Viewers of contemporary art are often invited to involve themselves actively in artworks, by entering installations, touching objects, performing instructions or clicking on interactive websites. The chief frustration of actions is that it cannot be named or compassed in words as they are unfolding they can be named and understood only when they have ended – often a long time after they have ended. ![]() ![]() The chief hazard of action is that it has effects that are uncontrollable, unstoppable, and unpredictable. The performance demonstrated that the tendency towards dehumanization can become intensified when the artwork's content is political, thereby provoking hostile and distancing effects refracted by contemporary geopolitics. The degree of self-censorship and accountability that exists in face to face interactions became nullified by the process of remote participation which encouraged deindividuation and antisocial or dehumanizing behavior. The use of virtual electronic media in its process of participation radically altered the structure of collaborative activities by its production of the abject through the detachment conferred by distance and anonymity. The performance Domestic Tension (2007) by Wafaa Bilal used political content to create relationships with audiences that provoked the re-realization of attitudes, experiences and identities that have been suppressed or distanced by the concept of liberal democracy.
0 Comments
Leave a Reply. |