@tigrenpapier
model Horia
Opening: 22 Feb // 19.00 - 22.00
22.02 - 15.03
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Lorena Cocioni / Tincuța Marin / Smaranda Ursuleanu / Roxana Ajder / Ioana Iacob / Agnieszka Grodzińska / Sibi Bogdan Teodorescu
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Lorena Cocioni / Tincuța Marin / Smaranda Ursuleanu / Roxana Ajder / Ioana Iacob / Agnieszka Grodzińska / Sibi Bogdan Teodorescu
SOON THIS BODY WILL BE STILL
[looking]
The image of the body, the body in an image. A critical attitude may be born along with framing. Framing is a decision, an action taken to fuel the idea of display. The author can decide if the framed content is representing an object or a subject. Serving the gaze, screen surrogates could tease your fulfillment, the ego of your libido accessing beauty after a five minute tutorial. You are alienated with the presented subject. Are you emphatic, or are you attracted in this loop which may reproduce conditions of human perceptions through a passive action?
The image of the body, the body in an image. A critical attitude may be born along with framing. Framing is a decision, an action taken to fuel the idea of display. The author can decide if the framed content is representing an object or a subject. Serving the gaze, screen surrogates could tease your fulfillment, the ego of your libido accessing beauty after a five minute tutorial. You are alienated with the presented subject. Are you emphatic, or are you attracted in this loop which may reproduce conditions of human perceptions through a passive action?
[body talks and history]
Narration through the keyhole may not be necessary when you have everything displayed. Visual pleasure is a thing, but the important thing here is that across history, people preserve images. Images on the walls of caves, images in museums, images in porn magazines and all around the internet. The body talks about a specific moment in time, about stereotypes, about social standards. It resumes many possibilities of language, and sometimes not through body language, but by its look.
Narration through the keyhole may not be necessary when you have everything displayed. Visual pleasure is a thing, but the important thing here is that across history, people preserve images. Images on the walls of caves, images in museums, images in porn magazines and all around the internet. The body talks about a specific moment in time, about stereotypes, about social standards. It resumes many possibilities of language, and sometimes not through body language, but by its look.
[body-who?]
Are we living in a post-mythology era, or mythology is living through us? Symbols and apparitions. A hairwave, a shell. The wind that blows around you. All is set up. Zephyr could be a synonym for the electric fan that blows beneath skirts or dresses nowadays in photography or television. Mythology and its remake. Some characters are pre-fabricated, conditioned by their heroic or, non-heroic appearance. The one who is inhabiting the image is consumed by the image and doesn`t give us any clue about who he really is. The eyes of the beholder are confronting speculations.
Are we living in a post-mythology era, or mythology is living through us? Symbols and apparitions. A hairwave, a shell. The wind that blows around you. All is set up. Zephyr could be a synonym for the electric fan that blows beneath skirts or dresses nowadays in photography or television. Mythology and its remake. Some characters are pre-fabricated, conditioned by their heroic or, non-heroic appearance. The one who is inhabiting the image is consumed by the image and doesn`t give us any clue about who he really is. The eyes of the beholder are confronting speculations.
[intimidation]
Some powerful images interact directly with shame. Ugliness, for instance, can interact with our fear of being ugly and generates intense reactions. As you discover you are naked you might develop a need of being covered, or to hide. We all know `two of them` who are represented behind leaves. Being a witness to others nakedness could generate you an illusion of access. You can adore, you can judge, you can consume. You may think that the vulnerability of others is displayed here for you, and make an instrument out of it. The nakedness of others might generate an empowering satisfaction for the beholder, while the beholder might be fooled.
Some powerful images interact directly with shame. Ugliness, for instance, can interact with our fear of being ugly and generates intense reactions. As you discover you are naked you might develop a need of being covered, or to hide. We all know `two of them` who are represented behind leaves. Being a witness to others nakedness could generate you an illusion of access. You can adore, you can judge, you can consume. You may think that the vulnerability of others is displayed here for you, and make an instrument out of it. The nakedness of others might generate an empowering satisfaction for the beholder, while the beholder might be fooled.
Alexandra Mocan
