![Decenter, Installation View- Part 2, [artists’ studio, OCADU, room #158], 2011
Media, as a controlled application dependent on geographical and political situations, is deconstructed in ‘Decenter’. “One believes that power manipulates the masses through the popular media. One can also think that the reverse is true: it may be masses who neutralize and destabilize through the popular media” (Baudrillard 145). Today we experience uncontrollable expansion of cultural exchanges. In this situation “there are no longer cultural roots to sustain forms, no exact cultural base to serve as a benchmark for variations, no nucleus, no boundaries for artistic language” (Bourriaud 4). To accentuate this shift from benchmark to variations, ‘Decenter’ directs the viewer’s attention from a final looped video, to the process of its production, installed in artists’ studio.
‘Decenter’ is a two-part installation: a single video, which constantly reveals the conventions of the media, and a represented room of production. Media conventions are revealed in many different ways: usage of green screen, the changes in the backgrounds and so on. A different version of the same video is displayed on a separate screen. This installation decenters and shifts the attention from a unified and complete artwork to the process of its development.
Bibliography
Baudrillard, Jean. “The violence of Indifference”. The Conspiracy of Art. Ed. Sylvere Lotringer. Trans. Ames Hodges. New York: Semiotext, 2005.
Bourriaud, Nicolas. “Altermodern”, Tate Triennial, 2009.](http://28.media.tumblr.com/tumblr_lw5kzw9CpE1qbw1wko1_500.jpg)
Decenter, Installation View- Part 2, [artists’ studio, OCADU, room #158], 2011
Media, as a controlled application dependent on geographical and political situations, is deconstructed in ‘Decenter’. “One believes that power manipulates the masses through the popular media. One can also think that the reverse is true: it may be masses who neutralize and destabilize through the popular media” (Baudrillard 145). Today we experience uncontrollable expansion of cultural exchanges. In this situation “there are no longer cultural roots to sustain forms, no exact cultural base to serve as a benchmark for variations, no nucleus, no boundaries for artistic language” (Bourriaud 4). To accentuate this shift from benchmark to variations, ‘Decenter’ directs the viewer’s attention from a final looped video, to the process of its production, installed in artists’ studio.
‘Decenter’ is a two-part installation: a single video, which constantly reveals the conventions of the media, and a represented room of production. Media conventions are revealed in many different ways: usage of green screen, the changes in the backgrounds and so on. A different version of the same video is displayed on a separate screen. This installation decenters and shifts the attention from a unified and complete artwork to the process of its development.
Bibliography
Baudrillard, Jean. “The violence of Indifference”. The Conspiracy of Art. Ed. Sylvere Lotringer. Trans. Ames Hodges. New York: Semiotext, 2005.
Bourriaud, Nicolas. “Altermodern”, Tate Triennial, 2009.
