From abundance to discovery:
the importance of curation.
@vivao_project
Even before the image of crossover took place on the internet, aesthetic references were organized in order. The piece of artwork in a museum, the cover of a magazine, the “cool”, the urban, and even the minimal interacted in classification logic. Currently, logging in to an instagram account, it seems that we have entered a digital safari era. Everything has a value to be perceived, as long as its creator makes it fit on the screens.
We started to live intensely in a space where everything can be influenced. Each photo creates a new opinion, position, and information. We changed the logic of creating knowledge.
The audience is no longer a mere consumer of content, but the creator, the message itself, and also the medium in which it transits. As power shifts to consumers, curation moves out of the hands of professionals and into communities.
@_inserto
In this online self-awareness, the public also realized that they are bigger than the institutions. It was started to be given more credit to the knowledge that prevails among profiles than to traditional means and social media.
With a taste already touched by globalization, it was started to enter deeper into different cultures and languages, building new references, in plural aesthetic mosaics.
This acknowledgment also brought new perspectives on issues such as racism, immigration, gender, and class, once these images are no longer controlled by teaching practices in a museum. The copyrighted image became a sensitive message.
"You see a lot of times that people are fishing in the same pool for ideas. But my creative process is the opposite. It's like, what if I lived in a parallel universe?"
Mous Lamrabat is a photographer, born in the north of Morocco. He is a master of hybridity, expertly splicing together symbols from his Moroccan heritage and Muslim faith with Western brands and pop culture in his bright and joyful portraits.
IN THE MIDDLE OF THIS HETEROGENEOUS ARENA, THE HIERARCHY OF REFERENCES WAS BROKEN
and information started to come from images from everywhere. Something very incredible that emerges from this epiphany is the new meanings attributed from memories through new curators. Think about Brazilian aesthetics, for instance. If you follow the glance of @fado_tropical, there are great chances that you will turn your imagination around Brazil. A story told through curation of images, which came from a spontaneous and sensitive look.
@fado_tropical
@fado_tropical
@fado_tropical
In the age of curation, contemporary aesthetics have changed dramatically. The image building becomes a tool in the creation of personality and, therefore, it no longer represents a categorical reference. According to this, the possibility of exploring universes and cultures in a spontaneous way grows, free of concepts or rules.
THE NEW AESTHETICS ARE NOT MEANT TO BE BEAUTIFUL OR DIDACTIC;
therefore, they resign the technique related to the message. They are now unlimited and are created from different backgrounds and personalities. Digital platforms have taken us to a new moment of the abundance of discoveries and rediscoveries of different imaginary.
