World Skin by Maurice Benayoun

World Skin (1997) by Marice Benayoun.

World Skin is an interactive artwork presented for the first time at Ars Electronica (Linz, Austria). It won the Golden Nica Award in the Interactive Art category in 1998.
Armed with cameras, we are making our way through a three-dimensional space. The landscape before our eyes is scarred by war-demolished buildings, armed men, tanks and artillery, piles of rubble, the wounded and the maimed. This arrangement of photographs and news pictures from different zones and theaters of war depicts a universe filled with mute violence. The audio reproduces the sound of a world in which to breathe is to suffer. Special effects? Hardly. We, the visitors, feel as though our presence could disturb this chaotic equilibrium, but it is precisely our intervention that stirs up the pain. We are taking pictures; and here, photography is a weapon of erasure.
The land of war has no borders. Like so many tourists, we are visiting it with camera in hand. Each of us can take pictures, capture a moment of this world that is wrestling with death. The image thus recorded exists no longer. Each photographed fragment disappears from the screen and is replaced by a black silhouette. With each click of the shutter, a part of the world is extinguished. Each exposure is then printed out. As soon as an image is printed to paper, it is no longer visible on the projection screen. All that remains is its eerie shadow, cast according to the viewer’s perspective and concealing fragments of future photographs. The farther we penetrate into this universe, the more strongly aware we become of its infinite nature. And the chaotic elements renew themselves, so that as soon as we recognize them, they recompose themselves once again in a tragedy without end.
We take pictures. First by our aggression, then feeling the pleasure of sharing, we rip the skin off the body of the world. This skin becomes a trophy, and our fame grows with the disappearance of the world.

 

worldSkin_benayoun1997.png

source: http://benayoun.com/moben/1997/02/12/world-skin-a-photo-safari-in-the-land-of-war/

Alan Butler, Sturtevant/a_m_f_skidrow_01 Finite Infinite, 2018

SITUATION #129: Alan Butler, Sturtevant/a_m_f_skidrow_01 Finite Infinite, 2018

part of Fotomuseum Winterthur SITUATIONS programme.

In Sturtevant/a_m_f_skidrow_01 Finite Infinite, a short video loop portraying a non-player character (NPC) from a computer game is projected on a rotating beamer in the installation space. The installation builds on Butler’s previous work, Down and Out in Los Santos. There, the artist embarked on a journey through the social landscape of the video game Grand Theft Auto V to document the lives of homeless NPCs in the virtual city of Los Santos. One of the characters he encountered is at the centrepiece of his new work: a homeless NPC that bears a striking resemblance to conceptual artist Sturtevant. The character is transformed into a hybrid, computational entity, half human-looking, yet resembling a dog running endlessly in circles. By directing our gaze to the characters that inhabit the uncanny borders of non/human, the artist challenges the viewer to rethink anthropomorphic representation and consider these digital entities and bots as autonomous creatures that do not subjugate to a human hierarchy.

Sturtevant/a_m_f_skidrow_01 Finite Infinite is accompanied by the online video essay Mondo Cane.

screencapture-fotomuseum-ch-en-explore-situations-154957-2018-07-10-16_11_46.png

source: https://www.fotomuseum.ch/en/explore/situations/154957