Open Source: Art at the Eclipse of Capitalism is the most ambitious project ARTUNER has been involved with so far. It has been a collaborative effort and it would not have been possible without the amazing work of my co-curators Lisa Schiff and Leslie Fritz and the fantastic team at Galerie Max Hetzler – starting of course with Max and Samia. Open Source has been an important and constant presence in the last ten months of my life and it’s fantastic to see what we envisioned finally being realised. I’m proud that ARTUNER will be an integral component of the Open Source exhibition.
We believe that we were able to extend Jeremy Rifkin’s theories into the world of contemporary art. His writing was carefully considered when it came to choosing the artists, and artworks, that were to be included in the exhibition. In The Zero Marginal Cost Society, Rifkin discusses the transformative impact that the Internet has had in augmenting our streams of communication. Open Source is emblematic of a shifting paradigm in the display of contemporary art. Exhibitions now have the capacity to be digitally integrated, allowing for new distributive and collaborative channels; enhancing the experience of collecting which is part of ARTUNER’s core mission. I remain convinced that the Internet can be used in tandem with physical gallery spaces to create a diverse viewing experience.
The works in Open Source chart a cross-generational lineage of innovative digital practice in art making: from the early computer paintings of Frank Stella and Albert Oehlen to the 3D-printed anatomy of Josh Kline and the virtual reality simulations of Ian Cheng. The online component of the exhibition attests to the power of today’s sharing economy. With file-sharing tools and open source coding readily useable and transmittable artists now have the capacity to tap into the Collaborative Commons. However, to say that Open Source only sheds light on digital techniques of art-making would be misleading. Ecological and environmental concerns, social media, sampling and virtual simulations are but a few of the technology-based issues that are emphasised.
Working with over thirty artists has been a fantastic opportunity. We chose them for the strong impact they have had in the last couple of decades and the poignant ways they have reflected on the socio-economic components of our lives. The incredible varieties of styles, backgrounds and influences that are condensed into Open Source offer – via the eyes of artists – an understanding of what has been happening in recent years, the reality we are living in now, and a prediction of future trends.
Eugenio Re Rebaudengo