ParameterChant: Brenna Murphy and Kareem Lotfy.

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Assuming that art has always been contemporary, that of the Future Gallery, perhaps, wants to be so  a little bit ‘more’. On the other hand even if we don’t want to praise the work of this young Berlin gallery, it should be enough to recognize to the Future Gallery the merit of representing a contemporary artistic feeling and to ensure that this is expressed without too many filters and superstructures.
The exhibition ParameterChant, hosted until November 28 at the Future Gallery in Berlin, is a two artists show with Brenna Murphy and Kareem Lotfy. Two researches thermometer and mirror of the society that surrounds them, that society fueled by growing and voracious consumption of images, codes and data.

Brenna Murphy (Edmonds, 1986) is a young American artist who currently lives in Portland and who is fortunately also known in Italy thanks to the attentions of Gloria Maria Gallery. Her artistic work is developed through the study and use of softwares and complex programs that allow processing of geometry, symbols and patterns that turn into labyrinthine paths that, far from being delimited, play with the attention of the observer. Her productions, which could hardly be thought of outside a screen (www.bmruernpnhay.com), are translated rather well into the two exhibited installations. Brenna Murphy presents two big three-dimensional carpets composed by mirrors, labyrinth and patterns that generate a chaos of symbols and structured architectures. However, her work does not end with new media aesthetics, but seeks to reap the benefits through a deeper exploration of it. Brenna Murphy, through her “yantra”, focuses on meditation, asceticism and inner research.

The approach of Kareem Lotfy (Cairo, 1985) is different. Very far from the infinite directions perceivable in the work of Murphy. He, on the contrary, speaks very little and concisely as you can easily guess from his site: a still image that changes daily but that presents either a single frame or a video at the time. (www.kareemlotfy.info). For the ParameterChant exhibition he presents some vinyls, three prints and the video 7iji Waterfalls. On this occasion his reflection focuses on the  appropriation of Arabic writing by the advertising companies’ strategies, that very often choose the Arabic simply for its apparent subversive meaning. Maybe not his best results, but Kareem Lotfy remains an interesting artist on whom we should keep an eye.

Summing up, we could say that we watched an usual new media exhibition, one of the many starting to convey, luckily not just an elite, but a widespread artistic feeling which is given, whether we like it or not, the space it deserves. Perhaps what most often leads us away from New Media society, is not wanting to admit that we belong to it, we are addicted to it. We become nervous if the website of an artist is confusing, difficult to navigate and not at all clear; we lose our temper when even understanding the texts is complex so we close the site and shout loud praises to the clarity and schematic nature of our white cube. After this we go back to our facebook, scrolling down our newsfeed in a state of cerebral catatonia, reviewing images, gifs and muted videos.

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ParameterChant, Kareem Lotfy, Brenna Murphy, Installation View, Future Gallery 2015

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ParameterChant, Kareem Lotfy, Brenna Murphy, Installation View, Future Gallery 2015

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ParameterChant, Kareem Lotfy, Brenna Murphy, Installation View, Future Gallery 2015

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ParameterChant, Kareem Lotfy, Brenna Murphy, Installation View, Future Gallery 2015
 
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ParameterChant, Kareem Lotfy, Brenna Murphy, Installation View, Future Gallery 2015 

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Alberta Romano

Alberta Romano (Pescara, 1991) è laureata in Storia dell'Arte all'Università di Roma la Sapienza e in Pratiche Curatoriali presso l'Accademia di Belle Arti di Brera. Vive a Milano dove lavora come curatrice stabile per t-space, social-media manager di Artshell e contributor per Juliet Art Magazine. E' tra gli studenti di CAMPO16, il master curatoriale della Fondazione Sandretto Re Rebaudengo e ha precedentemente collaborato come assistente per la Galleria Chert di Berlino, per Claudio Guenzani e per Viafarini DOCVA a Milano.

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