Art
Watch this page for inspiration from Contemporary and New Media Art with investigative journalism and purposeful narratives
Rhythm 0 (1974) / Marina Abramovic
In 1974, Marina Abramovic performed in which she said to visitors she wouldn't move for six hours, no matter what they did to her. She made available on a table on her side 72 objects that could be used to please or destroy, including from flowers to a knife and a loaded gun. She invited visitors to use the objects in her any way they wished. Initially said Abramović, visitors were peaceful and shy, but quickly turned violent: ′′ The experience I learned was that... if you leave the decision to the public, you might be killed... I felt very violated. They cut my clothes, they put rose thorns in my belly, one person pulled the gun at my head, and another pulled the gun close. This created an aggressive atmosphere. After exactly 6 hours, as planned, I got up and started walking towards the public. Everyone ran away, escaping from a real confrontation." This performance revealed something terrible about humanity, similar to Philip Zimbardo's Stanford Prison Experiment and Stanley Milgram's Obedience Experiment, also showed how fast people are they take off depending on the circumstances. This performance showed how easy it is to dehumanize a person who cannot defend themselves, and is particularly powerful because it challenges what we think we know about ourselves.
The Lucifer Effect And Humanity's Evil In 10 Works Of Art
Mirrors, in Borges words, trouble the depths. They exist in the reflection of light, outside of the image, simultaneously expanding a scene and constituting its border, its limit. Mirrors are interactive, yet blind; however, Walrus’s manipulation of the image proposes a mirror that partially sees us, understands us, and explicitly constructs a representation of us. An idea of us.
The installation also inserts the dynamics of computational ubiquity and surveillance in which our identity is partially defined by the objectification of being "the surveilled".
“The day when virtual reality becomes more powerful than reality will be the day of the big accident. ankind never experienced such an extraordinary accident.” – Paul Virilio
Extraordinary Accident is a virtual reality artwork that reflects on Hong Kong’s urban experience, focusing on the differences and similarities that different perceptual scales may offer.
VR researchers and artists often focus on either somewhat futile quest for hyper-realism, or in a sometimes infantile assumption of a post–historicity that tends to ignore centuries of visual research and development.
This dichotomy does resonate strongly with Hong Kong’s contemporary and historical duality. Hong Kong is a city that has long been defined by successful navigations of explicitly opposing forces that simultaneously negate and reinforce themselves. Forces that have propelled a city unique in its ability of defining its own historicity.Extraordinary Accident consists of a VR experience aiming to explore this fractal coexistence of different realities in Hong Kong.
She's Gone (2019) / Keren Yehezkeli Goldstein
She’s gone is an art installation protesting against the global phenomenon of gender-based murder performed by spouses and other family members. The installation sends a cry of silence on behalf of all innocent victims who were murdered because they were women. Between 2010 and 2019, no less than 189 women and girls have been murdered in Israel alone. Some cases have never been solved.
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