Alienation: Regarding the Art, the Artist and the Audience.
(2024)
author(s): Julien Hamilton
published in: Royal Academy of Art, The Hague
Thesis of the Royal Art Academy, The Hague, 2024
BA Fine Arts
In the landscape of modern society, alienation is a common denominator to the experience of individuals. Whether this is due to society’s perpetual acceleration, or the experience of life through the ever-present lens of consumerism, alienation is an unmissable part of the contemporary human experience.
This extends to the art world, where the chasm separating an ever-booming global market for the arts, and institutions struggling to get their pre-covid-19 visitor numbers highlight the disparities in the experience of art today.
These disparities will ultimately transpire in the experience of the viewer. But how, and why can art be a catalyst for alienation in late-contemporary society?
This Graduation Research Paper is an attempt at exploring the relationship between the artwork, the audience, and the artist, so as to attempt and provide a comprehensive notion of the ways in which relationships form around artworks, notably through communication theory. This GRP will also explore examples of elements of influence in the formation of communicative structures between the art and the audience. Notably, this paper will discuss the myth of the artist, and its influence as an authority in the experience of art, as well as the influence of spatial context on the reception of art.
The paper will conclude that the artist possesses limited agency in the reception of their artworks, and that in order to provide an honest experience to a contemporary audience, the artist must seek to understand and deconstruct the codes which surround the audience's consumption of art.
Data Holds Your Truths. The Avatar Complex: I trust your gargoyle id more than I trust you.
(2024)
author(s): Megan Annette Irusta Cornet
published in: Royal Academy of Art, The Hague
The Royal Academy of Art, The Hague, 2023
BA Photography
Within this piece of writing, different styles of writing have been approached as a performance strategy, a guise we humans willingly and unwillingly commit to every day, online and offline. The overarching themes this text seeks to tackle are alienation and escapism; what I think are the prominent can of worms which ooze from the Internet. Double-edged swords; beautiful and horrifyingly ugly. Alienation to oneself as well as alienating others through the digital sphere. With serious regard to the importance of avatar customisation as a form of expression, yet also acknowledging the destruction within it, it is also the very thing which is actively dislocating us from the IRL (in-real-life). The core to understanding who you are online, how you present yourself online, compared to who you are behind the screen. The text’s leading objective is to hypothesise a world where humans are given the option (highly recommended) to extract our online data to make more of a truthful analysis of who we really are. The prevalence of how capitalistic structures only feed alienation more. If the future consists of post-human and/or transhuman existence, by transmitting our data to gargoyle avatars, creatures which will take the form of one’s avatar, gargoyles are said to protect what they serve. A new gargoyle is designed by your data alone. Data anthropomorphism, the Avatar Complex.
Do we create enough space for mistakes within the film system?
(2022)
author(s): Carina Randloev
published in: International Center for Knowledge in the Arts (Denmark)
Do we need to make more mistakes to keep the film language alive as cinema window no 1, in a time of high performance streaming platforms? Can we use the open process approach from visual art to do so?
In this exposition I will unfold thematic aspects related to: the audience, the film funding system, open processes, the production value, the space in between (art and film, documentary and fiction), something about language, the mistake, experiments, the ugly, and expectations on format.
The exposition is the result of six months of preliminary Artistic Research conducted at The National Film School of Denmark.