installations and video works by Yvon Chabrowski and Dani Ploeger, curated by Sakrowski
An exhibition about intimate and immersive relationships between bodies and media technologies. In Touching the Images and Screen, Yvon Chabrowski explores the limits of devices’ screen-space in the relationship between the medium and its user. Dani Ploeger’s new installation The Grass Smells So Sweet examines the mediation of extreme situations through Virtual Reality simulations of experiences of being shot in the head.
Dani Ploeger – The Grass Smells So Sweet
The headshot kill has a prominent place in representations and imaginations of violent death in Hollywood cinema and video games. Seemingly influenced by this, Q&A forums like Quora and Reddit regularly feature questions about the experience of getting shot in the head with a firearm. The answers written by survivors give a diverse range of visceral, yet colourful accounts of shock, surprise and pain. Many of the answers – the vast majority of which are written by men – suggest a sense of authority and bravery from the side of the narrators, while others (often anonymously) disclose vulnerability and trauma. Characterized by the particular negotiation between public and private performance of online forums, these threads give insights into the ways in which people’s continued occupation with the physical body in relation to violence and (fear of) death is mediated and processed in a digitally networked culture.
The Grass Smells So Sweet processes a collection of found Reddit and Quora texts through Virtual Reality audio and video simulations, aroma dispenser, and living grass. The title of the work stems from a Quora respondent’s account of his experience of a mock execution.
Yvon Chabrowski - TOUCHING THE IMAGES / SCREEN.
TOUCHING THE IMAGES goes back to the question, how we touch images and results from thought that the image-touching itself becomes a gesture and a picture.
SCREEN shows a performer life-size in the space afforded by a 40-inch monitor. Within an area of 92 x 55 cm, she touches, taps, and presses against the surface of the monitor from the inside. Her body bends and winds in the narrow space. The medial image-space is presented to the viewer as a real space. Although the screen demarcates the medium’s insuperable limit and stakes off the realm of the outside world, the image nevertheless has a profound impact on reality.