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Webster provides an interesting link with the today's techno art as similar strategies are used for an environmental or earth-work purpose, i.e. between povera's mysticism and its pastoral, a desire to reconnect us with something long come to be an abstraction. Similar to the science fair aesthetic predominate today which appears symptomatic of an anxiety of sweeping technological change begetting not only a loss of control but an increasing awareness of that loss of control, "all the news that's fit to print" is comical today, and left off digital editions, we find our grasp on the world or earth increasingly running through fingers, abstracted into concepts. The art we see is an attempt at effigy, to physicalize and relocate a nebulous power, like the earth it sees itself having once belonged to.
See too: Sam Lewitt at Kunsthalle Basel, Elaine Cameron-Weir at VENUS Los Angeles, “RR ZZ” at Gluck50, Hans-Christian Lotz at Christian Andersen, Ben Schumacher at Musee d’art contemporain de Lyon, Timur Si-Qin at Carl Kostyál, Amy Yao at Various Small Fires, Anicka Yi at Kunsthalle Basel,
