Cultural mediation, associated with the fields of art and tourism, encourages the perpetual production of forms and images of representational branding identities. These images influence and re-define accordingly value; the social, symbolic and economic value of the places, the services and of the labour of those performing them and support the dominant market rhetoric.
THE BOX _on edges, vertices, faces and commodified intimacies is a video essay that uses theory, fiction and art history, in order to refer to the relationship between art and tourism, by highlighting the artificiality of spaces, relations and behaviours in both fields. It reflects on the similarities between artists and tourist workers, who despite the potentiality for reconstructing the narratives of their workplaces, they often end up being the dumb performers that sustain its stability and intactness. The introduction of Manet's last painting, Un Bar aux Folies - Bergères (a painting that is believed by Michel Foucault to have changed the dominant perception of painting and representation), refers to contemporary discourses on representation and reproduction within the finite fields of art and tourism. This video questions the position and the agency of the artist, in sites where art, tourism and business meet. It invites for a reconsideration of the ways in which we understand and practice art and tourism nowadays, in the light of the controversies and oppositions within the current geopolitics.
Projections: Maelstrom Slow Dance, Huis Oostpool, Arnhem, Jun. 2017; Ideology Meets Implementation, W139, Amsterdam, Oct. 2017; In view of, Victoria Square Project, Athens, May 2018; Unpacking Residencies: Situating the production of cultural relations - Kunstlicht Vol. 39 launch, OT301, Amsterdam, Jan. 2019