Rising from the post-industrial aesthetic of Bucharest and reaching beyond the post-communist artistic expressions, the commercial art gallery Suprainfinit makes its entry as one of the new cool kids in town. Its opening show is titled “Is it wrong that I enjoy cutting people in Photoshop?”, presenting works by artists: Alina Anca, Vlad Anghel, Anastasia Manole, Tristan, Anca Știrbacu, Alexandra Terzi and Tăietzel Ticălos.

The hype reception that took place on September 16^th revealed installations and digital art, literally and abstractly projecting light onto some of the interests of the new generation of Bucharest artists. Although not quite a conceptual playground, the show is, in many ways, a statement to enhance the local appetite for young, colorful and tech savvy art. So granted that the art displayed is playful, colorful and juicy.

If we were to try and identify a common thread for the show, we could say the gallery provided a platform where artworks speak about letting go of the local conventions and traditions and facing the new globalized, lavish and real spirit of today’s young generation. The show speaks without quite revolutionizing, neither in aesthetic not in intention but leaves us instead with a sense of potential for the art and technology merge.

Dissecting the visuals, we notice simple geometries and collage-made compositions suggesting a sort of primitivism derived out of the binary computer code. The elements are apparently random, inanimate, disparate and not very much glued together while the featured Garden of Eden and the celestial scenes, as well as the artificialized vegetation, figures and objects, all point towards the idea of a new emerging world, full of all things digital but that is still humanoid in its questions and understanding. This is a world that is clearly still trying to adjust all its different components and come to harmony.

The presented artists share the same natural enthusiasm towards the digital tools and embrace in awareness the almost organic influence of the digital universe. As the title of the show suggests, this generation is enjoying this virtual experience but also inherently accepts the partial or total removal of the direct human presence. The public itself is invited to capture the artistic message via different devices and digital prints that only indirectly suggest a sign of human action behind them.

Some of the artists are exploring this cut and its meanings. The digital collages of Anastasia Manole employ powerful colors and use contemporary clichés and symbols in order to create a human deprived and overwhelming universe, rooted in the artist’s own fast-passed reality. In his 3D animation called “Digital Wounds” and his series called “Sexual Fluidity”, Tristan also suggests the digital as closely interfering with the carnal and profoundly personal human experiences. Exploring further the idea of integration of the technology in our daily lives and the abundance of resources it provides, Alexandra Terzi displays a sort of an altar room where her two installations invite us to gratitude towards the infinite, omnipresent and omniscient power of the Internet. And, on the other side, some of the exhibition artists are trying to facilitate a reconnection. Alina Anca plays with the visitor’s senses and raises questions about the experience of the social networks via her interactive and connected green plants, that are lighted up and emit sounds when touched.

Interacting with the public, mesmerizing it and making the show itself a performance art is now, probably more than ever, a great ingredient for the public success of a show. As the exhibition’s artists suggested, the technology, the digital element and the entertainment factor are undeniable, necessary and, why not, enjoyable realities when smartly employed. That is a good reminder to take away from the show.

The show remains on exhibition at Suprainfinit Gallery until October 25^th.