latex mask, pedestal, iron, servomotor, arduino, projector
ruídos e ausências contínuos
curated by Guilherme Texeira at Galeria Sancovsky;
ArteLondrina7 curated by Danillo Villa and Clarissa Diniz
at DaP – Divisão de Artes Plásticas
vedettes, is articulated in logics of surface, seeking to make explicit the image as superficiality (without depth), which is the very condition of the vedettes. This logic is in the thin mask and in the projection that touches the skin. It should be important to note that the light comes from another element so as to make it clear that there is an image transmitter (the contemporary vedette does not carry her own image). Added to these projections, the mechanical movement, desynchronized, seeks to create a mismatch between the different elements of the work, the image and the mechanics behind it. However, the work has an ambiguity: presents these images as surface, deformed by the repetitive-mechanical movement and, at the same time, seduces the viewer with these same images, with the consumption of these figures, their lips and their charm in front of the cameras.
According to the sixty thesis of the Society of the Spectacle of Guy Debord “The vedette of the spectacle, the spectacular representation of the living man, concentrating in itself the image of a possible role, concentrates, therefore, its banality. The vedette condition is the specialization of the apparent lived, the object of identification with the apparent life without depth, that must compensate the shattering of the productive specializations actually lived. Vedettes exist to represent varied types of lifestyles and styles of understanding of society, free to act globally. They embody the inaccessible result of social work, imitating by-products of that work that are magically transferred above it as its purpose: the power and vacations, decision and consumption that are at the beginning and end of an undisputed process. “