The final part of Global Vision: New Art from the ’90s presents artists who continue to explore issues of identity, often through specific references to the body. Most of the works are lens based – videos and photographs – and demonstrate the multiple ways in which technology has permeated artistic practice, as well as the impact of the media on the cultural construction of identity. What the artists share is the use of a language which both acknowledges the influence of and makes direct references to pop culture and contemporary lifestyle; a language that stems from a particularly urban conscience resulting in a cornucopia of visual and sensual experiences. In the third part of Global Vision, New Age sensibilities, utopian futurism, fictional narrative, and sober pragmatism mix with science, cinema, literature, sub-culture, fashion, and consumer aesthetics.
Many of the works in the exhibition are shown for the first time in Greece including Pipilotti Rist’s psychedelic, kaleidoscopic video installation Blauer Leibesbrief (1992); Rineke Dijkstra’s The Buzz Club, Liverpool, UK/Mysteryworld/Zaandam, NL (1996-1997), filmed at rave clubs in both cities; Mariko Mori’s futuristic video & photographic ‘constructions’; Matthew Barney’s visually enchanting film Cremaster 1 (1995); Dimitris Antonitsis’ series of manipulated photographs which deal with issues of cultural stereotyping and role playing; Anna Gaskell’s staged photographic tableaux inspired by Lewis Carroll’s Alice in Wonderland; and Alexandros Psychoulis’ Black Box (1997) – a personal, interactive visual diary.
