The influence of digital practices and modes of perception on both visual culture and thought has not been mapped yet by a long shot — Lipchik is moving along the border of something that is genuinely new.
Literature also plays a central role in the Visions of Song. Lipchik’s poems are dominated by a cool, elegiac, at times apocalyptic tone, which creates a direct link to American Classics: Walt Whitman, Allen Ginsberg, Jack Kerouac, F. Scott Fitzgerald, and James Baldwin. One of the texts presented in the exhibition only becomes apparent upon slipping on a pair of VR goggles and entering the virtual layer of this exhibition, programmed by Lipchik. After sliding on the goggles, the visitor finds themself in a virtual room, which itself is located inside the gallery space and whose paintings, mounted onto physical walls, suddenly become semi-digital. This disposition in and of itself speaks volumes about how porous the borders between the worlds of the virtual and the analog have become today.
Brandon Lipchik’s most recent works are stricter, less pop, and even somber at times. His first solo exhibition at the gallery is set to take place in the most uncertain and confrontational year in recent American history. Black Lives Matter and the protests against Donald Trump have become a wake-up call for many Americans who aren’t usually politically active, the artist states. There is no doubt that we are finding ourselves in a time of crisis. As a young American artist, what constitutes a positive point of reference when thinking about America? Lipchik turns to American literature as well as in the infinite possibilities offered by today’s ever-expanding image production machinery, which the artist uncovers and masters as a means for his own production of images.
Text by Boris Pofalla
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