期刊名称：Rupkatha Journal on Interdisciplinary Studies in Humanities
电子版ISSN：0975-2935
出版年度：2019
卷号：11
期号：3
页码：1-10
DOI：10.21659/rupkatha.v11n3.18
出版社：Rupkatha Journal on Interdisciplinary Studies in Humanities
摘要：Political ideology is now made manifest and even palpable with a perverse articulation of digital technique,for once on its own, and without the need of any kind of narrative. Art by itself is enough. The ideologue isrelegated to an unimportant location following a praxis that evades primordial dependence on theconventions of any discourse. Starting from a discussion of two important video installations by RafaelLozano-Hemmer, this article proposes how the critical use of technology in contemporary art establishes aspace, in an interpretive manner. The first section of the paper deals with the notion of subversion oftechnological devices deriving partially from Lozano-Hemmer’s exploitation of technological praxis as ameans of unmediated valorization of ideology. We analyze the metamorphosis of symbols into “fact” withinthe image, as a detonator of the simulacrum. The second section deals with Justicia Infinita of AlfredoSalomon, based in Puebla, Mexico and perhaps the most ingenious ideologue and artist of the digital era. InSalomon, just as in Lozano-Hemmer the process of subversion of technological devices and its bizarre yetcomical inversion is still so powerfully visible. To conclude we shall turn to the implications of the criticaluse of technology in contemporary art and their ability to allow us to assume their ontologicalconsequences.
关键词：Contemporary art; metamorphic image; simulacrum; digital art; video installation;control societies; visibility; critical space; individuals; relational architecture.
