dealing with the cultural difference of impact from latent / non visual things to the human being, with sejin choi (hongik university korea) we settled and transformed this in a collaborated photographical approach.
fine dust (pm2,5) is a non visible xenomorph (greek: foreign shape) that is manifested in our world and surrounds us. but just because its invisible it doesn't mean, its not there, therefore the relation is missing. consequently it is our function to make this deficit visible and show the effects on the human body. further fine dust does not only affect the lungs but also the entire organism. we set this in scene in various poses.
fine dust (pm2,5) is a non visible xenomorph (greek: foreign shape) that is manifested in our world and surrounds us. but just because its invisible it doesn't mean, its not there, therefore the relation is missing. consequently it is our function to make this deficit visible and show the effects on the human body. further fine dust does not only affect the lungs but also the entire organism. we set this in scene in various poses.
through our scientific research approach, which was supported by physicians from the pneumology department, we learned about the genesis of the xenomorph. afterwards, we dealt with the visual and semiotic representation of this foreign impact.
with experimental visualisations of tying, thereby slowly destroying something, images emerged that subtly / latently harmed the human being. at the beginning still with strong overstated barbed wire, we switched to a small inconspicuous looking silver metal wire. something that is foreign to the human body, something not organic, but can nevertheless harm the human organism.
in addition to the analogous representation of fine dust through the metal wire, we recreated archaic poses of man from history. following painful circumstances that affect the whole body. for example the breast (crucifixion), the neck (strangle) or the arm (bound). all analogies to a slow and painful agony.
with experimental visualisations of tying, thereby slowly destroying something, images emerged that subtly / latently harmed the human being. at the beginning still with strong overstated barbed wire, we switched to a small inconspicuous looking silver metal wire. something that is foreign to the human body, something not organic, but can nevertheless harm the human organism.
in addition to the analogous representation of fine dust through the metal wire, we recreated archaic poses of man from history. following painful circumstances that affect the whole body. for example the breast (crucifixion), the neck (strangle) or the arm (bound). all analogies to a slow and painful agony.
