January - March 2018
Rehearse on rehearsal
from the beginning of his career he adopted a way of working that tends to reject conclusions, he rather articulates his intention. he has, that is, put the idea of rehearsal at the heart of his practice. his research has been deeply influenced by the specificity of the sites where he works: the architectures that house them, the society, culture and politics that constitute them. he investigates the parameters of proposal versus object, the mechanics of language and the ambiguity of meaning and perceiving. he produces a complex and diverse body of work that includes intervention, installation art, sculpture, photography, video and performance as “a sort of discursive argument”.
his research emphasises on the employment of the richness, diversity and depth of cultures to animate art concepts in a socio-political context. In the realm of globalized ideas of progress, art have come to express a certain degree of sameness around the world. We wherefore need more than ever to understand and cherish all cultural diversities and contributions of various cultures and societies. he views contemporary art as not as an international movement of style which can be located within one specific culture, one single history or space, but rather as a set of cultural transitions.
If it does not blast in Belfast, it blasts in Baghdad: The transformation of aesthetics and politics.
A multifaceted project investigates the influence of Digital Media developments on public opinion within the changing status of political, social, cultural and economic landscapes. It tackles how the Digital Media developments have obviously influenced public opinion around the world not just in terms of news, but of meaning and mediatization. Propaganda on social media is being used to manipulate public opinion around the world, a new set of studies from the University of Oxford has revealed. At their simpler end, techniques used include automated accounts to like, share and post on the social networks. Such accounts can serve to game algorithms to push content on to curated social feeds. They can drown out real, reasoned debate between humans in favour of a social network populated by argument and soundbites and they can simply make online measures of support, such as the number of likes, look larger–crucial in creating the illusion of popularity.
I intend creating a series of posts, short animations and video clips to be screen on people’s mobile phones to share publicly. I’ll design fashionable mobile phone necklet (holder), thus people could turn the phones to any direction they want. Engaging public libraries, and computer and electronics stores across Belfast to use some of the devices to display my posts and short video clips. With help of DAS I would develop a large-scale 3D cloud shape digital display to be toured across the city; projecting public contributions and my posts, short animations and video clips. This creates a series of ever-widening networks, each working through its own means of communication, thus broadening the involvement of DAS and its activities. Performative and participatory strategy for art practice generate a changing, multi-dimensional perception and experience. In this context, it becomes evident that the concept of artist-author needs to be expanded to an initiator of settings who provides space and process that is open to change.
A portable interactive audio-visual installation that comprises of tripods and tablets could be set at DAS and/or other public venues to present constantly my research outcomes and uploading contributions from the staff, experts and general public. It will enable me to collect data and feedback and play a vital role in constructing narratives.
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