Sublime Eroding

In the works of the group exhibition Sublime Eroding, various levels of the contemporary sublime and the validity of the term were critically explored.

The paradox of the sublime—beautiful and terrible at the same time—in the context of the digitalisation of today played a major role.

On the one hand, the age of the Anthropocene, in which humanity itself can help shape the environment through technology, is destroying the formerly mysterious sublimity. On the other hand, new ‘sublime’ possibilities are opened up.

The theme is reflected in the visual identity by a uncanny atmosphere and a drastic blend of typefaces, thereby picking up on dystopian echoes found in the artistic works.

Paradoxical hierarchies also play an important role in the visual identity. The wall text is prominently displayed oversized on the ceiling of the exhibition space, while in other applications an oversized and purple human hand touches a “small” globe, scrolling its digital surface. 

In a world where everything appears to be reproducible, does the Sublime through this process of reproducibility, lose its enchantment or its inclination to the unknown, its disturbing, puzzling nature, like most of its specific qualities?

The Sublime's capacity to 'surpass' leads us to believe that it is able to sustain itself and survive due to its own specific trait.

Envision having to save the world from reproducibility, the Sublime could act as its imaginary lifeguard - this lifeguard, the one from our imaginary summer beaches – the embodiment of an idealised world, where sheer immenseness and danger are quietly controlled by this man in a T-shirt, slightly over-muscular and a bit melancholic, always waiting for a rare affront.

Nothing can prove that this world is working towards its own decimation, like an erosion, when it has sustained itself since its beginning through reproductions. This tendency to place ourselves within a collapsing world, rather than enjoying its head-spinning of a free fall, in which the T-Shirt of the lifeguard becomes a wing-suit, isn't giving the right colour to the Sublime, other than the perfume of a distinguished morbidity.

Between layered airstreams, the Sublime net; a trail of golden dust, why not until the great nanshole sucks us up: passing by rocks, touching the storm.

This erosion could be merely a lack of our own understanding, its inability to catch the Sublime, its refusal to catch it, while the Sublime is able to do just that.

Let us suppose that this is a layered process, depending on the combination of these different levels. This matter of perspective is open to everyone and therefore will not allow for a decisive or final answer in the artist's works. An actual form of the Sublime could emerge and even more, through what is left of it, from its own dust.

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