Can human beings mutate into we are historically used to call “gods” with the help of advanced technology? The Shanghai based artist discusses her interest in the physiology of the human brain, religious narratives, and the aesthetics of gaming and anime in relation to her hyper-stimulating, arcade-like installations.
The question of who has the right to speak on behalf of whom, and how or whether artists should lend their support to causes that are not their own, has been a feature of recent protests against the exploitation by white artists of black suffering and the abuse of power by men in the art world. These controversies have made abundantly clear—it should already have been clear—that specific forms of oppression cannot adequately be articulated by those excluded from them.
As part of Haute Ecole d’Art et Design de Genève’s tenth anniversary celebration, the school hosted a two-day conference that analyzed a number of pressing questions and speculations about the present-future.
First things first, though: realism, I was saying. Bourouissa and Courbet share the same principle in which every portrait or representation is, per se, a political act of social inclusion. One can see it from the very beginning of the show, where I’m welcomed by a large-format picture that recalls Diego Velázquez’s ”Equestrian Portrait of the Count-Duke of Olivares.”
I think it was the writer Mark Twain who said that truth is often stranger than fiction, because while fiction is obliged to stick to possibilities, truth is not. I’ve always thought about that statement in relation to found objects that are refashioned into artworks; that these might be possible attempts at revealing different truths about the world without having to produce any kind of cheesy commentary.