“FOMO” at Friche la Belle de Mai, Marseille
Scoli Acosta, Robert Breer, Rémi Dal Negro, Tacita Dean, Stefan Eichhorn, Omer Fast, Mounir Fatmi, Anne-Valérie Gasc, Dominique Gonzalez-Foerster, Marina Gadonneix, Pierre Huyghe, Ann Veronica Janssens, Norma Jeane, Gordon Matta-Clark, Anita Molinero, Robert Montgomery, Alexandra Pirici, Elisa Pône, Stéphane Protic, Random International, Ryder Ripps, Fabrice Samyn, Jean-Baptiste Sauvage, Melanie Smith, Daniel Steegmann Mangrané, Stéphane Thidet, Penelope Umbrico
“Never heard of FOMO ? You’re so missing out!” Hephzibah Anderson, The Observer, Sunday 17 April 2011
In 2003, Tate Modern in London presented Olafur Eliasson’s “The Weather Project”. Never before had a contemporary artwork spread through the Internet like this. Thousands of images of the monumental installation were broadcast all over the dematerialised web, catapulting the Danish-Icelandic artist and the Turbine Hall to the pantheon of the contemporary culture. This highly seductive artwork gave contemporary art license to thrill and attract a larger audience and wider visibility than ever. The work toyed with the feeling of taking part in an unmissable time and space, the urge to live and share it, in order to endlessly replay the famous “I was there”.
In 2011, a series of articles appeared after the publication of a post on the New York Times website entitled “Feel Like a Wallflower? Maybe It’s Your Facebook Wall”. The FOMO (or “Fear Of Missing Out”) syndrome was born. The text discusses a pathology which is spreading that the rate of spams and is identified through the following symptoms: feelings of anxiety, helplessness, and irritation.
This is combined with an extraordinary capacity for splitting oneself and “being everywhere”, divided and omniscient at the same time. The 20th century fifteen minutes of glory are transformed into nanoseconds. Though being everywhere doesn’t imply being nowhere. Multiple feelings of belonging are combined in a universal way of life. These are the thoughts of millions of connected Internet social networkers who make their present a future past on platforms like Facebook or Instagram.
The FOMO exhibition concentrates on three cliché diachronic and meteorological stakes that are characteristic of the contemplation of a re-erected landscape. Sequenced on three floors of the Tour-Panorama (alternately dawn, midday, and twilight), the show is also built around the participation of the visitors, who are invited to seize new epistolary forms.
“FOMO” is at the heart of the 2015 Spring Festival of Contemporary Art in Marseille which takes as a starting point the invention of photographic postcard by the entrepreneur Dominique Piazza in this city in 1891. Already in the air and the spirit of the time, the postcard enabled a worldwide spread of fleeting moments, tender thoughts, and more or less remarkable sites. The inventor had been inspired by his exchanges with a friend of his who had emigrated to Argentina. This democratic tool allowed for travel accounts and correspondence, like a distant ancestor of our innumerable data exchanges today.
“The message is the medium”. This widespread statement is as relevant to the postcard as it is in the case of the images and information exchanged on Internet reducing evermore the long voyage that separates now and then.
until 2 August 2015
Above – Daniel Steegmann Mangrané, Azul Entrado, 2014 and Dominique Gonzalez-Foerster, Old Dream (Small Edition), 2012
Anita Molinero, Titre à venir, 2015 and Mounir Fatmi, Mondes parallèles, 1999-2008
Tacita Dean, The Russian Ending, 2001 and Melanie Smith, Xilitla: Dismantled 1, 2010
Jean-Baptiste Sauvage, A.P 43° 11? 55? N – 5° 13? 49? E , 2015
Tacita Dean, The Green Ray , 2001
Penelope Umbrico, Sunset Portraits from 27,7000,711 Sunset Pictures on Flickr on May 4, 2015 and Stéphane Protic, Dawn Stairs, 2015
Random International, Self Portrait, 2010 and Stéphane Protic, Dawn Stairs , 2015
“FOMO” installation views at Friche la Belle de Mai, Marseille, 2015
Courtesy: Friche la Belle de Mai, Marseille. Photo: Jean-Christophe Lett.