Year: 2024
Type: article
Abstract: The term “view from above” does not merely describe an aerial perspective using digital technologies. According to Macarena Gómez-Barris, it is an extractive and neoliberal tool for transforming territories into areas to be exploited. In contrast, she introduces “submerged perspectives,” which can always be found in these territories and are characterized by relations on the ground. An argument based on opposites should always make one suspicious, especially when considering contemporary artistic practices. This article demonstrates that contemporary works of art can unleash the critical potential of the view from above. Two works, one by Carolina Caycedo and the other by Forensic Architecture, are analyzed to demonstrate a substantial expansion of the view from above. Contemporary art has the capability to counter-appropriate a supposedly hegemonic instrument and, thus, offers the possibility of rejecting constructed and abstract dichotomies.
Source: The Nordic Journal of Aesthetics
Author: Hauke Ohls
Language: English
Topic: Art, Politics, and Modernism
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W4405584320