“In my dream—and perhaps also in reality—contemporary art was a layer that served to screen out the smashing of time and space on the ground. It served to project a disjunctive unity onto a geography marked by systems constructively “failing” to increase profitability, nation-states engulfed in civil war, fragmented time, and vast and major inequality. But a screen has two sides and potentially very different functions. It can decrease but also enhance visibility, protect and reveal, project and record, expose and conceal.”1
One of the most exciting artists (writer, and filmmaker) engaging with digisocial cultures explores, Steyerl, in How Not to be Seen: A Fucking Didactic Educational .MOV File, the intimate and political negotiations that take place on and offline.
This surreal work, refreshingly funny, earnestly sombre, and equal parts resigned and resisting, adopts the visual language it critiques, pulling apart the structures that permeate digitally informed contemporary prospectives.
The digital view akin to the god's eye perspective; omnipresent, omniscient, a performance of absence and visibility.