Try to change
the angle of the sun

7.2.–1.3.2020 @
Titanik Gallery

Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun

Out of touch
1: Lacking up-to-date
knowledge or information
2: Lacking in awareness or sympathy

Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun
Try to change  the angle of the sun

The phrase "out of touch" or "out of touch with reality" stands for a feeling of incapacity to understand, or to feel/touch something anymore: a symptom that may also describe our current society. In the seemingly dematerializing world, we engage more and more with immaterial and territorially unbound spaces behind mirror-smooth screens, that are not tangibly accessible.

Susanna Flock’s solo exhibition "Try to change the angle of the sun" brings together works that explore traces that the interweaving of technologies with all aspects of our lives leaves behind. Central work in the exhibition is the video piece I don‘t exist yet, which deals with stand-ins for computer-animated characters. Initially invisible to the viewer, the computer-animated characters only come to life through mathematically simulated textures. As a central motif, Flock sheds light on the ghost costume used in CGI techniques. The invisible constructions of digital effects are dissected to make the body of the seemingly bodiless tangible. Backstage, one still sees inanimate representatives, that only become subjects through digital reworking.

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