Paisaje Pantallas

This work is an attempt to feel the corporality within virtual worlds, allowing the arrows on the keyboard to let you see different angles of those dizzying screens and those mountains of frequencies. The empty and at the same time overloaded digital space seeks to make us uncomfortable, accompanied by the original sounds, as an indication of the emancipatory and apocalyptic technology at the same time, of which we are a part.

It uses images collected from mountains on VHS digitally intervened by the superposition of digital synthesizer videos, to realize the idea of ​​mountains of frequencies, the combination between analog and digital and making digitized landscapes sensitive and habitable places. On its sides, the screens also show VHS images edited in programs such as Resolume Arena, passing at dizzying speed, as we usually feel in this context of cold and smooth virtuality. The intention is to generate a space where virtual environments and machines can be rethought as actors in their own right, as co-creators and not just as tools. This is possible if technical sensibility takes power, and the human participants, too.

The medium is the message (McLuhan). The works are emancipated by devices that generate experiences, like rituals. According to Marchan Fiz, we go from the representation of a work in space to one in time. The presence of another consciousness is claimed, that of the spectator. I consider the digital world as an extension of consciousness, therefore, the machine/human consciousness hybrid, the machine-body, is the creator. The creative genius is dead.

These images, sounds and ideas are born from various tests for a video-poetry still in process. The new media that the artist is acquiring demonstrate the need for the total integration of art and technology, art and life, and she considers that the dissociation between them resonates in the current techno-totalitarianism. The notion of this space of current problems makes classical easel painting resonate as a very faded tool on its own, it must be integrated with modern languages.

Biography

Belén Seoane born in 1998 in Argentina, and currently resides in Tigre, Buenos Aires. Study Visual Arts and Multimedia Arts at UNA. He exhibited his paintings at Espacio Huellas and at the Club Náutico Albatroz in 2018. During 2020 he attended workshops given by various contemporary artists, such as Eugenia Gonzáles Choque (Videomapping and Vjing/CIC), Luc’a Jazm’n von Tarela (Video-poetry and Montage Workshop) and Amir Dar’o Baharkoush (Sound design). He served as a guide for the Bicentennial Museum in Casa Rosada until the beginning of the pandemic.

In Seoane’s work there is a search for the relationship between the analog and the digital, the human and the machine, human consciousness (individual) and extended consciousness (collective). This series of binaries generate a drive of anxiety or search, which is reflected in his latest Video-Poetry ÒSue–o An—nimoÓ (2020) - available at https://vimeo.com/412584666.