Johannes Bosisio
Sharp Hybrid Crash
@Galleria Doris Ghetta – Ortisei
GARASC, der Ausstellungsraum der Galerie Doris Ghetta, der aufstrebenden Künstlern gewidmet ist, die im Ökosystem der zeitgenössischen Kunstgalerien experimentieren wollen, geht weiter. SHARP HYBRID CRASH präsentiert die Forschungen von Johannes Bosisio (Bozen, 1994), der mit einer Reihe von Gemälden auf Leinwand und skulpturalen Installationen Transformation, Freiheit, Begehren und Hybridisierung feiert. In seinem Werk verbinden sich organische Körper mit technologischen Prothesen und schaffen gemeinsam neue Gebilde aus der Chromoberfläche – einst glatt und glänzend, jetzt zerkratzt, rau und lebendig.
Prosegue GARASC, lo spazio all’interno di Galleria Doris Ghetta dedicato ad artisti emergenti che vogliono sperimentarsi nell’ecosistema delle gallerie d’arte contemporanea. SHARP HYBRID CRASH presenta la ricerca di Johannes Bosisio (Bolzano, 1994), che attraverso una serie di dipinti su tela e installazioni sculturali celebra la trasformazione, la libertà, il desiderio e l’ibridazione. Nel suo lavoro, corpi organici si uniscono a protesi tecnologiche e insieme creano nuove entità dalla superficie cromata – un tempo liscia e lucida, ora graffiata, ruvida e viva.
GARASC, the space within Doris Ghetta Gallery dedicated to emerging artists who want to experiment in the contemporary art gallery ecosystem, continues. SHARP HYBRID CRASH presents the research of Johannes Bosisio (Bolzano, 1994), who through a series of paintings on canvas and sculptural installations celebrates transformation, freedom, desire and hybridization. In his work, organic bodies join with technological prostheses and together create new entities from the chrome surface – once smooth and shiny, now scratched, rough and alive.
Shapeshifter Series, 2022, Oil on canvas, 189 x 166 cm
Micro Series, 2022, Oil on wood glued on paper, aluminium, 39 x 29 x 50 cm
Micro Series, 2022, Oil and glitter on paper glued on wood, 27 x 20.50 cm

“My involvement with Berlin’s hedonistic club culture, shaped by the futuristic and mechanical sound of electronic music, formed a strong interest in interactions and relations between man and machine. Cultural or social minorities who follow their desire of sexual freedom and expression trough costumes and roles find there safe space in the nightlife, abandoning their daily selves by following the mechanical rhythms of electronic music. It becomes a revelation of excess.

These mechanical dances became one with the music. For me, a gigantic machinery was created, a fusion between the naked body and electrifying music. As if the mechanical music were the fuel for the bodies moving like robots. A feeling of the uncanny arose in me, as I was previously unfamiliar with this environment, but it fascinated me immensely. This fascination, in turn, found its way into my work.

From these experiences I extract overlaps that I consider relevant in order to process them through an artistic perception. The novel Crash by James Graham Ballard written in 1973 helped me contextualize these experiences. The novel talks about a group of people who gain sexual pleasure while participating in car accidents. It examines changes in the human psyche caused by modern technology and consumer culture.

Ballard’s dystopian novel explores the psychological impact of technological developments, approaching a sexual fetish in which the traditional notion of sexuality serving procreation is replaced by the construction of a technological aestheticism. The setting Ballard creates on his stage is a glossy, shiny but above all superficial world. Metal, chrome and steel surround and embrace the protagonists in almost every situation.

The automobile becomes a private bedroom or even the object of love or desire itself. The car becomes an aesthetic object bearing eroticism strongly connected to human sexuality.”

Johannes Bosisio

Micro Series, 2022, Oil and acrylic paste on linen, 41,5 x 33,5 cm
Untitled 2, 2022, Steel and acrylic glass, 150 x 60 x 30 cm