H+ focuses on transhumanism, a movement advocating the use of science and technology to enhance humans’ physical and mental abilities. H+’s photographs are elliptical and have little context. Taken one by one, they baffle more than they explain. Seen together, they weave a web of discourse. Artificial, they resemble their subject: it is no longer known whether the living die by becoming machines or inanimate objects spring to life. H+ talks about our bodies, our everyday lives and our relationship to technology, as well as opens up future prospects. No response is given, but the exhibition can work both as a tool to think about a key issue of our time and as a poetic space that confronts us with the absurdity of our finiteness.
Munich, July 15, 2015. Courtesy of the artist, Galerie C and MAPS.
Neil Harbisson considers himself a cyborg. Suffering from achromatopsy, a rare form of color blindness, he had a prosthesis called Eyeborg implanted into his skull that senses colors and converts them into sound waves. Harbisson pleads for the enhancement of human creativity and sometimes distances himself from transhumanism, deeming it too stuck in stereotyped or commercial representations. His vision is more that of an artist than a disciple of technoscience. He takes pride in being the first human to appear with his prosthesis on his passport photo.