CURATORIAL STATEMENT
Today, especially during and the post-Covid-19 pandemic, the world seems split between technological pressure, the surrealistic concept, expression of posthumans, and the authenticity of social tensions of non-invincible mortal bodies trying to coexist in the era of digital technology that searches for the nostalgia of “perfect” nature, experiences and environment within. Many contemporary artists are envisioning a posthuman concept that challenges the modern presence. The fragility of a world in crisis makes us question the authenticity of our everyday life and the search for the perfectionism of the imperfect existence. That has been led by the offerings of ever-growing digital technology, real-time experience, interactive generative reflectors, human-technology interaction through screens, wearable sensors, extended reality (XR), artificial intelligence, or data.
Through the busy habits and patterns of pedestrian or motorized viewers /the critically engaged audience, even for a vibrant few seconds of observed experience glimpses, has the potential to carry over conversations and impressions beyond the theater-traditional performance stage into the dance, film, performance, structure and social environment/public spaces and alternative surfaces. As an alternative to presenting screendance or physical body landscape works as the expressive canvas of art at theaters or festivals; there would be benefits of showcasing them in the forms of digital public space installations in segments, series, or minimized crucial expressive methodologies to promote the variety of politically, critically, and artistically vibrant expressive real or surreal digital art methods of bodies, posthumans, realistic or surreal abstract impressive experiences. Digital, accessible public art would be a research question or methodology whether this form or experience is truly ephemeral or does it stay with the viewer long after the observation or exposure has ended? Will the traces of digital public art be left behind in any physical or performance practice—including material, sensorial, political, emotional, and spiritual?
Today, especially during and the post-Covid-19 pandemic, the world seems split between technological pressure, the surrealistic concept, expression of posthumans, and the authenticity of social tensions of non-invincible mortal bodies trying to coexist in the era of digital technology that searches for the nostalgia of “perfect” nature, experiences and environment within. Many contemporary artists are envisioning a posthuman concept that challenges the modern presence. The fragility of a world in crisis makes us question the authenticity of our everyday life and the search for the perfectionism of the imperfect existence. That has been led by the offerings of ever-growing digital technology, real-time experience, interactive generative reflectors, human-technology interaction through screens, wearable sensors, extended reality (XR), artificial intelligence, or data.
Through the busy habits and patterns of pedestrian or motorized viewers /the critically engaged audience, even for a vibrant few seconds of observed experience glimpses, has the potential to carry over conversations and impressions beyond the theater-traditional performance stage into the dance, film, performance, structure and social environment/public spaces and alternative surfaces. As an alternative to presenting screendance or physical body landscape works as the expressive canvas of art at theaters or festivals; there would be benefits of showcasing them in the forms of digital public space installations in segments, series, or minimized crucial expressive methodologies to promote the variety of politically, critically, and artistically vibrant expressive real or surreal digital art methods of bodies, posthumans, realistic or surreal abstract impressive experiences. Digital, accessible public art would be a research question or methodology whether this form or experience is truly ephemeral or does it stay with the viewer long after the observation or exposure has ended? Will the traces of digital public art be left behind in any physical or performance practice—including material, sensorial, political, emotional, and spiritual?