Something strange has happened to our way of thinking – and as a result, even stranger things are happening to the world. We have come to believe that everything is computable and can be resolved by the application of new technologies. But these technologies are not neutral facilitators: they embody our politics and biases, they extend beyond the boundaries of nations and legal jurisdictions and increasingly exceed the understanding of even their creators. As a result, we understand less and less about the world as these powerful technologies assume more control over our everyday lives.
Across the sciences and society, in politics and education, in warfare and commerce, new technologies are not merely augmenting our abilities, they are actively shaping and directing them, for better and for worse. If we do not understand how complex technologies function then their potential is more easily captured by selfish elites and corporations. The results of this can be seen all around us. There is a causal relationship between the complex opacity of the systems we encounter every day and global issues of inequality, violence, populism and fundamentalism.
Instead of a utopian future in which technological advancement casts a dazzling, emancipatory light on the world, we seem to be entering a new dark age characterised by ever more bizarre and unforeseen events. The Enlightenment ideal of distributing more information ever more widely has not led us to greater understanding and growing peace, but instead seems to be fostering social divisions, distrust, conspiracy theories and post-factual politics. To understand what is happening, it’s necessary to understand how our technologies have come to be, and how we have come to place so much faith in them.
Manuel Fois works, through the medium of paintig, presents images obtained through techniques of audio conversion and digital tools for the analysis of recorded audio material. Outlining a visual communication based on glitch sequences, in an actuality in which the use of image, symbol and icons becomes more and more insistent, the artist makes a forced reduction of the visual content, favoring an analytical-conceptual aspect that acts as a guiding thread to his work.
Since 2016, the artist has done thorough research on the language of glitch, recording audio material in different places, both inside and outside Then processing the audio tracks obtained, with the use of graphics processing programs, to formulate an image that, as a last step, is shown on canvas with captivating technical attention.
In this era dominated by digital media and the use of conventional and artistic content filtering through the web, before reaching our eyes, Manuel Fois spontaneously decides to compare his manual techniques to the instructions imposed by the image provided by a machine. The result is an aseptic, graphic and clean painting that paradoxically conceals unexpected shapes and geometries that are able to stimulate the viewer and lead them to hear the sound recorded in the place where the artist has worked.
I didn’t realise it was coming so fast.
I woke up in a place I didn’t know, suddenly my legs got heavier and all the things and images that I had known up to that point were moving away from me by completely losing their sense. Streets, buildings, houses and people were exactly as they always were, but they moved more slowly, as if they were saturated voices of an echo. Every step was a loss of energy. And it corresponded to a new stage. Each stage in turn is a new consequential loss of what I have known so far.
Absorption, reflection and transmission are phenomena that occur when light interacts with matter: when the radiant energy affects a body, a part is absorbed, a part is reflected, a part is transmitted and by the law of conservation of energy, the sum of the quantities of energy, respectively absorbed, reflected and transmitted is equal to the quantity of incident energy.
Spazio ORR is proud to present bring to the ground the fourth solo show by Manuel Fois. The large mirror surface on the ground ideally divides the space into two sections; two pairs of amplifiers spread, giving back, inside the place, the noise of the room itself. Images and sounds produced by the installation are the mirror image of a real datum, which is returned to the environment, in an increased way. Noises and images thus become an artificial synthesis, recreated and poured into the environment, as if to propose a comparison between a real vision and its copy.
text for: Bring to the ground, solo show at Spazio ORR, Brescia, Italy, 2019