Gallery
Please find here the approved applications to the Social Art Award 2021 – New Greening. The open call was closed on 1 May.
The next Open Call for the Social Art Ward will be opened in 2023.
34
Cage dress and mask
340
Title:
Cage dress and mask
Cage dress and mask
Author:
SANDRA LAPAGE
SANDRA LAPAGE
Description:
What if our current crisis was mainly a crisis of knowledge? What if we realized that the hyper-specialization of our concerns and areas of knowledge were leading us to a myopic, or worse, cynical blindness? How to reestablish a cosmogonic vision of the world, when human evolution is impulsed by technical, economic and scientific development, while there is an evident ethical, psychological and affective degradation? Magical thought is at the base of myths and folklore, offering an analogy between microcosm (human spirit, mind, and body), and a macrocosm (cosmos, universe and nature). In this way of thought, there is a connection between name and thing, between object and image. I believe that it is possible to speak of magic from a secular point of view. After all, Junge speaks of Mana, Bergson of “élan vital”, Jane Bennett of vibrant matter, and Jeremy Narby of universal genetic communication through DNA. I present art as shamanic practice and trance as a source of knowledge, embracing heterogenous epistemologies without falling into superstition. I create sculptures from trash and discarded materials which are often malleable and even wearable, and address a series of environmental and behavioral issues. These sculptures unfold into installations and photo-performances. Control is an illusion, and through the work, I exercise the acceptance of what recycled and everyday materials reveal, from accidents to new processes. The vital materiality of quotidian objects is my starting point and leads me to a reevaluation of the dichotomy between life/inanimate, human/nature.
What if our current crisis was mainly a crisis of knowledge? What if we realized that the hyper-specialization of our concerns and areas of knowledge were leading us to a myopic, or worse, cynical blindness? How to reestablish a cosmogonic vision of the world, when human evolution is impulsed by technical, economic and scientific development, while there is an evident ethical, psychological and affective degradation? Magical thought is at the base of myths and folklore, offering an analogy between microcosm (human spirit, mind, and body), and a macrocosm (cosmos, universe and nature). In this way of thought, there is a connection between name and thing, between object and image. I believe that it is possible to speak of magic from a secular point of view. After all, Junge speaks of Mana, Bergson of “élan vital”, Jane Bennett of vibrant matter, and Jeremy Narby of universal genetic communication through DNA. I present art as shamanic practice and trance as a source of knowledge, embracing heterogenous epistemologies without falling into superstition. I create sculptures from trash and discarded materials which are often malleable and even wearable, and address a series of environmental and behavioral issues. These sculptures unfold into installations and photo-performances. Control is an illusion, and through the work, I exercise the acceptance of what recycled and everyday materials reveal, from accidents to new processes. The vital materiality of quotidian objects is my starting point and leads me to a reevaluation of the dichotomy between life/inanimate, human/nature.
Description:
What if our current crisis was mainly a crisis of knowledge? What if we realized that the hyper-specialization of our concerns and areas of knowledge were leading us to a myopic, or worse, cynical blindness? How to reestablish a cosmogonic vision of the world, when human evolution is impulsed by technical, economic and scientific development, while there is an evident ethical, psychological and affective degradation? Magical thought is at the base of myths and folklore, offering an analogy between microcosm (human spirit, mind, and body), and a macrocosm (cosmos, universe and nature). In this way of thought, there is a connection between name and thing, between object and image. I believe that it is possible to speak of magic from a secular point of view. After all, Junge speaks of Mana, Bergson of “élan vital”, Jane Bennett of vibrant matter, and Jeremy Narby of universal genetic communication through DNA. I present art as shamanic practice and trance as a source of knowledge, embracing heterogenous epistemologies without falling into superstition. I create sculptures from trash and discarded materials which are often malleable and even wearable, and address a series of environmental and behavioral issues. These sculptures unfold into installations and photo-performances. Control is an illusion, and through the work, I exercise the acceptance of what recycled and everyday materials reveal, from accidents to new processes. The vital materiality of quotidian objects is my starting point and leads me to a reevaluation of the dichotomy between life/inanimate, human/nature.
What if our current crisis was mainly a crisis of knowledge? What if we realized that the hyper-specialization of our concerns and areas of knowledge were leading us to a myopic, or worse, cynical blindness? How to reestablish a cosmogonic vision of the world, when human evolution is impulsed by technical, economic and scientific development, while there is an evident ethical, psychological and affective degradation? Magical thought is at the base of myths and folklore, offering an analogy between microcosm (human spirit, mind, and body), and a macrocosm (cosmos, universe and nature). In this way of thought, there is a connection between name and thing, between object and image. I believe that it is possible to speak of magic from a secular point of view. After all, Junge speaks of Mana, Bergson of “élan vital”, Jane Bennett of vibrant matter, and Jeremy Narby of universal genetic communication through DNA. I present art as shamanic practice and trance as a source of knowledge, embracing heterogenous epistemologies without falling into superstition. I create sculptures from trash and discarded materials which are often malleable and even wearable, and address a series of environmental and behavioral issues. These sculptures unfold into installations and photo-performances. Control is an illusion, and through the work, I exercise the acceptance of what recycled and everyday materials reveal, from accidents to new processes. The vital materiality of quotidian objects is my starting point and leads me to a reevaluation of the dichotomy between life/inanimate, human/nature.