In C.O. Journey #2 the spectator is placed inside the image\u00a0while at the same time experiencing the odd realization that the\u00a0performance is taking place outside the box and more specifically behind\u00a0him or her. The central subject of the performance is a staging of the\u00a0Arnolfini Portrait by Jan Van Eyck. This tableau vivant, the visual\u00a0distortion to which it is subjected and the far-fetched historical\u00a0account that accompanies the piece all contribute to an atmosphere of\u00a0unease. In this way an ambiguous relationship arises between the images\u00a0and information that reach the darkened box and ourselves, explicitly\u00a0throwing us back on our own subjective points of view.<\/p>\n
In C.O.\u00a0Journey #2 the spectator is anything but a passive viewer; he or she\u00a0participates in the complexity of an image. Using simple means, Bailie\u00a0and Ragg take us on a journey through the history of image-making while\u00a0in the process offering resistance to the superficial \u2018gaze of the\u00a0consumer,\u2019 to the constant stream of images we have to digest on a daily\u00a0basis.<\/p>\n","protected":false},"excerpt":{"rendered":"
In C.O. Journey #2 the spectator is placed inside the image\u00a0while at the same time<\/p>\n","protected":false},"author":2,"featured_media":2991,"template":"","nature":[],"sub-category":[],"agenda-year":[],"acf":[],"yoast_head":"\n