Welcome A beautiful performanceObserver highlights a recently opened museum exhibition in a museum not in New York City, and places we know and like have attracted a lot of attention.
My earliest lesson in art history is about the subjective and constructive ideals of beauty. I grew up in the 1990s, Kate Moss and Friends, I remember visiting a museum early on, and I learned that in the early days, women would rather portray women in a more comprehensive body shape. These standards propose a rich, good quality, and no reality than anything you see on Instagram today. We don’t know who sits in Tyania Portrait of Isabella de Este (About 1530), but we do know she wanted to supplement her turban with a rounder chin than a beach ball.
The proclivities of personal aesthetics are still stranger today, of course, and a host of artists examining them have been brought together in “Virtual Beauty” at London’s Somerset House, which features the work of Anan Fries, Andrew Thomas Huang, Angelfire, Amalia Ulman, Aleksander Nærbø, Ben Cullen Williams and Isamaya Ffrench, Bunny Kinney, Frederik Heyman, Harriet Davey, Hyungkoo Lee, Ines Alpha, Minne Atairu, Orlan, Sin Wai Kin, Arvidabyström, Mc Abbott, María Bueya González and Carl Olsson and Carl Olsson, Filipićustić, Michael Wallinger and Qualeasha Wood.
AI influencer Lil Miquela is also included in the mix, and she becomes less fancy when viewed through an artistic lens rather than thinking about her meaning to society – isn’t all influencers artificial for artificial? This is Ulman’s focus Excellence and perfection (2014) is one of the most important works of art in the decade, and it saw her various Instagram-friendly sex characters in four months, from virgins to sugar babies, and finally (post-hearab) health and wellness masters who spit out stupid spiritual value Koans. I watched it because it happened and was shocked by its subtlety. If you don’t know she is an artist, your only clue is that four months are a while, which is too short for many online identities. Ulman said: “Most of the people who get the show and attract it are women… although men are like ‘what? I don’t understand, she looks hot! ””
Kin’s video takes the opposite approach, combining resistance and mixed language with the lessons of speculative novels until their characters feel like life models with deep legends, totem to the trick of daring to doubt their authenticity. Virtual realms can better enhance this attitude. Heyman’s Virtual anti-corrosion (2018) saw artists creating digital tombs for Isabelle Huppert, Kim Peers and Michèle Lamy, capturing their 3D images, but modifying them to make their bodies look like they wanted them to be. The grave of her peers takes the form of an abandoned Asian hotel, with her avatar hanging from marble sheets on the S&M belt. Would you like to tell her that she should represent her as an old woman? No version attenuates or represents a lasting self.
Oran’s Omniprésence (1992) saw her cosmetic surgery worldwide, but the Stranger is still Angel Forre’s CGI creation, who created a body that never exists in the real world. The diversity exhibited in this show makes the self a compelling case where the diversity of the show makes the self the ultimate boundary.
“Virtual beauty“Until September 28, houses in Somerset County can be seen.
