Abstract
Based on the practice of Danish writer, performance artist, and visual artist Olga Ravn who maintains an active presence on social media platforms such as Instagram, this article explores a new cross-aesthetic artistic figure it coins as the artfluencer. It uses Ravn’s practice as a tread stone for a broader exploration of this figure and the changing techno-aesthetic conditions of art production, it is a result of. Such post-digital media conditions stimulate artistic practices that, like Ravn’s, master the interplay between analog and digital materiality and can navigate platform synergies and changing structures of participation. By challenging a marketing-oriented vocabulary that has characterized research in the field, the article contributes with a new approach to the growing group of art and cultural producers who operate partly as digital media creators inscribed in the infrastructures of digital platforms, and partly as actors within more traditional, established institutions of art and culture. It also discusses the platform-dependent community of artists and cultural producers whose exchange and co-creation are part of their overall artistic expression and to which Ravn belongs. The art production in this cross-aesthetic and post-digital intersection draws on a cult of personality rooted in the Romantic notion of genius while also challenging the notion of the solo artist and the boundaries between art forms through co-creation and protest strategies known from the historical avant-gardes.
| Originalsprog | Dansk |
|---|---|
| Artikelnummer | 7 |
| Tidsskrift | K&K: kultur og klasse |
| Vol/bind | 52 |
| Nummer | 138 |
| Sider (fra-til) | 155-186 |
| Antal sider | 32 |
| ISSN | 2246-2589 |
| Status | Udgivet - 18 dec. 2024 |
Emneord
- platformisation
- Olga Ravn
- media ecology
- infrastructure aesthetics
- post-digital literature
- unboxing videos
- artfluencer