Still Unstable – Exhibition

Still Unstable brings together artistic practices that investigate infrastructures of vision, extraction, automation, communication and environmental sensing. Rather than treating technology as a tool or future-oriented promise, the works examine the conditions under which technological systems operate and the forms of exclusion, abstraction and asymmetry embedded within them.

Developed on the occasion of the 45th anniversary of V2_ Lab for the Unstable Media, the exhibition examines the hidden structures through which technological realities are produced and maintained: machine vision systems, extractive supply chains, AI labour economies, communication infrastructures, sensing technologies and speculative technological imaginaries.

The participating artists address what remains unresolved within these systems: invisible forms of labour, ecological dependencies, asymmetrical power relations, incomplete forms of knowledge and the limits of technological visibility itself. Their works challenge narratives of seamless innovation and computational control by foregrounding uncertainty, opacity and interdependence.
Featuring
Rosa Menkman’s research into “im/possible images” addresses the technical and epistemic limits of contemporary image systems. Her work investigates what remains outside regimes of computational visibility and challenges assumptions that technological imaging systems produce complete or objective representations of reality.

Aram Bartholl’s True Depth exposes the invisible sensing technologies embedded within contemporary devices and surveillance systems. Machine vision becomes spatially perceptible, revealing how environments are continuously measured, analysed and operationalised beyond the limits of human perception.

Kasia Molga’s Chronicles from In-Between 495–570 nm addresses environmental fragility and the instability of perception itself. Working with spectrums of visibility, ecological transformation and sensory limits, the project foregrounds the partial and situated nature of both technological and human forms of sensing.

Morehshin Allahyari’s She Who Sees the Unknown mobilises mythological, archival and speculative approaches to challenge dominant technological narratives and forms of digital colonialism. Through processes of re-figuring and storytelling, the work introduces alternative epistemologies and historical continuities that resist technological universalism.

More later!