The different ways in which the self has been depicted, referenced, imagined,Īrchaeologies of the Selfie presents pieces from the enduring matter that is the rhetoric around the self, reinvigorated today by the nature of contemporary image production, positioning the selfie within an art historical trajectory that has accompanied this social, anthropological and psychological phenomenon. Inherently explores, in their process of making, medium or in their imagery, These markers are exhibited with pieces by Milton Machado, Cao Guimarães, Pauloīruscky, Wesley Duke Lee, Vicente de Mello, André Severo and Vasco Szinetar – each of which Self-referential in its making, nonetheless results in an obliterated image. Ohtake, which she painted wearing a blindfold and while being explicitly Ultimately all selfies are self-portraits – and Untitled (1961) by Tomie The core pieces, or historical anchors, of Archaeologies of the Selfie are two Paulo Bruscky, Xeroperformance, 1988, Xerox on paper, 2 parts, 32,5 x 21,6 cm each. No one could have known either that in a matter of weeks the world would confront the pandemic of COVID-19 at a planetary scale, turning the meaning of selfies upside down, from head to toe,” he adds. “Suddenly, unexpectedly, the utmost narcissistic practice of image-making turned out to be the most effective way to reach others, offering testimony, breaching distance, overcoming reclusion and ultimately showing our resilient, living community, as it faces and triumphs over the dread of global illness. “No one could have known, when we opened the show, that selfies would be radically transformed in their very intentions, becoming the most important means of visual communication among people, as they are forced to confinement and quarantine,” the curator says in an email communication sent by the gallery. Courtesy: Galeria Nara Roesler Cao Guimarães, Portraits # 16, 1990/2016, inkjet printing on cotton paper, 40 x 60 cm. Courtesy: Galeria Nara RoeslerĪndré Severo, Untitled, 2019, collage, 18 x 13 cm.
#Over the head selfie collage series
Imagery.’ Vasco Szinetar, from the series Frente al espejo, 1983-2020, 5 photos of 19.9 x 30 cm and one piece of 17 x 13.1 cm. Of self-representation and image obliteration –in Pérez-Oramas’ words, as anĮxercise of ‘deconstruction of the selfie and reconciliation with slow
Photographs nor of selfies, but rather as a curatorial commentary on the dialectic Of the Selfie thus emerges from this archè, not as an exhibition of The selfie beginning with the fantasized image of Narcissus’ luring and
Concomitantly, the narcissistic autarchy of the individualĪddresses the social use of photography as a means of self-representation –Įither realistic or fantasized – and as a token of one’s existence.įrom this perspective, one can establish an archaeology of Photographers by having access to devices that produce easy and increasingly Selfie as a symptom of the social use of photography, whereby we can all become The exhibition curator Luis Pérez-Oramas begins by contextualizing the case of the selfie through two concurrent ideas: Pierre Bourdieu’s theory of Middle-Brow Art and the narcissistic autarchy of the individual.įollowing Bourdieu’s approach, Pérez-Oramas situates the On February 27 th, Galeria Nara Roesler | New York opened Archaeologies of the Selfie, an exhibition commenting on today’s phenomenon of mass image production and dissemination arguably conflated in the recent genre of the selfie.
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