In 2002, Michelle Magiros, thirty -five years old, was Michel Magirus on a short flight from Berlin, where he lived, to his country of origin, when the plane crashed, killing and nineteen passengers. With his death, a prosperous artistic profession was shortened. Magiros was the subject of a single museum exhibition in Switzerland, in 1996, and he created a major composition of the Biennial in Venice, in 1999. There will be no more innovative size, which included individual paintings drawn in addition to the room -scale installation. Back from abstract expressions and simplicity. However, the Majerus of the Apple Power Power Powerus survived from the debris-at least, it was the hard disk.
The computer remained with his property for many years, leaving residues that he did not touch. During that time, the display of Magiros paintings continued in exhibitions and museums, which has a calm but constant effect on a generation of artists who were creating work using the Internet and responding to it. Then, in 2017, the artist Korean ArkangelWho was famous for his digital artwork, he became familiar with the fixed Majerus engine and began to strive to reach its contents. What prompted Arcangl was Non -address panel From Majerus, since 2000, which his assistant has shown on Instagram. The background is covered in pastel acid blocks of colors, reminiscent of the new gene in the 1960s, but the introduction contains exciting phrases in the text that appears to be pulled from the geosus or “matrix”-a shaking poster: “Newcomer”, “burned”, “practicing the intention of the artist.” Magiros had renovated that the Internet would lead to a large collision of the reference methods and points – everything from Super Mario to Jackson Bullock coexisted with pixels. The painting without the nostalgia title inspired the phone millennium, but Arcangl, whose work includes a penetration version of “Super Mario Bros.” With only its clouds remaining, it was also hit with its contemporary appearance. During a recent Google Meeting Call from a strengthening apartment that an exhibition representing the MaJerus is kept in Berlin, Arcangel said: “It came in my face from a hundred different angle, and each of these little things sent me to a spiral of associations.”
Looking at the MAJERUS digital images, such as sprites into video games, and the fluency of technology culture references, Arcangl guessed that Majerus was a digital artist as an acting painter. Perhaps the laptop holding its process. Arcangl drew the attention of Dragan Espenschied, Rhizome director, an institution in New York, archiving the history of art created in digital environments. There was a danger that the device might be disrupted and that the stored files would be lost forever. Majerus Estate has commissioned the data rescue company to create a digital version of the drive. Next, Espenschied used an emulator-a part of the programs that mimic the structure of the larger device-to clarify a fax of the laptop, including the early operating system for the thousands and files made on the Majerus desktop, which included a MS background. Pac-Man. This was exactly as it was as it left, leading to custom photoshop shortcuts and window positions. “It seems as if he just got out of the room,” said Arklegel.
Arkangel said that the contents of the computer revealed that Magiros was an “digital, aggressive” artist. From the files, Arcangl can rebuild how majerus downloaded engineering photos and made Frank Stella The paintings of the 1960s in the nineties, enlarge, cut, and rotate, then use it as a basis for the walls the size of the wall, and the “pressure groups” triangles, from 2002. Magirus Photoshop used his paintings, then actually installed them in pre -specified spaces to plans to the inch, before the brush touch it. Arcangel Majerus described it as a type of “printer”, making all its decisions in advance and then making the output manually.
The laptop also contained an antique artifact for the life of Magiros: a picture of what appears to be a small hotel room in New York City, with a black laptop artist on the hotel bed along with a huge power transformer, a pizza box, sweets, and documented from CDs, a background TV. What appears is a picture of the artist as a wandering sneak, and a snapshot of digital creativity in the years before social media or the emergence of the cloud. “There is only a few years, as someone had carried him around his entire studio with them,” said Arklegel.
Forty -six -year -old has a background in the composition of music but has moved to optical art in thousands, using a lajerus -like laptop to create his early work. When Arcangl explores the majerus computer, he found himself remembered reflective how to move in old programs. Digital tools are part of the legion of the Majerus work – his art that makes viewers remember how the use of Photoshop Paint or burning a pressed disk, when these radical technological experiences were. Arcangel has started recording a series of YouTube videos entitled “Let’s Play Majerus G3”, and it escalates on this type of videos uploaded from Twitch that picks up creators playing video games. At the end of last week in Berlin, Arcangl repeated “Let’s Play Majerus G3” at Majerus Estate for an audience of one hundred of the exhibition pioneers, speaking via the artist’s desktop and withdrawing his favorite files. They included one of the only videos found in the Majerus painting, and the photo of Photoshop in which the artist made a digital drawing, then edited this drawing in a picture of his studio, and visualizes what will be the case if the digital image is a fabric that tends to the wall, as if it was actual work. In this way, Arcangel explained, Majerus has seemed to merge his computer and IRL into one creative space.
Digital art has not yet proven that it is especially solid. There are now more than two decades of experimental sites, technical projects on collapsed social networks, and colloquial digital images that were simply lost due to technological statute of limitations and coordination. The lajerus laptop and Arcangl Archive Works, an effort to include the visual heritage of our era in the arc of the longest art history, to commemorate a fast, fast -sized way at a certain technology moment. In our video conversation, Arcangel withdrew another complex in which Majerus put pictures of his work next to the old Stella exhibitions, installations of the work of the new generator, Peter Haley, and the modern Stella plate that Majerus faced in Loop Skycraper Manhattan. He was measuring his own achievements against aromatics organizations, and integrating the historical historical references with his production over time, on the laptop, which works quietly. Magirus’s artistic works were born on the screen, and through his recovered files, Arkangel said, “We see on the shoulder of one of the best artists ever.” ♦
