Screens, Affections and Stages

  

The street is now lonely, anonymous territory. Screens have become the primary means
of everyday communication. A stage that is both a boundary and a conduit to other faces
multiplied in other windows; projections of our desire to connect with others. It is also an
arena for expressive research into the many different facets of our subjectivity, for
experimentation with identity and self-image. An endless array of filters and effects are
available to chart and change our faces. We see this in the work of Flavia Da Rin, who
explores infinite variations of herself through self-portraits and digital photography. A
photographer, performer, DIY stylist and digital painter, she works in ritual private solitude
at home and in the studio, pointing her lens at different wigs and accessories or trying out
expressions and body movements that she then cuts, pastes and modifies on her computer,
creating new characters that are also representations of the artist herself.

Our bodies are more technological than ever: a hologram that appears on the screens of
friends, family and work colleagues, one that sends a notification asking permission before
appearing. We communicate through interference and distortion, often with our faces
pixelated or robotic sounding voices indicating that something is wrong with our connection.
Society has shifted onto the network, education to Zoom and news, both genuine and fake,
has gone viral. Our screen gaze has become more real than ever. We are torn between
exhausting hyper-connectivity, the need or obligation to be productive, and procrastination.
The lock-down gives rise to contradictory emotions ranging from social phobias to keenly
missing the people with whom we would usually spend our days. Meanwhile, the everyday
normality we used to know seems ever further away. In its stead we seek to create dynamic
virtual alternatives through which to form our emotional bonds.

If, under the current circumstances, images dominate the way we socialize, what role does
art play in this coming together of technology, subjectivity and emotion? How can art help us
to stay together via a screen? Are we simply trying to transfer our lives into the virtual realm
or are we creating new forms of feeling that will change the way we act in the future?

                                                            Laura Hakel, curator at Museo de Arte Moderno
                                                                                                                 

      

Flavia Da Rin

Flavia Da Rin
Sin título [Untitled], 2005
Lambda print
100 x 103 cm

New online

Novedad Da Rin

    

    

    

The book that accompanied the exhibition Flavia Da Rin: Who’s That girl? is now freely
available for all. The publication is a look-back over twenty years of Flavia Da Rin’s work,
through a careful selection of her works and a visual exploration of her influences across
various different projects, with her own graphic interventions. These landmarks in her
oeuvre are accompanied by an in-depth discussion between Da Rin and her teachers,
Diana Aisenberg and Guillermo Kuitca. The book also includes essays by Rafael Cippolini
and I. Acevedo, and a curatorial text by Laura Hakel.

Nina Kovensky
Interferences 1, 2019
Video
2:22 mins

Nina Kovensky
Interferences 3, 2019
Video
3:05 mins

Básica TV
Acrobásica, 2018
Video
2:30 mins

      

WORKS AS QUESTIONS:
TOOLS FOR TEACHERS.

Digital technologies and the internet intervene in our way of interacting
with our own and others’ images. In the constant exercise of
self-representation we inhabit the tension between our own tastes and the
canons imposed on us. Out of these tensions and ambiguities we build our
own stories and project ourselves to others. A meditation on screens as a
territory of self-construction and a new frontier between ourselves and the
world we present a series of works by Flavia da Rin, A Party to Drive the
Terror from the World.