Contemporary culture is flying at light speed, away from all that’s familiar, barreling towards the unknown. Danish-Palestinian artist Larissa Sonsour seizes this uncertainty and illustrates a radical post-apocalyptic future. Sonsour’s In Vitro, 2019 is a fearless yet polished portrait of the planet in the throes of the deeply affecting uncertainty of looming catastrophe under humanity’s self-destruction. Sonsour constructs the entirety of a new world; cement, underground, monochrome. Further, Sonsour’s work questions the difference in priorities between generations and demonstrates the tension that arises when creation is no longer interested in its creator.
Read MoreThe array of emotions through the human experience and the depth of those feelings can take a lifetime to process and another to make sense of. Even more ironically, for many of the most profound human emotions, from the unbridled love of youth to the mourning of an untimely death, our words fall flat. In Western society, the phrase “if you can’t say something nice, don’t say anything at all” reigns oppressively true, and inhibits conversation around unattractively serious human emotions. Modern society is designed to consider anything not regulated and properly idealized to be surreal and in opposition of an efficient society. However, denial of real life atrocities and human rights violations is no longer acceptable in a globalized world, and contemporary art provides an arena for action, a platform for relational art to emerge indiscriminately through political tension and catalyze change, providing new rethorics, and new ways of thinking about socio-political issues.
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