Modernism was born out of a desire to revisit Platonic ideas and through the elevation of the so called original forms; the circle, the square, and the triangle and their three dimensional equivalents of the sphere, the cube and the pyramid. These pure geometric forms, applied to a set of parallel and equidistant lines which divide a plane or three-dimensional area into a grid, marked a return to the classical golden section as well as an unapologetic homage to modern technology. For example, the young Purists Charles-Édouard Jeanneret (later to be known as Le Corbusier) and Amédée Ozenfant declared in their 1918 manifesto, the machine - with its inherent interrelation between the aesthetic and the functional - to be a true paragon of inspiration. During the charged interwar years they published the magazine L´Esprit Nouveau in which they continued to advocate and - in various degrees - share this unrestricted technological optimism fused with utopian overtones with other art movements.
The Berlin based artist duo AIDS-3D makes no direct claim to the traditions of modernism or its inheritance. There exists no before and after, just ''an everything'', right here, right now. Their works align directly towards the history of humanity and they read and engage in the present with the continuous means of technology at hand. Their relationship to the early modernists manifests itself through a breaking with current art practices and through a powerful articulation of visions. The difference lies in the overtones that suggest a latent levity rather than naïve optimism in the belief of technological power. The exhibition consists of four water sculptures placed on a raised floor structure. The models are sourced from web pages on the Internet, promoting decorative interior-fountains for sale. Each fountain has been equipped with a built-in mini-pc programmed with software from World Community Grid, a non-profit organization that utilizes donated idle computer time to create the largest volunteer computing grid to process information in the fight against threats towards humanity, such as cancer, climate change and genetic manipulation of crops to prevent starvation in the future. The raised floor consists of glass fibre-plates laid in a grid structure, functioning as a presentation platform, yet this is a commonly used material for floors in large server rooms.
The ancient grid logic and familiar primary forms, even if inscribed in kitsch and with hidden idealistic applications, speak of the mythic power that makes us able to deal with materialism (or sometimes science, or logic) while at the same time providing us with a release into belief (or illusion, or fiction) to paraphrase Rosalind Krauss ("Grids" October 9, 1979). The installation at Galleri Niklas Belenuis - the duos first exhibition in Sweden - stage visions on the far side of decorum which will no doubt become manifest in a future near you.
In their practice AIDS-3D are primarily concerned with the perpetual promises of the twentieth century: religious enlightenment, sexual liberation, artistic freedom and human progress through technological advancement. Their work is not always materialized in the first instance but circulated on the web until given the form of performances, sculptures and installations specific to the context in which they are exhibited. Documented and fed back online these works frequently employ elements such as water, fire, neon as well as lasers, sounds and other relics from a recent technological and colloquial past.