Title : "SEDUCTION"
Medium : Archival Pigment Print
Size
: [40X70]+[40X27] inches
Year : 2008
 

postvisual world

Curated by Gitanjali Dang


In an age where the death of virtually every art practice has been announced, it would be scandalous to suggest the death of the visual. Postvisual world does not assert or imply the demise of the image. It merely postulates that fatigue is taking over.

The connect between the visual stimuli and its receiver has eroded and each image is received, if at all, as a dormant creature. Controlled environments, such as the one offered by a gallery could be could, being the operative word a possible exception to the rule.

This is not a photography exhibition. It is a vivisection. Each triptych scalpels the distended mass of postvisuality in which it is embedded. The images are specimens of postvisuality.

The postvisual conundrum is particularly ironic since we are all habitués of a communications landscape, where glib visualities collide withthe hope that new desires will beborn.

The participant photographers have contributed a triptych each. Panel one, appraises the aesthetics of urban consumerist landscapes and in the process enables us to assess our fascination with a homogenously seamless consumer culture. Panel two, implicates the photographers as we encounter their auto-portraits.And in the final panel the photographers plunge their lenses deep into the megalomaniacal heart of the city.
To draw final blood they incarcerate the city’s denizens in portraits.

With these triptychs one hopes to establish linkages, that will be startling in their visuality, and will explore consumerist landscapes as possible roadmaps to our future. With postvisua l world , one intends to reach down to the imperfect aesthetic roots of burgeoning consumerism.

Within this exhibition postvisuality has a double theoretical framework: on the one hand, it assesses the cold, hysterical and hard-nosed aesthetic of urban landscapes; on the other hand, it hopes to follow the thread of postvisuality and observe how it splits its end – be it by way of appropriated and/or found image, performative photography or the purposefully mutated image.

(Excerpted from Gitanjali Dang’s essay for the exhibition)