PHROOM magazine // international research platform for contemporary photography and video art - magazine // exhibition

PAULINE BATISTA

IS YOUR SYSTEM OPTIMIZED?

GALLLERIAPIU
Opening 23.11.2019
24.11.2019 > 11.01.2020

 

Pauline Batista ( Rio de Janeiro, 1988) is a multi-media artist based in London. The artist works across mediums, as her research-based practice extends from a background in photography further into space via sculptures, installations, film and sonic environments. She first graduated from University of Southern California with a degree in International Relations in 2010 and completed an MFA in Fine Arts at Goldsmith University in London in 2017 . She received further formal training in photography both at UCLA and under the tutelage of photographers both in Los Angeles as well as in Berlin. Among her solo and group shows, she exhibited at: Houston Center for Photography, Houston, USA (2019), ATP Gallery London, UK (2019), CADAF- Contemporary and Digital Art Fair, Lightbox, New York, USA (2019), University of Oxford, Oxford, UK (2018), The Koppel Project, London (2018), Clinic 2- London Design Festival, London, (2017) The Hive, London (2016) Embassy of Brazil, London, UK (2016), Westwerk, Hamburg, Germany (2016). Among her residency programs: Residency Unlimited (RU), New York, USA (2019), ARTELES Residency, Haukijärvi, Finland (2019) and Alice Residency and Exhibition, The Old Waterworks, Southend-on-sea, UK (2017).

Fatal Softness

Pauline batista & Madeleine Stack

Fatal Softness

Pauline Batista & Madeleine Stack

2017
HD video and two-channel sound, 8:42
scored by Herdis Stefansdottir

Fatal Softness is about an excavation. Of the mind, of the self. Who is colonized and who flies freely? Fly in, fly out. We’re seeking a pattern. Pattern recognition. Data mining and mining for ore, a shared language of opacity and incoherence. Traveling at great speed above the surface of the earth or penetrating the bor-ders that block free movement.

Is there a point to vision when what affects our lives most is what occurs invisi-bly? Waves, data, infrared, corruption, offshore banking, infection, the outsider becoming other. Who enters and who is stopped at the border? Capital flows freely while bodies stagnate, are dammed. Technology reaches obsolescence at increasing velocity, and acceleration fails to take into account the material con-sequences of a dream of constant progress: permanent environmental damage, an expansion of the colonial project by way of corporations, an enclosure of the commons, and an expectation of total work. Between Big Data and Big Pharma, what falls between the cracks?

 
Here are some threads at the intersection of technology and intimacy. Specifi-cally, where have these projects for a future failed, and what possibility is there for dreams of progress to be redeemed? Perhaps via a third way, outside of the traditional binary of progress at all costs vs a return to the land. The imagery we mine is that of defunct and obsolete technology that once heralded progress. At the end of capitalism, the extraction of surplus value comes from what was once thought of as ineffable: our personalities, habits, preferences, memories. If algo-rithms take the traditional role of the artist in translating and making sense of the world around us, who decides what information is filtered, which memories are stored and how the circulation of bodies and ideas flows?

Is Your System Optimized? @ GALLLERIAPIÙ

24.11.2019 > 10.01.2020
PHROOM magazine // international research platform for contemporary photography and video art
Implantation, 2019
PHROOM magazine // international research platform for contemporary photography and video art
exhibition view @GALLLERIAPIU 2019
PHROOM magazine // international research platform for contemporary photography and video art
exhibition view @GALLLERIAPIU 2019
PHROOM magazine // international research platform for contemporary photography and video art
Incorporation (pink, white, blue), 2019, c-type print (framed), 84 x 64 cm, Ed 1/3 + AP
PHROOM magazine // international research platform for contemporary photography and video art
exhibition view @GALLLERIAPIU 2019
PHROOM magazine // international research platform for contemporary photography and video art
Imprint I, 2019 and Imprint II, 2019
PHROOM magazine // international research platform for contemporary photography and video art
Imprint II, 2019, c-typeprint (framed), 32 x 42 cm, Ed. 1/3 + AP
PHROOM magazine // international research platform for contemporary photography and video art
Imprint I, 2019, c-typeprint (framed), 32 x 42 cm, Ed. 1/3 + AP
PHROOM magazine // international research platform for contemporary photography and video art
exhibition view @GALLLERIAPIU 2019
PHROOM magazine // international research platform for contemporary photography and video art
Processing I, 2019, silver gelatin print mounted on dibond, 121 x 155 cm ed. 1/3 + AP
PHROOM magazine // international research platform for contemporary photography and video art
Optimization Station, 2019
PHROOM magazine // international research platform for contemporary photography and video art
Scraper installation, 2019
PHROOM magazine // international research platform for contemporary photography and video art
Scraper, 2019, ceramic, polymerball, 24 x 17 x 2 cm, Ed. 1/3
PHROOM magazine // international research platform for contemporary photography and video art
Scraper installation, 2019, details
PHROOM magazine // international research platform for contemporary photography and video art
exhibition view @GALLLERIAPIU 2019
PHROOM magazine // international research platform for contemporary photography and video art
Optimization Station, 2019
PHROOM magazine // international research platform for contemporary photography and video art
Optimization Station, 2019
PHROOM magazine // international research platform for contemporary photography and video art
Veronica Veronesi and Pauline Batista

“Is Your System Optimized?” is the first solo show in Italy by Pauline Batista (1988), a Brazilian artist based in London. Batista’s practice questions the impulse to render information, bodies and ‘the quantified self’ transparent. The artist creates her own networks that the viewers are invited to decode, through installations encompassing elements of photography, sculpture and sound frequencies.
For this project at GALLLERIAPIU a new body of work and environment will be on view, inviting the audience to enter and become themselves part of the investigations at play. Inspired by her research into technologies such as CRISPR, which allows for direct genetic modification of embryos, as well as Pink Noise Frequency, Batista examines the space between technology, intimacy, and the medical, playing with ideas of enhancements using tactile objects such as waterballs and slime.
In the installation “Optimization Station”, bodies are enveloped both physically and aurally with pink noise and binaural tones as the viewer enters the void. We become the subjects surrounded by pink noise- inducing a deep state of focus and tranquillity, providing a soothing soundtrack to augment our frantic lives. The frequency effectively provides a fundamental strategy to facilitate our quest for peak human potential. Yet with in the gallery context,Batista seeks its potential for resistance via strategies of non-action. Through different aspects of the installation and a new series of photographic works, the artist dives into what it takes to be optimized and the future that we are headed towards.

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