Facetunes

Bielefelder Kunstverein

- 5 November 2017

bielefelder-kunstverein.de


In its exhibition “Facetunes”, the Biederfelder Kunstverein presents a collection of contemporary artworks that explore the changing status of the face in the light of current social and technological developments.




Our face is our first visible presentation when coming into contact with the world and our fellow human beings. All our senses are united in our faces and it clearly communicates our mental and emotional inner life. This is why portraits are one of the oldest and most popular forms of representation in art. With digitalisation, in addition to representing our natural face, there is also the phenomenon of a version falsified by photo manipulation, and the digitally produced, artificial face. It is therefore no longer the case of representing the face as precisely as possible but rather to move as close as possible to the optimised ideal image of it.

The exhibition “Facetunes” examines the role the face plays in an era in which depictions are produced and published ubiquitously and without restrictions.

The question at the heart of this is the extent to which the conditions of development and the significance of the portrait have shifted in the light of technological and social changes. On show are works by contemporary artists who depict faces using various media or use them as part of their work. On display are videos, photographs, images and installations by Paolo Cirio, Albrecht Fuchs, Kate Cooper and Britta Thie. Kate Cooper’s work focuses primarily on representing people in commerce and capitalism. A central role is also played by the body as a commercial commodity serving the presentation of objects and values.

Bitta Thie is known, amongst other things, for the six-part YouTube series “Transatlantics”, which she published in 2015. Central roles are played by the pressure to define oneself and marketing the private life of a generation which has to manage the leap from a non-digital society to a digital one without losing itself in trivia through permanent networking.

In its selection of artists, “Facetunes” achieves a discourse about the face as a medium that shows humans in all their depth, sometimes warping it beyond recognition.




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Nº 273
Designing Protest

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