Selfie expression to self – expression, the examination of the exhibition: Imaginative rich study of the evolution of self-portraits

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Selfie expression is the result of a joint effort by the director of the gallery Nigel Hurst (who had the original concept) and Saatchi himself. The day I arrived for a quick viewing, I found Saatchi matching energy labels to art and offered to help. He kindly took a tour.

He usually works on a show on his computer, moving pictures around, and has a good idea of ​​the final shape at least a year before it opens. It was two years in the making and he could not say with a few days to go that would be the overall effect: so much was in the hands of the technicians, set up complex digital systems and a large wall mounted display screen detailing fine pictures The Western historical self-portraits. These covers 500 years from Velázquez and Rembrandt to Warhol and Basquiat. What would the world think of art, reduced to these images of sacred art, even some with the screen “like” buttons in the form of pink hearts?

He does not need to be afraid. We know that selfie is a phenomenon of great stupidity and yet it is so imaginative and richly documented here that experience, while knockabout free KO. You see a lot of historical images: pictorial invention, all shades, doodles and hatching, which makes the artist’s drawing and construction creates the illusion of a person who was really and is still there Now, looking.

These self-portraits of Rembrandt and Van Gogh, Cezanne and Renoir, Frida Kahlo and Egon Schiele, feeling is not only the characteristics of the visual artist mapped, but is something much larger also transmitted or implied, even. As the show invites you to move on to postmodernism, the notion of what a house would be really complicated.

Austrian performance artist Gunter Brus introduces himself called auto painting in a series of photographs, self-mutilation in 1965. He was fully clothed but agglutinated in white, then he made several markers in a dense black. We see a black ax, painted black stabbing his white shaved head, all his head covered in black with a thick black line that crosses his body and wall. It is a violent impression, but also confusing.

Nan Goldin self-portrait of his 1985 series photo The Ballad of Sexual Dependency shows the violence is very real. His face is mutilated by a black eye. We realize little by little the wounds are worse than the first relay of impressions. If realism and romanticism jarringly combined – the bohemian outsider artist, enviable free, but also threatened – Bruce Nauman does nothing but absurd, as a funny pinch-without. In a photograph entitled Fontaine, he imitates a water spouting from his mouth.

Tracey Emin expresses an empty sense of self in a self-portrait photo where she seems to fill the notes in her vagina. Some self-portraits Warhol, very well known, have changed their original influence this context. We are forced to notice how alienated and dehumanized his self-image that art was always with its unreal colors, arc pose and glacial expression.

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After the high art of fencing, as well as “real” works, including the series of Cindy Sherman mocks Hollywood movies and the image of Damien Hirst, with Deadhead, 1991 Has two large spaces devoted to straight lines selfies, one with other celebrities and ordinary people – or semi-simply because they are often difficult to do ordinary things.

Celebrity selfies include Hillary Clinton at a crowd of supporters, making themselves available mass selfies; Brad Pitt, Kris Jenner and Tom Cruise have just taken their own selfies; And Benedict Cumberbatch Photobombing U2 at the Academy Awards ceremony in 2012. In the ordinary people’s room, where selfies come from the Internet, we get the phenomenon of looting in mind: young selfies people placed dangerously on large structures Height – Kirill Oreshkin shows himself at the tip of the tower of a building, leaning into the empty space of 400 feet into the air, holding one hand and the other taking a selfie. To watch is to feel sick. Other works show people to avoid wild bulls, giant jellyfish and sharks while selfie-ing. A maniac soldier smiles gurns his selfie like the smoke of one of the explosion waves in the background. A young woman takes a selfie dodging groundsmen on a football field in the middle of a game. And the idiots take selfies with their heads tied in Sellotape.

Moreover, Yumiko utsu “selfies” a disgusting shiny octopus – beautiful, but terrible – on his face. The photo images Alison ingeniously imagined Jackson with lookalikes show Her Majesty the maniaco selfie-ing Queen with her phone protected by a lid decorated with stylized corgis; Prince Andrew captures the rotation of the family in a hospital where Kate gives birth to a crying child; Donald Trump and seize a selfish stick daftly suggestive along with three Miss World candidates. The anarchist insults to dignity Jackson staged so intelligent that made for a few seconds at least the reason struggling enormous will to believe to overcome. Its point seems to be that every public image is a series of moments staged anyway, and solemnity and authority can be easily disproved. We often want to do it in our imagination. She does it for us.

Jackson is a version of the modern comedy of Velázquez, which we show at Las Meninas – magnificently depicted a giant screen at the beginning of the show – the impressive dignity of royalty at once, in the 17th century, when every action by a royal person on Every moment of the day was public and ritualized.

So many selfie dimensions: the monstrous, the banal, the dangerous, the famous and the counterfeit. Apparently, more than a million selfies taken daily. I had never been to this show. I was photographing my own picture when it suddenly on a screen as I approached. It was an installation by Rafael Lozano-Hemmer. I saw myself on the Hemmer screen for a second, then the technological magic that only he knew, the eyes of my image melted in white smoke of fire and white patterns curled around the screen like waves of a body In trance a session. And finally my eyes appear at the bottom of the screen, lined up beside the eyes of many others who were engaged with these quirky-selfie commentary works of art.

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