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«Media Addiction. Postmedia Optics - Ukrainian version»

Ukrainian House, November 20 - December 12, 2019

The project was implemented with the support of the US Embassy

The project is a complement to the analytical study Postmedia optics. Ukrainian version, Kiev, ArtHuss, 2019 by Victoria Burlaka (the book was published with the support of the Ukrainian Cultural Foundation).

Artists: Arsen Savadov, Oleg Tistol, Vasyl Tsagolov, Oleg Golosiy, Alexander Gnylytsky, Ksenia Gnylytska, Igor Gusev, Olexiy Say, Ivan Say, Stepan Riabchenko, Margo Reznik, Anna Legenka, Ksenia Oksyn, Ave Libertatemaveamor, Rými Art Group, Iulia Savenko, Iulia Kisel, Iulia Lebid, Olga Drozd, Iuri Syvyrin, Ondriy Sydorenko, Katia Bereznitska, Aliona Grom, Borys Kashapov.

 

Chronic media addiction – such "diagnosis" is most often made to up-to-date painting. But more and more manifestations of this "disease of our time" are being recorded. Or maybe not disease, let,s look at things optimistically. This is our givenness, reality. The mode of existence of a modern man as a whole is to live in organic symbiosis with the media. As we go forward, it is more difficult to pull us away from our gadgets and their absence causes panic attacks and anxiety disorders. Each and every day, we happily get stuck in the global information network looking there not for information, but for surrogate communication, our "fifteen minutes" of daily fame ̶  it becomes necessary as oxygen. Finally, McLuhan's prophecy comes true  so the media become organic extensions of the human nervous system. And what is the most intriguing thing from the perspective of art? That media not only produces specific optical filters, but also forms a model of perception of reality in general. The mediareality, to be more precise, the deceitful mediavisibility, becomes more real than the events taking place with us in the physical world. And the images emerging on the media surface appear to take captive our imagination and desire get possession of special qualities of "fatality" instantly - they are inescapable as fate so there is no sense to resist them.

Hence the concept of "postmedia optics" is coming out. What does it mean? The phenomenology of changing visual perception. Specific optical structures of modern art. How our "vision machine" functions in general. Photographic vision provides new instrumentarium, new access to reality. From the invention of photography begins the counting of the "heroic" expansion of the visible field. The photographer continuously discovers new "continents of the visible", micro- and macrocosm, all facets of human nature, all stages of a person's life journey and all kinds of its collisions - from the cradle to the grave. The avant-garde and modernism art generally chooses for itself the very same modus vivendi. It is transpierced with the discovery pathos - an artist as a photographer is obliged to see the world in a new fashion, expand the area of the visible, each time directly contacting with reality, throwing away the experience of his predecessors. A new aesthetic imperative of the era is born: the highest beauty exists. If to be focused to the correctness of the terminology, the concept of “another mediality” will be more adequate then the concept of “postmediality” i.e. adoption of the artistic arsenal of one media by another, when “the media itself is a message” - here McLuhan's formula takes a new meaning. Each media has a specific set of techniques and artistic devices that compose its media specificity.

Changing media roles leads to irreversible consequences - each media has to rethink radically itself, its mission and possibilities, revise its proper "function of the truth." Search for yourself in a wide cultural, political, aesthetic context is a process without a final result - recording a certain stage of being here-and-now, we should immediately move forward...

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