Dungeon Boogie (2020)
An approach to the millennial artist as a false archeologist
DOI:
https://doi.org/10.17561/rtc.extra2.5760Keywords:
millenial, nostalgia, internet, digitalAbstract
The generation of those born between 1980 and 1999, the so-called Millenials, are the first natives of the digital era. We have lived a hybrid childhood between the analog and the virtual.
Today my generation goes to this shared childhood in search of comfort. In the artistic millennial production and in the extra-artistic one (as the memes can be) there appears a constant ironic exhibitionism of how badly our life is going. It also becomes increasingly common what Eloy Fernandez Porta describes as "The postmodern artist as a false nostalgic" who is dedicated to recreating a non-existent past by means of signs, residues and relics.
In this article I revisit my latest project, Dungeon Boogie, a solo show held in February 2020 in the exhibition hall of the Faculty of Fine Arts in Malaga. I analyze it using the figure of that false nostalgic that makes and treasures a past that never existed. The project is built through a multidisciplinary methodology in which media such as ceramics, video, video games, installation, sculpture or fashion coexist and are related to the hybrid (analog-digital) childhood of our generation. In turn, I connect the project with other contemporary artists who also operate in a similar way, playing at being cyber-archaeologists, such as Molly Soda, Emma Pryde or Indoorpet
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References
Fernandez Porta, Eloy: Homo Sampler: Tiempo y consumo en la era afterpop (Anagrama, Barcelona. 2008)
Cochrane, Kristen. Five Questions with Molly Soda (New North Place, Amuse magazine, London, 2016)
Indoorpet: página web del artista http://thirdworlds.net/ (10/9/2018)
Rosenbohm, Randon. Alone with Molly Soda (Mask 2017)
Shane, Emilie. Molly Soda: From My Bedroom To Yours (@ Annka Kulty’s Gallery East London Lines, December 9, 2015)
Soda, Molly: Página web del artista http://mollysoda.exposed/ (10/9/2018)
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