"Y’Barbo works with technical, technological, evidently computer-generated imagery, speaking of the way we try to quantify and even commodify our lives. But he doesn’t argue against the computer's lack of humanity so much as he tries to humanize it, to bring it down – or up – to our scale.”

Peter Frank - Critic for the Huffington Post, Senior Curator at the Riverside Art Museum, and former Editor of THEmagazine Los Angeles.

Monday, 9 May 2011

Terror in Reproduction

This project focuses on the role of terror in reproduction and the phantasmic illusion of communication and the media, citing Jean Baudrillard’s The Spirit of Terrorism in comparison to the duality of representation in Jasper John's Corpse & Mirror and the silent exasperation of restrained communication in Jim Dine’s Car Crash(1960). 
           What is the commonality between the spectrum of America (which maybe by itself the epicenter but not the embodiment of globalization) and the spectrum of Islam (which is conversely not the embodiment of terrorism)? I hope to create work that attempts to help all of us to come to terms with this now-current recent history.
           The realisation of this project is achieved through the use of silk screen prints and digital reproductions of John’s Corpse & Mirror in relation to video work of news footage from 911. By comparing Johns’ work to footage of the 911 attacks, I intend to draw a parallel to two seemingly identical forms and the doubling morbid truth of the falling towers.
In addition, I will reference Jim Dine’s Car Carsh where Dine plays a mute automobile locked in frustrated communication, evoking anxiety around memory and shared cultural artifacts. During Dine’s performance, laughter was an element used to relieve anxiety in the same way that frenzied, child like celebration is used to alleviate the social misunderstandings of the traumatic event of death. By using media footage of Americans celebrating Osama’s death, Muslim celebrating 911and reproduced elements of Dine’s work,  I’ll attempt to convey the anxiety in misunderstood and impeded communication.
  The use of found footage and screen printed elements secure the mechanized means of reliving these events and denotes the mechanisms through which we understand horrific events as central to human subjectivity, which describes a history of visual representation. Using media footage and examples of reproduced materials captures a thick stream of loaded symbols that are apt to go off at a moment’s notice.

Jean Baudrillard’s The Spirit of Terrorism

Celebration III Online Footage, 2011

Celebration I Online Footage, 2011

 Celebration II Online Footage, 2011

Celebration IV Online Footage, 2011

Reference to Jim Dine's Car Crash Documentation, 2011