allpowerful
being.
What does it means for an artist to co-inhabit the digital space ?
Technology helps us share quicklier and further what we think and above all, what we feel. Heart, smile, tears,
strength, forgiveness, greeting, courage. Technology multiplied our means of communication, our sources and
our languages. In her sculptures, Linda Lach reassembles unusual, broken and obsolete technological material.
She therefore moves around the existence mode of technology and foils its authority and domination. She makes
technology exist rather under a memorial, archaeological and archival form. ‘It allows me to approach technology
in a deeply humanistic way, allowing for care, concern and communal experience. I see this as being in direct
opposition to the current colonial perception of technology as a one-way, constantly progressing tool of
oppression and power.’ While moving the symbolic fences of technology, she also pushes the boundaries of
efficiency and rentability, accepting tiredness’s poetry.
Making the device more productive not in a capitalistic sense, but a narrative one.
Lossy is an adjective that’s only used in the informatic vocabulary. It designates the precise phenomena of data
loss associated to software. ‘Lossy life’ is the contrary of the all-powerful. It is about what we lose, what we take
away, what we renounces. This choice is political. It’s a commentary on the fragility.
The question of vulnerability is also in Gaspar Willmann’s fiction. His work on the image is inscribed in a wish of
never fixating it. ‘My desire to build or fix an image often start by digest flux. Most of the time, the information
is just the title of an article I will not read. It’s a just an empty shell of truth keeping things open. I saw these news
telling that people started to recognize themselves, friends or family on tobacco warning labels. So I started to
work on this baby with a cigarette who reminds me a lot of one of my favourite painting called Melancholy, by
Francesco Hayez.’ The artist uses AI to complete the image and enlarge the frame of this story that already
sounds like a tale. The image is printed, then painted and painted again, researching the good moment of the
composition, the perfect equation. It is a romantic quest in Gaspar’s work. It testifies of a fusional relation with
the image and a desire of slowing down a world of mass production.
Creating complicity and friendship link with shared images.
Linda Lach and Gaspar Willmann use digital technology, data and AI to create spaces that generate fictions. These
fictions delve into our emotions, habits, perspectives and what the use of data can contain of human, absurd,
dangerous, poetic and also profoundly political. A fallible technology that creates an out of field and out of
control space, that writes funny stories and finally submit to the affects in order to leave them some space is
what interest the artists here.
What technology holds of transparent, fluid, variable, and blurry.
It reminds me of the Cyborg Manifesto by Donna Haraway and the myth of the hybrid cyborg as a rejection of
the rigidity of the borders separating the human from the machine. We come back to the cult stories. Her book
is a critique of occidental binary categorisations. She concludes as such : ‘I prefer to be a cyborg than a goddess’.
Against a unique code that would perfectly translate any signification. For the reign of narration, romantism, and
science-fiction.
– Elisa Rigoulet, April 2024
The inaugural edition of the gallery share event CONSTELLATION will take place on April 6–7, 2024, featuring leading Warsaw art galleries and invited galleries from abroad. BWA Warszawa, Foksal Gallery Foundation, Monopol, Gunia Nowik, Piktogram, Dawid Radziszewski, Raster, Stereo, Turnus, and wanda will present exhibitions conceived in cooperation with partners from Berlin, Brussels, Bucharest, London, Paris, Tbilisi, and Vienna. Carefully curated presentations aim to provide a comprehensive view of the local art scene within an international context.
The essence of CONSTELLATION is cooperation with guests from abroad and their contribution to the shape of the event, and the experience gained and alliances established on this occasion will allow us to further set horizons in abroad international perspective.
