| Aljoscha | |
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| interventions | |
| p-landscapes | |
| statement | |
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11.04.-28.06.2024
His work, a multiverse of gently colored, translucent forms, asks us to consider eudaemonism alongside bioethics. Each piece, a testament to mutations and the beauty they can unfold, speaks of a possible world where abolishing suffering is not the dream but a step towards ongoing bliss. Aljoscha's works in a medium of synthetic organics are not common to the layman's understanding of art. His pieces are often made of acrylic glass, but his world of thoughts is life as process itself, as well as the potential possibilities of our biology. Within the gallery space, Aljoscha suspends and combines not just his artworks into super-organism but recomposes and recombines oldest dreams and hopes of our species. His installation, multicolored and yet transparent, proliferates from the ceiling into ethereal tangle of bioism that invites wonder and contemplation. This work speaks a language birthed from the intertwining of eudaimonia and composition, a dialogue that delves into the complexities of mutations, suffering and bliss. It's a visual development of paradise engineering — an attempt to construct, through understanding, science and philosophy, a world where deviations are not condemned but celebrated for the diversity and robustness of life they bring. This deviative richness is a quiet act of kindness, a statement of individual beauty and tenderness opposing the social cruelty and hopelessness that too often pervade our reality. Aljoscha's art is rooted in biology, yet it reaches for something beyond, something Spinoza might recognize — a leap towards the supernatural, the superhuman. It is as if, through the medium of synthetic biology and biochemistry, he is envisioning a new aesthetics, one of "unearthly wonders," marked by fragile strength and unbelievable strangeness. This is the essence of a biological revolution, a step into an organic utopia where complexity and peace are foundational, and diversity is not just accepted but sought after. Through these suspended forms, there is a narrative of transitions, an evolution guided not by blind chance but by ethical wisdom and biofuturism. It's as if David Pearce's ideas of eliminating suffering through human redesign were further transitioned into unexpected light shapes, a new reality of reason towards an outstanding future marked by thoughts of transhumanism and superabundance. Yet, amid the beauty and the vision of a better world, there is controversy. Debate stirs around the implications of such ecosystem designs, of what it means to use biology as a tool at such a fundamental level. But perhaps, that is precisely Aljoscha's aim — to provoke questioning, to challenge, to urge us into a conversation what could be our biological dystopia or dream. In the space of Tempesta gallery, amid the tranquil glow of Aljoscha's installation, the usual binaries of natural and unnatural blur, inviting us to imagine a future where the every cell of future beings could be composed on bases of hope, kindness, and an enduring quest for understanding. Artribune: A Milano le opere di Aljoscha immaginano l’utopia del futuro C41 Magazine: The organic utopia by Aljoscha at Tempesta Gallery Itinerarinellarte: Aljoscha. Mutative Transitions into Organic Utopia |
