HOMO DEUS

 

Marta Djourina, Pia vom Ende and Dennis Rudolph

Curated by: Boris Kostadinov

 

April 12 – May 12, 2024

 

Artist talk: Friday, April 12 at 6:00 pm.

Opening: Friday, April 12 at 7:00 pm.

Goethe-Institut Bulgaria, Budapeshta Str. 1, 1000 Sofia

​

"Our newfound abilities may soon force us to redefine what it means to be human" 

(Harari, "Homo Deus"). 

 

The exhibition HOMO DEUS is a collaborative project of Goethe-Institut Sofia and Scope BLN, Berlin.

The project combines in a symbiosis the works of three remarkable artists: Marta Djourina, Pia vom Ende and Dennis Rudolph.

 

The conceptual basis of HOMO DEUS is provoked by the topics of the technological triumph and ethical dilemmas in Yuval Noah Harari's book "Homo Deus" - a thought-provoking exploration of the future of humanity, delving into the potential evolution of Homo Sapiens into Homo Deus – god-like beings capable of manipulating biology and transcending mortality. The convergence of artificial intelligence, biotechnology and data analytics could empower individuals to transcend the limitations of their biology, effectively blurring the lines between human and divine.

What is nature of progress and the role of humanity in shaping its destiny?

 

The exhibition HOMO DEUS asks profound questions about the nature of existence and the search for meaning in a world governed by algorithms and artificial intelligence.

It debates the existential imperative to navigate the contemporary ethics of technological evolution, within the context of inherent notions of value, dignity and morality - a reminder of the ethical categories and existential dilemmas that accompany the pursuit of god-like powers.

 

The "artificial gods" – “Europa” and “Hermes” by Dennis Rudolph become a powerful metaphor for the complex of interrelationships: history / art / mythology / religion / society / technology. His painting unfolds through a special app that visitors can download and use to observe what will happen around them. Abstract paintings become something completely non-abstract when it is seen through the display of the smartphones to get into their digital essence. The painting is no longer isolated and simply hung on the wall, but merges with a large-scale virtual world. In turn, virtual reality is no longer a free-floating illusion, but seeks its foundations in the materiality of oil painting. The action of perception is based on the democratic principle of the voluntary involvement of the viewers. Through technology, they can observe and actively interact with the dynamic environment of the fantastic augmented reality, discovering a new world of digital gods - inhabiting utopian or apocalyptic universes.

 

The touch of the human with the technological (literally and figuratively) characterizes the work by Marta Djourina. “Touch Stream” is a purpose-built application that is inspired by smartphone technology as an underutilized aesthetic space. 

The work is based on the interactive potential for visualization generated by human touch with the screen. 

In six "choreographies," viewers are "led" by their touches, which create the images. These gestures take on meanings beyond the purely functional context of our daily use of smartphones, tablets or other touchscreen devices. The viewer's human, physical touch with the technology creates their "portraits" - as abstract as they are individual. The sensory abilities of our fingers serve us for orientation - in both the analog and digital worlds. Therefore, objects are also presented - where the digital prototype finds its physical incarnation.

 

“I am a Survivor” by Pia vom Ende takes up the internet meme phenomenon Pepe by showing a human-like frog in a brightly lit basement room in various emotional states. The work addresses loneliness, aggression, hate and joy and serves as a critical reflection on the virality of internet phenomena. It explores the fragile boundaries between the online and offline worlds. 

Another work – “Become God” is an interactive VR experience where the viewer must face challenges and make decisions to attain godhood, immortality, and omnipotence. The AR component captures the pivotal moment when you achieve godhood, and everyone applauds you. 

Drawings are also shown - part of the series “fakemehard”, which emerged from the preoccupation with the era of post-truth. The drawings combine symbols of well-known conspiracy ideological groups, elements from pop culture, literature and cultural-historical references.