VMNOTSAFE SAW VIDEO AND CONTEXT

Ritual And Rationale

VMNOTSAFE presents digital art 

“The significant context explores cultural heritage by linking it to rituals and religion, whose liberating structure and automated freedom allow for mindspace. Referencing psychoanalysis and psychology by studying the responses to stimuli incorporating somaesthetics ( treating the body as a sentient being). I scrutinise the visual matter with  a focus on gore, process and attitude. I extract their dominant qualities visually and contextually. I consider the maker and understand the therapeutic and cathartic quality of making the work, which references art therapy. I engage my practice with the theory of affect and trauma, the grotesque and situate my practice within the contemporary framework of the media age, which evokes people’s desire to communicate. The theories provide a positive model of looking at affect and trauma, whereby  we can attain personal gain of art memory and the de-structuring quality of the after image.”

 

While focusing on cultural heritage she references the book “Wilder Mann ou la figure du sauvage” which explores the savage figure. This international phenomenon is part of Bulgaria’s tradition of shunning evil spirits from a village by presenting masked people or  “kukeri” resembling “monster- embodiments”. 

 

The abject body is an area of concern as it relates to the “ kukeri “ and the foundation for the video context.

Taking into consideration that the “abject-body”, as a concept, is about an irregularity in a controlling institutionalised society: “As Michael Foucault has argued, the abnormal body is an entity of fear formed in correlations with a set of institutions of control.” (Cross,2006) 

 

The uncanny : "...the value of the uncanny lies in the capacity to penetrate and unsettle the conscious self of the viewer.This process, Freud argued, is brought about because of the emergence of latent unconscious information. The uncanny destabilises the spectator and places them in a curious in-between space where the unfamiliar is curiously interpolated into the familiar and vice versa.’ (Cross,2006) Utilising the uncanny she creates a permeable threshold into a particular psychological state. 

 

The ‘in-between’ : “Homi Bhaba is one theorist who has suggested that on the border of being ‘in-between’ is a powerful position from which to challenge and reconfigure conventional social identities and sexualities.”(Cross,2006) VMNOTSAFE aims to achieve this effect and create an optional threshold, where some people can choose to step over and immerse themselves in the experience. 

 

Affect-Voyeurism and Spectatorship are two major/ significant themes persistent in the artwork.By utilising found footage, the artist re-contextualises and manipulates the footage, so that it conveys and connects the material via a backbone idea or borderless communication. Consequentially to affect the foundations of the subconscious, reflected in culture. By employing ritual and rationale as the basis for “mis-en-scene”, she seeks to use the medium of video and sound to create an audio-visual emotional experience. The juxtaposed videos evoke certain intense feelings and raw emotions by denoting Byzantine roots,as well as religion,rituals and inferred context: ritualistically they would perform a slaughter and foretell the future based on the blood’s path, hence the use of a cow and a lamb halal severing. 

 

BIBLIOGRAPHY:

Cross, D. (2006). SOME KIND OF BEAUTIFUL: THE GROTESQUE BODY IN CONTEMPORARY ART. [ebook] Queensland, pp.12-36. Available at: https://www.researchgate.net/ publication/306940658_David_Cross_-_CV [Accessed 20 Aug. 2019].