Isa Bongers (2001, NL) is an interdisciplinary artist researching and reflecting on visual culture and the way images appear to us in public space. Through observations, reflections, writing, videos and conversations she aims to understand and challenge the images that persuade us to crave unattainable realities.
Isa Bongers (2001, NL) is an interdisciplinary artist researching and reflecting on visual culture and the way images appear to us in public space. Through observations, reflections, writing, videos and conversations she aims to understand and challenge the images that persuade us to crave unattainable realities.
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90 A4 (Research on Gestures of Visual Communication in Streets)
The two hour long performative work ‘90 A4 (Research on Gestures of Visual Communication in Streets)’ focuses on how we use visual tools to communicate in public space. A perfected image that is aimed at profit is constructed during a performance using A4 papers, representing practical and accessible material of visual communication by people in streets. As they are merging into each other instead of existing next to each other in contrast, the cracks in the ideology of fake representation are visualized. The emphasis is put on the gesture of hanging the papers with tape, as part of the work is the act of its build-up. It aims to mix the tools of the practical and the real with the constructed and unreal imagery advertised in public spaces.
The performance took place at the Intercity exhibition at CITY in Venlo, The Netherlands on the 16th of February 2024. The residue of the performance as visual work was on view until the 16th of March 2024.
The last A4 that was placed on the wall next to the work contained the following text:
“This research focuses on the visual identity of streets. How do we use visual
languages to communicate in our public spaces? Our streets are usually
oversaturated with images from advertisements; images that tell us how we should
look or what we should want. These images attempt to represent human life, but are
far from accurate representations of our world. They are part of a capitalist ideology,
that generates images showcasing the most profitable constructed reality. Although
our streets seem to be consumed by this strategy, it seems that this capitalist ideal is
being disrupted by the practicalities of our daily lives. Cracks appear in a visual
façade that tries to convince us that this ideal consumerist life is what we desperately
want. You see, in life, not everything can go as planned, and not even our most
perfect imagination can prevent certain things from occurring. Reality and the ideal
clash. Our wishes and desires are confronted with practical realities. Public space is
characterized by these visual contrasts; handwritten notes and torn up posters are
presented next to muscular men watching us as if they have a worriless life.
The medium used to convey these messages that clash with capitalist ideals is
usually A4 printing-paper. A material that is cheap, accessible, and applicable to
most formats, printers and situations. They are attached to the wall with tape or
wallpaper glue; not with the intention sell more, but merely to communicate
messages written by real humans in real situations looking for practical solutions.
Messages that are so urgent and direct, that no layers of fake representation or
idealization can sabotage them. These practical solutions to problems show us the
reality of human behavior. This in stark contrast to what is right next to it; human
representations that feel quite far from human.
What happens if we try to bring these two even closer together? So close that they
are not anymore presented next to each other, but have the ability to merge. A mix
that visualizes cracks in the ideology of the fake representation.
Can we confront ourselves with the fact that advertisement is not as ideal and
desirable anymore, when we use media of communication that are accessible to all?
Mixing the practical and real, with the desirable and the unreal.
In this performance the A4 paper is used as an accessible technique to build a big,
idealized image. This gesture shows the absurdity of images that are presented to us
in our streets, and disrupts them by robbing them of their perfection. It confronts us
with the constructed and curated nature of images that we are told to represent us. In
the end, it’s all paper, ink and glue.”