Galerie Ron Mandos is proud to present 2°C above acCLI-M8 X a solo show by Konrad Wyrebek curated by Domenico de Chirico. Wyrebek addresses the issue of Climate Change / Global Warming in close interrelation with the noisy global information system, by aesthetically investigating its consequences, causes, influences and the changes it generates.


The exhibition title is a cryptic descriptive pun – in itself corrupted – containing the words:

  • 2°C = it’s the average projected rise of temperatures on earth, and the line that scientist fear we will cross.
  • the word “acclimate”
  • the word “climate”
  • the word “mate”= M8 – as a average person in our society (maybe not so well informed or bothered about the environment and global issues but more focused on they own playground and day to day reality)
  • the word “climax”

Global information system The amount of information we are exposed to on a daily basis, can be interrupted, transformed and even corrupted; which also raises the question as to how far is humanity already in the trajectory towards melding into the digital world— and its ever faster rate of information spreading scope. A trajectory that will eventually lead to assimilate the human mind and body to the “machine”. On the one hand a big part of both traditional and new—digital—media, aren’t but just drops in the ocean of the day-to-day news feeds of the wider audiences.  For the more attentive though— they look more like a flood.  It should also be considered that the same media are businesses with their own set of interests and commercial objectives; and the latter can account for a lot in the general line of their informative output. The actual outcome is a wide and subtle system made up largely of manipulation and noise.

On the other hand disinformation causes the spread of deliberately false and distorted news to cover for inconvenient truths; that is precisely the tool used by power to exert control over people, by diverting their attention towards trivial topics or purposely orchestrated situations. Powerful state apparatuses regularly coordinate the spreading of false news and misleading information in order to support the establishment.

In the meantime, the general public is kept stocked on TV sports channels or mushy soap operas.  Their attention controlled via the lowest forms of entertainment and through the creation of precarious socio-economic conditions which force individuals to be mostly concerned with how to make ends meet, thus being oblivious towards broader themes— i.e. politics, corruption and environmental issues. For this reason, the most pressing need is presently that of educating people on how to attend to their own awareness and information.

Climate Change On the global warming front, we’ve reached an alarming climate change milestone. The message is clear: global warming is no longer a future threat but a present reality —and a menacing one for our present civilizations. In addition, the world’s appearance is constantly shifting and mutating. With the concepts of environment and landscape increasingly tending to overlap, they’ve both become subject to similar consequences deriving from human actions.

Threading through a flowing succession of upcoming pixelated images, the show advocates for the chorus of a great part of the scientific community who believes that without further commitment and action to reduce greenhouse gas emissions, the world will have to face a series of changes potentially disruptive for the Earth’s ecosystem and its people. Climate change has thusly become an ethical issue, mainly because those who are and will be most negatively affected by it are those who are least accountable for having caused the problem.

The Artist Konrad Wyrebek is a young British Polish artist who lives and works in London. In his attempts at outlining a personal visual vademecum, his work unveils an unexpected beauty in the corrupted and pixelated images typically run by contemporary mass media and new media —the main communication channels of current times aesthetics’ frame of reference. Wyrebek’ mark making—in his large format abstract paintings and video paintings—speculate on the interplay between the artist’s emotional gesture on the one hand and the rational calculated contribution of technology on the other. Each of the paintings in his body of work is unique and every finishing layer is treated with a complex process. Images are pixelated via an array of deliberately set digital compression processes, resulting in a final amount of data corruption caused by their transferring through different software programs and devices. The artist’s work process can be defined as open-ended since his paintings offer the possibility of different interpretations by making people wonder about and question what they’re looking at —in the context of the real effective world around them. Text by Domenico de Chirico  
(Voor het Nederlandse persbericht over Konrad Wyrebek klik hier)

ABOUT Konrad Wyrebek

Konrad Wyrebek creates large-format abstract paintings, which examine the relationship of mark-makings between the emotional artist’s hand and rational technology. The question is also raised as to how far and how soon, humanity is losing itself in the digital; how far we are already embarked on a journey that merges mind and body with the stuff of machine.

Like Wyrebek’s previous half flash, half steel ‘live sculpture’, contrasting elements are brought into play in Data Error Paintings Apart from showing merely elements of abstraction, Wyrebek’s paintings also retain the possibility of interference. They are not simply the product of corrupting process of data, each painting is unique and singular, and each finishing layer is retouched.

The nature of abstract art is always a subject of investigation in Wyrebek’s work. “Can photography be abstract?” he asks. In his previous work, Plato’s Cave, he photographed abstract light in different environments. The photographs look abstract, but they are, nevertheless, a faithful representation of reality. “It is a presentation of something that looks abstract, but it was an object, a video, a picture”

“I like the randomness. When the mistakes come out, for me, they look beautiful. By enforcing this mistake, they have the potential to become deeper stories than they are. The mistakes and pixelation eventually end up looking interesting and have the intellectual potential to open the gate to see and understand something different.”

There is a certain irony in Wyrebek’s abstract paintings, when the details are gone, we are but forced to step back to see a clearer and bigger picture. As the viewers step back, the boarders of the pixels become invisible, the process of pixelation is being reversed and the seemingly calm, regular and geometrical pixels become chaotic and dynamic. By reducing the superficial meaning, and by abstracting the figurative, artists like Wyrebek’s knowingly compel viewers to search for meaning in the art work, to see rather than simply looking.

On a daily base we are exposed to vast amounts of information that can be interrupted, transformed or even corrupted. Konrad Wyrebek’s DataError paintings open discussion and further investigation the chaotic and complex DNA of the digital age.

Konrad Wyrebek is a British-Polish artist and earned a degree in Fine Arts from London Metropolitan University in 2011, and previous to that, studied Fine Art Painting from Westminster University, London, and Art History and Technology of Fine Arts at the Academy of Fine Arts, Warsaw. Wyrebek represents and challenges contemporary life and culture through the use of television-, film- and social media-based images, creating abstract video paintings. Recent exhibitions include PUBLICPRIVATE, Armory Art Week, New York (2014),Painting in Relation, Solyanka Art Museum, Moscow (2014), Flesh Reality, Point Zero Project Space, London (2013), Question of Sport, Royal Academy and Museum of Contemporary Art, Clifford Chance Collection, London (2012), and CutOut, Sotheby’s Institute of Art, London (2011). Wyrebek is the recipient of the 2011 Sir John Cass Sculpture Prize, along with both the John Burn Sponsorship Award for 3-D printing and the Metropolitan Works Sponsorship Award for rapid prototyping, both in 2011. He has recently exhibited works from his Data Error series at The C Collection, curated by Vittoria Broggini at MiArt Milan and at the Dallas Art Fair in Dallas, Texas. Wyrebek lives and works in London.