Philippe Van Eetvelt presents the vision of human evolution as a cycle from dark to light. In Memory of Humanity represents the final movement of the cycle, up to a new stage triggered by technological fragmentation. Everything inevitably and irresistibly turns into dust.
The audience, as we know, uses nine distinct but complementary parts to guide their origins, evolution, and the final stage of human existence. Van Eetvelt’s concerns are expressed as the ultimate result of this fragmentation against organic evolution. With the advent of the technological revolution, it provides a lens on the death of humanity and suggests that we, the human being, will irreversibly become something superhuman. In Memory of Humanityquestions the act of the individual who is human: does it carry light, cognition and urge in itself that reflects certain realities? Can people instinctively create an outline of the nature of the universe? The works in this exhibition are designed as an reflection of this existential dilemma. In this extraordinary cycle of evolution and rebirth, Van Eetvelt points to important points where the human soul cannot break. Matter, time, space and good-bad ideas highlight this millennial journey as proof of human influence. Like dark matter, existence, and conscious intelligence reappearance, it eventually heals through evolution and replicates itself with light and gold. Thanks to these pieces, the artist offers us an antithesis and a transition from nothingness to artificial evolution. This interaction between positive and negative, being and absence, and light and dark, touches this exhibition. The three-dimensional space of the exhibition is modulated by this interaction, connecting with the audience’s body and movements. This raises the imperative of positioning man against artificial intelligence. The artist puts the critical impact of our choices before us, under an artificially refined aesthetic that carries contradictory feelings due to dynamic contrasts that create tension. There are real and absolute threats: finding ourselves before infinite nothing remains a possibility. In Van Eetvelt’s work, nothingness is both a absence of everything and a complete explorer, a theme. As emotional beings, can we define nothingness as an end or a new beginning? it is modulated by this interaction. This raises the imperative of positioning man against artificial intelligence. The artist puts the critical impact of our choices before us, under an artificially refined aesthetic that carries contradictory feelings due to dynamic contrasts that create tension. There are real and absolute threats: finding ourselves before infinite nothing remains a possibility. In Van Eetvelt’s work, nothingness is both a absence of everything and a complete explorer, a theme. As emotional beings, can we define nothingness as an end or a new beginning? it is modulated by this interaction. This raises the imperative of positioning man against artificial intelligence. The artist puts the critical impact of our choices before us, under an artificially refined aesthetic that carries contradictory feelings due to dynamic contrasts that create tension. There are real and absolute threats: finding ourselves before infinite nothing remains a possibility. In Van Eetvelt’s work, nothingness is both a absence of everything and a complete explorer, a theme. As emotional beings, can we define nothingness as an end or a new beginning? Under an artificially refined aesthetic, it puts the critical impact of our choices ahead of us. There are real and absolute threats: finding ourselves before infinite nothing remains a possibility. In Van Eetvelt’s work, nothingness is both a absence of everything and a complete explorer, a theme. As emotional beings, can we define nothingness as an end or a new beginning? Under an artificially refined aesthetic, it puts the critical impact of our choices ahead of us. There are real and absolute threats: finding ourselves before infinite nothing remains a possibility. In Van Eetvelt’s work, nothingness is both a absence of everything and a complete explorer, a theme. As emotional beings, can we define nothingness as an end or a new beginning?
