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Curated by Daniele Sigalot
The dual exhibition of Paolo Angelucci and Lennart Brede, titled "THE ALGORITHM TOLD ME SO," curated by Daniele Sigalot, opens on September 6th at KA32 Gallery in Berlin. The title references the way social media algorithms often bombard us with images that share only one common thread—ourselves and our multifaceted interests. In this case, the only link between these two artists, who have vastly different practices, is the curator himself, Daniele Sigalot, a mutual friend of both, and technically not even a curator. Will this be enough to create a cohesive exhibition, or will the stark contrast between their artistic approaches lead to a visual short circuit (an unintended electrical connection between two carrying parts, as the dictionary punctually states).
In this exhibition, Lennart Brede presents a striking mix of metaphor and modernity with his female knight, dressed in a competition bikini adorned with fake gemstones. The work plays on themes of strength, resilience, and the absurdity of contemporary expectations, blending humor with a critique of gender norms. On the other hand, Paolo Angelucci’s work delves into the emotional and intangible aspects of nature. His piece “Mamma Maiella,” which cleverly combines photography, sculpture, and installation, reflects his deep connection to the landscapes of his roots and his unique approach to the photographic medium. Together, these works explore vastly different territories—Brede’s pop-culture-infused commentary and Angelucci’s introspective journey through nature—posing an intriguing question about how these disparate voices might interact in the gallery space.
In this exhibition, Lennart Brede presents a striking mix of metaphor and modernity with his female knight, dressed in a competition bikini adorned with fake gemstones. The work plays on themes of strength, resilience, and the absurdity of contemporary expectations, blending humor with a critique of gender norms. On the other hand, Paolo Angelucci’s work delves into the emotional and intangible aspects of nature. His piece “Mamma Maiella,” which cleverly combines photography, sculpture, and installation, reflects his deep connection to the landscapes of his roots and his unique approach to the photographic medium. Together, these works explore vastly different territories—Brede’s pop-culture-infused commentary and Angelucci’s introspective journey through nature—posing an intriguing question about how these disparate voices might interact in the gallery space.