What happens when you gather one million stolen Facebook profile photos, filter them through face-recognition software, put them on a dating website, and show the work internationally? You’ve got some thought-provoking art.
If you haven’t seen or heard of this project, I suggest you check out the genius behind Face to Facebook created by Paolo Cirio and Alessandro Ludovico. The project is the third installment of The Hacking Monopolism Trilogy. By the way, if you’re huffy and puffy about art like this, you’re probably the same person that says, “My kid can do that!”, when you look at Modern Art. Or, you’re hyper-vigilant and quick to say, “What about my privacy?”. To remind you, your kid didn’t do it (case closed). About your privacy, change and check your settings and starting educating yourself. Still concerned about your privacy? Keep a slambook, lots of stamps, and hush.
This is art.
Why and how, you ask? Face to Facebook forces the viewer to contemplate the age of social media and how one differentiates from their physical existence. Cirio and Ludovico are providing some hefty culture criticism and, well, I enjoy the philosophical, social, cultural, and economical underpinnings of this work. Again, check it out and feel free to share your comment and thoughts. I’d love to hear them.
Artist: Chris Burden | Title: Through the Night Softly
After seeing the performance pieces this past Sunday at the Ever After exhibition, I started thinking about how performance art has changed over the years. OFFSpace Founder, Kathrine Worel and I were talking about how there’s a fixation to document and showcase (as much as we possibly can). Being present (truly in the moment) without documentation is so difficult these days. I started thinking about Chris Burden’s work. Specifically, his work Through the Night Softly. It made me think about all the things you can and cannot do on television. Anyway, watch the video…
Over the weekend, I visited the Yerba Buena Center for the Arts and saw The Matter Within: New Contemporary Art of India exhibition. I found myself making my way back to Sudarshan Shetty’s installation work. Both Untitled pieces (the above from his ‘Saving Skin’ series and the one below from his ‘Stab’ series) intrigued me. Although the mechanism tipped the pot back and forth with a constant, even rhythm that mimicked human movement, the piece presented tension and discomfort. The overall work presents the duality of new and old technologies
As noted on the exhibition placard for his work, the pot is a part of a series that ,
…recalls the loss of connection with earth and body, represented by the traditional earthen pot, in an increasingly mechanized universe.
~Source: YBCA exhibition placard
Similarly, the intricately wooden chair coupled with something modern and contrasts with tradition. The relationship of the old and modern world presents the strain between tradition in a rapidly evolving world.
I’m not sure if it’s the abundance of red coupled with the quantity of highly rendered oil and acrylic paintings on each bottle (some easily identified as Hershey’s Cocoa Powder and syrup containers) but this piece worked extremely well. It provided commentary on the nature of consumerism and vibrancy of pop culture imagery in Punjabi society.
I’m a huge fan of Packard Jennings. He created yet another amazing project emblematic of our time – Destructables. Please click on the image below and check out the site. A wonderful resource for creative dissent!!!