The art work
(source is taken from: http://carlagannis.com/blog/)
Gallery name: Until the End of the World
Artist: Carla Gannis
Carla Gannis’ “Until the end of the World’ exhibition is executed like the ancient Greek theater where the ‘actors will speak through a mask’. in this case the ‘mask’ is her virtual persona, one like our social media, and how we portray ourselves on that ‘third space’.
The exhibition consists of various art works, like multi-media installations and ‘selfie-paintings’. She makes use of new technology to create the work, where visitors can ‘hover over the static piece of work with their phone to see it move and interact with it’.
Her works have certain nuances that suggests that it is feminist in nature, commenting on a woman’s place in society, and also on how society is affected by technology and the possible changes across the centuries.
(source is taken from: https://www.artsy.net/show/dam-gallery-carla-gannis-until-the-end-of-the-world)
Digital Identity: A digital identity is information on an entity used by computer systems to represent an external agent. That agent may be a person, organisation, application, or device.
I mentioned Carla Gannis’ ‘Selfie-drawings’ and how you could interact with them when using a certain app. In a way this character in the app has assume the role of Carla, and it paints a picture of how she wishes the audience to view her.
Its funny, because you can only interact with her through an app, like how people communicate via social media.
(source taken from: https://www.artsy.net/show/dam-gallery-carla-gannis-until-the-end-of-the-world)
But Facebook appeared to some
writers as angel, and some as demon; to some as an emerging
global village, and to others as isolation in disguise; to some as an
opportunity for maintaining relationships, and to others as broadcast
As quoted from D.E. Wittkower’s ‘A reply to Facebook Critics’, it is a form of charade, this idea of digital identity, and it becomes a tool that helps some people disguise themselve, a safe heaven of annoymity to discuss certain subjects or to be unbothered, sometimes to decieve others for their own gain.
In this case this annoymity also acts as a platform for relatability, to be placed in the shoes of this character, like what Carla Gannis is doing in her work. She places the audience in an almost intimate setting with her virtual persona and allow us to interact with it, as though we have been physically transported to the third space.
- Wittkower, D. E. (2010). “Facebook and Philosophy: What’s on your Mind? A Reply to Facebook Critics,” Popular Culture & Philosophy
- Carla Gannis, artwork: Until the End of the World (2017)
One Reply to “The Ghosts only your Phone can see”
Very good. I particularly liked the definition you found of digital identity, which set a good foundation for your critique. I also thought that the way you employed the quote by Wittkower about the way we use social media to shape our digital identity was a very good use of the reference. Perhaps a bit more commentary about “Until the End of the World,” particularly of the video piece which is the heart of the show, would have strengthened your essay. But overall it is very good work and research.