Print Screen

The installation consists of five surfaces that emulate open windows on a computer desktop, and are covered by a multichannel video in which the author challenges the imperative of beauty and the cult of youth that is continuously imposed by the media and social networks. The emphasis is placed on the phenomenon of body dysmorphia, which came with the arrival of Snapchat application and its facial filters.

The work suggests that the digital image addiction has spread widely in a reality that exists outside the physical sphere, in which gender roles still remain divided. Marina Rajšić (1995) speaks about a new crisis of female identity. By using the phenomenon of dysmorphia, she points to the position of women in the society, proving that they cannot fight the social violence that demands from them to please men’s eyes. She also draws attention to a virtual space where specters assume the status of undeniable facts, making the truth indistinguishable from lies.

— Sabina Salamon, Ksenija Orelj, Museum of Modern and Contemporary Art, Rijeka