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A Sobering Time Capsule of Humanity

A Sobering Time Capsule of Humanity

A Sobering Time Capsule of Humanity

Robert Wilson, “Woman Gaga: Mademoiselle Caroline Riviére” (2013), digital video with sound; music by Michael Galasso (all pictures Sheila Regan/Hyperallergic)

For the exhibition Message from Our Planet on the Weisman Artwork Museum in Minneapolis, curator Jason Foumberg introduced collectively 19 worldwide artists who use digital media of their work. The exhibition takes inspiration from a time capsule included in Voyager 1, the area probe launched by NASA in 1977, containing a file of human civilization.

Tabita Rezaire’s video work, “Sorry for Actual,” (2015) follows a telephone name to outer area from the Western world, apologizing for crimes towards Africans and Afro-descendants. As a cellphone glows, the “Converse & Spell” sounding voice apologizes for slavery, racism, Islamophobia, homophobia, and for claiming to have found the g-spot. The unseen recipient of the telephone name mocks the apologizer via a chat trade with one other good friend. They quote Tupac and reject the apology whereas a telephone floats towards an autonomous existence in outer area.

Within the video “Time Traveler ™” (2007-14) by Mohawk artist Skawennati, a protagonist from the longer term travels to important moments in Indigenous historical past just like the US-Dakota Struggle and the Occupation of Alcatraz. Skawennati created the work as a machinima (machine cinema) utilizing the 3D digital world platform, Second Life

Tabita Rezaire, “Sorry for Actual” (2015), digital video with sound, 16 minutes, 48 seconds

Some works within the exhibition, together with Robert Wilson’s “Woman Gaga: Mademoiselle Caroline Riviere” (2013) use Twenty first-century applied sciences to reinterpret artwork historical past. Within the video work with sound, the pop star is dressed as Jean-Auguste-Dominique Ingres’s portrait of the identical title, sans Gaga, (1805). In Wilson’s model, birds cross behind the topic, her eyelashes flutter, and a haunting rating by Michael Galasso performs quietly. Already an iconic determine herself, Gaga’s presence transfixes the viewer in the identical manner because the work’s unique topic.

Paul Pfeiffer’s silent lopped video depicts the final minutes of heavyweight boxer Bermane Stiverne shedding his world title in “Caryatid (Stiverne)” (2018). The work is fascinating in the best way it erases the violence of the motion. The artist digitally omitted Steiverne’s opponent, leaving solely an excoriating view of the boxer’s face rippling with punches. By taking away the sounds of the ring and the victor himself, Pfeiffer critiques the best way that hypermasculinity is glorified within the sport of boxing, and in our tradition extra broadly. Deleting the victor takes away his glory. 

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Skawennati, “Time Traveler ™” (2007-14), digital video (with sound) in 9 episodes, 75 minutes, 43 seconds

“White Tower,” (2007) by Jenny Holzer, punctuates the exhibition properly. Hyperbolic phrases scroll up with flashing lights. “Don’t management or manipulate,” Holzer writes. “Make amends. All of it has to burn. It’s going to blaze.” The frantic, post-apocalyptic tone of the messages locations the work within the aftermath of late-stage capitalism, represented by the towered construction of the tower the place the phrases scroll repeatedly. A message for the tip of the world certainly.  

As an entire, the artists in Message from Our Planet, use numerous technological instruments to shake the viewer awake. We aren’t getting into the best route, a lot of them appear to be saying. Get up and alter the world earlier than the planet isn’t right here anymore. 

Jenny Holzer, “White Tower” (2007), light-emitting diodes (LEDs) with white, with customized electronics and chrome steel

Message from Our Planet is on view via Might 21 on the Weisman Artwork Museum in Minneapolis, Minnesota.

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