FRANCISCO GONZALEZ-ROSAS (CL)
TECHNIQUES OF THE NARCISSIST (2019)
September 06, 2019 - October 05, 2019
EXTENDED ON SATURDAYS UNTIL OCTOBER 26.
September 26, 2019 - 5:30 p.m.
BIO - FRANCISCO
Francisco Gonzalez-Rosas is a Chilean mixed-media artist.
His interdisciplinary practice combines performance, video, sound and installation, exploring questions of representation, gender, race, sexuality, digital culture and the use of technology. He holds a BA in Acting (Finis Terrae University, Santiago, Chile, 2011) and is currently finishing his MFA thesis at Concordia University, in Montreal, Canada.
His work has been exhibited in Italy, China, U.S., Poland, Chile, Canada and the U.K.
TECHNIQUES OF THE NARCISSIST
“Techniques of the Narcissist” (2019) is a multichannel video installation in which a series of performances display different body images, poses and body postures assembled together. The exhibition pays tribute to the massive repetition of physical gestures at a worldwide scale and to the surfeit and disposability of these images.
Taken from a variety of backgrounds—art history, anatomy, science, porn, fashion, queer culture and social media—this physical imagery is detached from its original context. A subjective -call it narcissistic- view places them in a larger diagram, revealing them as a technology where culture, science and aesthetics converge. A system that exists previous to human embodiment.
What do ‘body+image’ means?
The question acts as a pretext to stage, perform and play with the many universes combined in such equation. Body mediations are substantially produced and performed in first person and then rapidly left behind. In this travel, the self presents itself as a device in constant modification and the body becomes an unstable medium where flows of information mold and dissolve. In this new media cultural scheme, the self falls in love with its commodified DIY version of a celebrity and all activity of self-mediation turns into body labor and, ultimately, machine activity.
In today's body vibrates a chain of millenary reproductions and representations. Never quite original, the reflected self is a repeated tell.