Frieda Toranzo Jaeger, … And yet we are becoming, Installation and performance shot, 2019, Courtesy the artist.

Associative argumentation of nothing. Let me tell you a story:
Bang, bang, bang rhythm is my bitch.
Political pessimism; to argue for hope and poetry.
Astonishment as a philosophical mode of contemplation, there is nothing of that in here. Nothing!
The territory of the future that is only found in painting.

– Frieda Toranzo Jaeger in: … And yet we are becoming, Performance, 2019

Hybridization, sensuality and sexuality come to mind when following the smooth lines of Frieda Toranzo Jaeger’s … And yet we are becoming (2019). Her luxurious seats from fast cars, planes of a high-tech board computer, and electric doors that open smoothly give the impression of a near future, when life will be organized entirely automatically by machines evermore adapting to humanoid shapes and needs, while replacing the agency and autonomy of the individual.

Toranzo Jaeger’s painterly propositions reconsider the genderization of the car as an archetypical masculine machine through repositioning the interiors of contemporary, soundless, electric vehicles as intimate, private, and feminine spaces. Setting her dreamy vehicles against fragmented backdrops of lush landscapes, she seeks the tension between inside and outside, passivity and agency, autonomy and hyper-technology, the deceptive promises of imperialistic car manufacturers, and sustainable futures.

With the performance … And yet we are becoming, Toranzo Jaeger continues her exploration of the agency, position, and autonomy of the individual body as well as the medium of painting within a world increasingly characterized by automated control.