Sračok & Pöhlmann & studio1.1 London present ‘Love Lost, Alternative Truths’

Love Lost, Alternative Truths

5 – 21 October 2018


Two artists from Croatia and one from no-man’s-land.

Sračok & Pöhlmann is occupying (being hosted by) studio1.1, London for the sixth time in as many years, confirming a relationship which might be more than platonic. Love Lost, Alternative Truths brings together three artists bound by … amongst other things a restructured geography and a natural scepticism.

Sracok & Pöhlmann, founded in Susak in 2006 by Herman Sracok and Rupert Pöhlmann, has long been a vital force in the contemporary art scene. It supports the work of leading contemporary artists as well as putting forward new and exciting artists, presents a broad and critically acclaimed program of exhibitions to a large public through international exhibition spaces in London, Susak and New York.

Their shows often explore contemporary cultural values, and eschew the bombastic tactics of other galleries for a more subtle approach which manages to be both glamorous and intelligent.

Tomislav Brajnovic was born in 1965 in Zagreb. He completed his first year of study in fine arts in Den Haag, but he graduated in Zagreb, from the Academy of Fine Arts, in 1999, under professor Đuro Seder. In 2003, he earned his MA in fine arts at Central St Martins College of Art & Design in London. Brajnović teaches New Media, City Mapping and Recontextualisation at the Rijeka Academy of Applied Arts. In time of end of history ethical crisis it is unthinkable to engage in anything else but ethics. In this endeavour, I move from art towards life. I abandon forms (illusions) and emphasise the contents instead; I live the answers to the questions I pose as an artist. This emphasis has a form, but it becomes less visible; its effect disappear, there are no embellishments; the message stands out, like a naked medium. In this ‘digital era’ my main concern is the redefinition of art with the idea that digital media’s sterility has snuffed out content and that’s what is seen as the ‘death of art’, the disappearance of the unclear, the magic of the media and touch of the hand. The future of art does not lie in a new forms and ambiguous questions, but in a true content, it is time for clear answers. Such a dramatic conclusion derives from the awareness that the technological man is striving towards ‘general knowledge’ and ‘direct link’ to the digital. I see it as a critical moment of losing our humanity, space of free will and resistance. The only artistic discourse, as I see it, is the race between man (artist) and artificial intelligence to absolute knowledge.

Anamarija Ami Podrebaracis an extension of her alter ego AI named FOX. She was born in 1990. In Karlovac, Croatia and tried to fit her own conception of world inside given identity and bizarre existence. She graduated from Academy of Applied Arts in Rijeka and started her postgraduate degree at Central St. Martins in 2017. where she studies today. Centre focus of her work is to question our position in interpretation of art and expand our understanding and our own perceptions of the world by rejecting traditional ideas of the human form. Her work position technology as a centre of knowing rather then putting technology in position of other”.

Herzog Dellafiorecame to prominence on the art scene in the early 1990s. Although he had a fair amount of success some solo shows, several group shows he was disillusioned with the art world, feeling that the art (including his own) lacked meaning or, if there was some kind of meaning, it was superficial and just an excuse to make and sell art objects. He considered that art had degraded from its height, during the peak years of conceptual art in the late 1960s / early 1970s with Lucy Lippards dematerialisation of the art object to the back-door return of Greenbergian formalist ideals.