Where photography meets science, philosophy, sociology, art and contemporary architecture.
16 October 2016 — 06 January 2017
ARMIN LINKE. The Appearance of That Which Cannot be Seen
16 October 2016 - 06 January 2017
curated by Ilaria Bonacossa and Philipp Ziegler
On the occasion of the 12th edition of the Contemporary Day dedicated to Italian art, the PAC presents The Appearance of That Which Cannot be Seen, an exhibition as a process of activating the archive of Armin Linke (*1966 in Milan) through dialogue. Armin Linke has set the initial frame by sharing photographs with thinkers from various fields and inviting them to react. By reading these images through their theories and concepts, each produces a selection illustrating their vision of contemporary society. These selections enter the exhibition organized as a changing topology of dialogues, transforming themselves in relation to PAC’s modernist architecture.
The Appearance of That Which Cannot be Seen will present more than 120 photographic images with texts and audio, selected between more than 20.000 photographs that compose Armin Linke’s archive. For more than twenty years Armin Linke has been travelling extensively in the attempt of photographing the effects of the comprehensive transformation of infrastructures, and the interlinking of post-industrial society through digital information and communications technologies. His works have recorded the profound economic, environmental, and technological changes that shape our device-based world.
For the four installations of the project presented in 2016 in ZKM Karlsruhe, Arieila Azoulay (*1962 in Tel Aviv), Bruno Latour (*1947 in Beaune), Peter Weibel (*1944 in Odessa), Mark Wigley (*1956 in Palmerston North), Jan Zalasiewicz (*1954 in Manchester) were invited to engage with Armin Linke’s photographic archive. The exhibition at PAC in Milan will add two additional contributions by members of the scientific world, together with a new installation of all the previous interventions. The project and its installation questions the readability of photographic archives and the subjective treatment of global themes, considering the individual nature of research methods and interests.