Fakewhale emerges as a critical response to this transitional moment, where technology not only takes on an increasingly central role but asserts itself with a pervasive, almost intrusive presence, particularly within the realm of art. This technological infiltration is riddled with ambiguities: on the one hand, it embodies progress and innovation; on the other, it carries an aura of self-referential decadence, paradoxically becoming fascinating in its latent obsolescence.
Through our curatorial journey, a clear direction has gradually taken shape: an interest in a specific category of works. This reflection led us to define the concept of LOWTECH. This practice reframes technology not as a symbol of linear progress but as a space for questioning and redefining sculptural language. This interest ultimately crystallized into a tangible artistic tendency.
Assemblages, screens, plastic casings, metal structures, and technical or technological components mediate between the past and the present. This marks a particular use of technology in the artistic act, redefining its symbolic potential. Stripped of its narrative of progress, technology within this body of work becomes essential.
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