In an era where technology accelerates every aspect of life, the post-futuristic perspective sheds light on the strange, almost mystical allure of our digital age. The Futurists of the early 20th century, led by F. T. Marinetti, celebrated the “beauty of speed” and saw technology as a tool to optimize and revitalize life. Today, many of their once-fantastical visions have materialized: wireless communication now weaves a vast digital landscape, and information is instantly available through social media. Yet, this reality is far from the Futurists’ utopian dream. The thrill of progress has morphed into a tangled web of complexity—where the beauty of speed is brought to a halt in endless traffic jams, and cities approach dystopian collapse.
In this post-futuristic world, technology casts a spell that goes beyond mere functionality. The sleek, polished surfaces of our digital devices invite us into realms that transcend the ordinary, suggesting an almost magical experience. As Arthur C. Clarke famously said, “Any sufficiently advanced technology is indistinguishable from magic.” Today’s algorithms, which seem omnipotent in their ability to deliver eerily precise, personalized content, give technology an otherworldly quality that captivates and manipulates us. This enchantment, however, comes at a cost: it obscures the true complexity and hidden dangers within our digitally interconnected lives.
The mystique of technology is something that contemporary artists are exploring in depth. Artists like Léa de Cacqueray, a participant in the Capsules Project at Luxembourg Art Week, reveal technology not just as a practical tool but as a source of wonder and spiritual transformation. Through her work, de Cacqueray highlights the emotional and even mythological power of technology, encouraging us to see it not simply as a product of rational progress, but as something that stirs ancient feelings of awe and reverence.
The allure of technology lies in this tension between rationality and mysticism. Its polished surfaces spark curiosity, but beneath them lies a complex world of hidden meanings. Artists interrogate this duality, suggesting that technology, far from being a straightforward instrument, taps into our primal sense of wonder. By blurring the boundaries between science fiction and spirituality, they invite us to reconsider our relationship with technology as more than a practical tool, seeing it instead as a channel for spiritual exploration. In an age dominated by virtual connections, contemporary art reminds us of the emotional depth that technology often conceals. It encourages reflection on how digital enchantment shapes our humanity, challenging us to rethink the allure of technology itself. Rather than a mere convenience, technology becomes a medium that resonates with our innermost desires, illuminating the profound and often mystical interplay between technology, spirituality, and the self.
Short essay by Livia Klein
Livia Klein (b. 1996) is an independent curator based in Vienna. Her curatorial and discursive practice centers on speculative aesthetics for possible future realities. Through her exhibitions, Klein consistently engages with contemporary sociopolitical dynamics, while also forging new pathways for artistic expression. Klein brings a diverse range of experience spanning the commercial gallery sector (Galerie Eva Presenhuber), institutional frameworks (WIELS, Brussels), and editorial expertise in art publications (Collectors Agenda), reflecting her multifaceted engagement with contemporary art and its discourses. Klein holds a BA in Art History and Education Science from the University of Vienna and is currently pursuing her Master’s in Art and Culture Studies at the University of Applied Arts.
Selected projects include Soft Liquids, Hard Shells (2024) at Kunstraum Konrad (AT), Looping Tongues (2024) at Galerie Kandl (AT), HATHOS (2024) at Vienna Collectors Club, memory selec+ by Gerwald Rockenschaub at Casino Bregenz (AT) (2024), SPECULATIVE SPECULUM (2023) at Galerie Raum mit Licht, BK FOTO #2 (2023) at LLLLL (AT), and Torn Bodies (2022) at Parallel Vienna (AT). Accompanying the exhibitions, several publications have been produced by Livia Klein in collaboration with writers, thinkers, and artists in the corresponding fields.
