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Danaher Ronnie
BORDERLESS
Mediterranea 20
Young Artists Biennale
Danaher Ronnie
Artwork: iConfess (2022, video installation, variable dimensions) / Umetniško delo: iPriznam (2022, video instalacija, spremenljive dimenzije)

iConfess asks what sinning looks like in a world devoted to data. A new religion, christened Dataism, worships data as the highest source of meaning in the universe. So, what would be considered a sin in this new religion? Blocking cookies? That’s a sin. Hiding your location? That’s a sin. Burning down 5G towers? That’s a mortal sin. The video was made through participatory workshops with the Saturday Art Club at the University of Leeds and the Youth Collective at Leeds Art Gallery, with a soundtrack created by Joseph Marcus and Matti Scott.


Ronnie Danaher, born in Leicester in 1996, is a British-Irish artist based in Vienna, Austria, and Leicester, UK. She explores the sacred within the virtual through moving images and sculptural installations. Playfulness and the gilded camp of Catholic imagery are tools she uses to confront complex feelings about her religious upbringing. Stained glass extends the screen, and found footage is collaged onto filmed scenarios and digital renders.


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iPriznam se sprašuje, kako je videti greh v svetu, posvečenem podatkovju. Nova religija, krščena kot dataizem, časti podatke kot najvišji vir pomena v univerzumu. Kaj torej v tej novi religiji velja za greh? Blokiranje piškotkov? To je greh. Skrivanje lokacije? To je greh. Požig 5G stolpov? To je smrtni greh. Video je nastal na participativnih delavnicah s Saturday Art Club na Univerzi v Leedsu in Youth Collective v Leeds Art Gallery, zvočno podlago pa sta prispevala Joseph Marcus in Matti Scott.


Ronnie Danaher, rojena leta 1996 v Leicestru, je britansko-irska umetnica. Živi na Dunaju v Avstriji in Leicestru v Veliki Britaniji. Danaher raziskuje sveto na področju virtualnega z uporabo gibljivih slik in skulpturalnih instalacij. Igrivost in pozlačeni kemp katoliških podob postaneta orodji za soočanje s kompleksnimi občutki do lastne religijske vzgoje. Vitraž je uporabljen kot podaljšek zaslona, ​​najdeni posnetki pa so kolažirani na posnete scenarije in digitalne vsebine.

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