Intimacy in the digital age

康俐

2022-07-01 13:47:00

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“The Internet has become the most powerful loudspeaker ever invented. It has given the small, unheeded, a microphone to speak to the world. The method it uses to encourage and facilitate multiple viewpoints and dialogue is the traditional one-way What the mass media can’t do.” As of March 31, 2021, the number of Internet users worldwide reached 5.169 billion, of which 4/5 use various social networks to share their latest situation, share photos, post comments or Participate in topic discussions. Shared information that originally existed only in intimate relationships, such as our private parts such as our thoughts, emotions, and bodies, is viewed, amplified, and consumed on a larger scale, and some knowable areas are taking shape. In this context, it seems that the definition of intimacy should be redefined, and we should explore this issue in a broader dimension.

"Migration of the Burden"


"New Artist"


Interestingly, the logic of discussing intimacy in the exhibition highly coincides with the mutation of intimacy in the digital age. From personal memory to collective memory, from identity exploration to border guarding, from chasing virtual technology to questioning the interconnected world, it pushes intimacy from a hidden zone to more diverse and deeper thinking.
Entering the exhibition hall is greeted by Ange Laccia's "Sabatina". The huge image hits the unsuspecting audience. The artist's daughter floats in the water like "Ophelia". Looking directly at the heart, an ambiguous atmosphere rose up. This is an intimate scene that only exists in a private family environment. The same intimate scene is also reflected in the work "Cat". The content of the video is an ordinary and moving home scene. However, when it was broadcast in Times Square, New York, it formed a Astonishment at tension: an intimate and ordinary scene, cast in a grandiose form in an important public space. Does this raise the question of border guarding of intimacy for us?

"The Gradual Kingdom"


Adjacent to the first two works are The Gradual Kingdom by Mariam Bennani and The Migration of the Burden by Berthier Barker. The former presents typical Internet aesthetics, shot with an iPhone and recreated to create a video game or Snapchat-esque aesthetic. The content of the film is mainly women, family, friends or passers-by around the artist. It is full of personal emotional injection, and the simple and vivid content is displayed in the form of humor and banter. The latter, drawn from the communities in which the artist lives, are semi-documentary images that poetically create narratives between reality and fiction. The wine cork installation opposite the video screen effectively echoes the visual elements in the video. "Trauma," written by Gillian Weing in 2000, tells about the traumatic experiences of ordinary people in their childhood. It shows the audience the secrets of the intimate world and the inner world. human trauma. The words narrated in the video are like confession, and they are played in a specially constructed "confession room", which is especially easy to bring the audience into the situation. Here, the discussion of intimacy from individual memory to collective memory is completed.

"Sabatina"


"Zidane: Portraits of the 21st Century", as the end of the exhibition, is presented in an independent space, with an independent way as the conclusion of the exhibition. The audience is shown the images captured by 17 simultaneous cameras of Zidane from various angles, but the actual The discussion is about the relationship between the virtual and the real, which is mapped to the question of the future direction of the physical art museum. Moved away from the inquiry into simple intimacy and into a deep reflection on the interconnected world.

"Zidane: Portraits of the 21st Century"


In the dimly lit exhibition hall, the tones are lowered, and there always seem to be whispers in your ears to guide you down. It can be seen from the arrangement of the exhibition that the curators have focused on the advantages of video art in mobilizing the audience's senses in the exhibition. The impactful large-scale images, the sculptures that echo the content of the screen, and the small independence designed to create an atmosphere The space shows the ingenuity of the curators. More importantly, instead of answering questions, this exhibition throws us a series of questions, the end of which seems to return to the discussion of the nature of museums.

"Cat" and "Dog"


Article Source:艺术与设计

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