This exhibition shows the trend to hide, alter or mask the face. A trend visible in art, fashion and the media since the turn of the century. From avant-garde masks to works that force open a dialogue with facial recognition software, surveillance cameras, and drones. An exhibition on seduction, surveillance and privacy. With 100+ artworks, workshops on anonymity as a form of rebellion, lectures and more.
Briefly elucidated here, Jon Rafman of Montreal, is a great reason to see the new Robocop film. Unless you can ignore shitty acting and Hollywood’s habitual, almost reflexive, tendency to ignore the elements that made the first movie great.
I also feel like we’re missing a ripe opportunity to talk about the choice of art in Sellars’ office.
Initially they are some impossibly large Francis Bacon paintings – understandably enough as his work tends to elicit the madness of man in the machine age. But post-Murphy flambé the art switches to some work by Montreal-based Jon Rafman’s The New Age Demanded series.
While evocative, I can’t help but think that who ever made the selections could have chosen pieces that felt far more appropriate than the rather boring, flat works we see in the movie.
Above are the images I would have chosen for Sellars office.
The slides from my CAA presentation. The paper will follow soon.