For the first time in a museum, the artist celebrated for his iconic pink digital works invites you to discover art with a new look and a new rhythm

It opened on October 8, 2024 and is called Dreams the new exhibition conceived and set up by Andrés Reisinger at the Moco in Amsterdam.

Literally called 'Dreams', the exhibition actually invites you to take part in a journey between worlds: the interior, the imaginative, the digital and the evolutionary. All of this, for the first time, in a decidedly real and institutional context such as that of the museum, unlike what we are used to associating with the Argentine artist.

The dream is there, therefore, but its meaning is that of a projection of the inner world in a constant rebound between the psyche of the visitor and the artist.

Reisinger's Dreams exhibition is in fact set up in four settings that, alternately, lead to the discovery of dream scenarios as intended by the gaze of the observer and creative interpretations of objects and situations filtered according to the creativity of the digital artist.

The four sections of the exhibition

To be clear, the path is divided into four rooms, three of which naturally use the digital tool (Reisinger's favorite, so far) to guide the experience.

The first room, located on the ground floor of the Moco in Amsterdam, is the scenographic and surrealist set of 'A dream' with which Reisinger invites the visitor to re-imagine reality through the dreams most intrinsic to the psyche of the viewer, and without filters.

Continuing, with a leap of perspective, we move to the creative side: in the second room with 'How I write my stories' a passage opens onto the digital narration of Andrés Reisinger's own creative process. A sort of 'behind the scenes' that tells how the creative's ideas are born, how they take shape and how the path to achieving the realization of each one is complex and layered.

Another leap forward, or back (because the perspective changes again, returning to the external gaze), for room number three: here, with 'Take Over Elastic' you enter a dimension familiar to those who have known the artist for a long time. Exceptionally not digital but physical, a path of installations - obviously - total pink and with biomorphic architecture invites the interaction between human touch and setting. The typical pink fluffy structure, here, varies according to the will of the person who touches it, of the person who leans on it or of the person who passes by. Flexibility and plasticity, in an optical illusion that makes you think you are inside one of his digital works.

The last room on the itinerary is the 'Fly' room, which tells, this time again by passing from the artist's point of view, the symbolism of some of Reisinger's most recurring signs and objects: the apple, the clock, the books and the iconic Hortensia armchair (we talked about it here) which introduced the artist to the real world thanks to a far-sighted collaboration with Moooi, in 2021, on the occasion of Milan Design Week.

Read also: The enveloping embrace of Horensia armchair and its petals in bloom

A new way to combine real and digital

It is well known that for Reisinger it is a semi-novelty to tell his story in a real environment. Partly because, already at the beginning of 2024, the digital creative who became famous for his digital representations created with the support of artificial intelligence, had landed in the physical world with an installation from the 'Take Over series in Jeddah, during the first edition of the artistic-cultural event Balad Al-Fann. An occasion that was followed by a second appointment, during this year's FuoriSalone, with the installation set up at Nilufar Lancetti.

This time, however, the artist invites us to enjoy art in an alternative and almost experimental way, that is, by relating a deep-rooted cornerstone when it comes to culture and society - the museum - with an all-encompassing reading.

The invitation is to dissect the world and the artist's work, to understand it. Where interactive means something other than a button to touch or a small-scale architecture to walk through, but rather a rhythmic mix of stimuli, real and virtual, but also intellectual aimed at expanding what is in front of you.

A new way to interact with it, walking through it in its various forms. Almost as if you could enter a painting.

This rebound between perspectives suggests that Andrés Reisinger still has a lot - a lot - to tell and, in this sense, the screen is not a limit but a starting point. Or rather, a gap to cross.

Pink is not missing

Special mention to the color pink, which many might associate with a question of pure aesthetics (and why not, in the era of conspiracy skepticism, also of marketing) and to which the artist remains faithful even with the Dreams exhibition.

The color, which has greatly contributed to making him known in the digital world, acts as a central and unifying element throughout the journey, not only defining the visual panorama but also evoking a sense of warmth and familiarity.

Using pink as the dominant shade, Reisinger creates a playful atmosphere and invites us to enter into a deep, almost emotional connection with the installations. In fact, he has specified, on more than one occasion, how for him this color is representative of the most intimate human dimension, the one that refers to the inside of the body and, in some way, also to the 'life before life', the one spent in the mother's womb.