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Joey Holder‘s work takes place where nature and technology meet and determine each other, producing a profiling hybridation. Even though this is the authentic result of our age, it still provokes an inexplicable disquiet.
In the early ’90, when the post-modernism seemed to have won on all fronts, the philosopher and anthropologist Bruno Latour published an essay with a provocative title: We have never been Modern. According to the French author, modernity has never existed in the way which has been conceived. The idea it’s built on, which is the clear distinction between what pre-exists to men and what is produced by men, in other words between nature and culture, is merely ideological, and false, not coincident to reality.
The extraordinary progress of western civilisation of the past four centuries, has been possible thanks to the continuous reciprocal determination of nature and culture. The products of modernity weave a thick web of hybrids, which links inextricably the two poles, so that they cannot be distinguished.
Within this web it is very difficult to operate any distinction, because of the tensions that cross it and the extreme proximity of the elements that compose it. The sharp objecthood is dissolved in the flow that continuously decomposes and recomposes the reality.
Joey Holder conducts her aesthetic research within this constantly mutating reality, accepting, so to speak, the challenge of contemporaneity: to deal with the complexity and transience of reality, avoiding simple identification and comforting classification. Her research takes shape with its flowing, as a continuous process that constantly takes apart certainties and creates new relations, tracking transverse paths across space and the internet, science and art, aesthetics and politics.
Joey Holder doesn’t produce works of art, but processes of art. In this way, she denies any compromise with the system of art, a big part of which is still fetish, and tied to the objects of art. By doing that, any commodification attempt vanishes.
With its irrepressible force, Joey Holder’s work has finally broken apart the walls of the oppressive white cube.