Through her writing, curation, visual art and filmmaking, Aria Dean has theorised the contemporary moment in astute and prescient ways. Her creative and intellectual practices both explore and resemble the loops, cycles, and patterns of media, race, technology and the built environment. Aria does not only attend to systems and infrastructures, but also to the ghosts that haunt them.
Aria’s fluency in a variety of media constitutes a kind of laboratory where she is constantly working at untangling the most complex knots of our contemporary condition. Architecture, which she initially wanted to study as an undergraduate at Oberlin College, has remained an important analytic framework for her thinking. It attracted her partly for how subjective understandings of how the world is constructed shapes the way we build inhabitable spaces.
These days, Aria says she is less interested in capital B Blackness – as an identity category – and more interested in the abstract and diffuse force of blackness in the world, how it travels and shows up in surprising and fraught ways.
Most of Aria’s art work is tactile. She has a deep interest in materials, perhaps surprising to some given her extensive writing on digital culture. But her art practice is entwined with her writing: “I’ll often write a sentence to myself about an object’s existence. And that’s how I start to see things.
Aria is interested in world-building, but she is also interested in the gaps and slippages between worlds. “The driving question that I’m still constantly asking,” she says, “is what are the things that make up our reality, and how does perception and an objective sense of the world collide? Film and art are places where that’s constantly being negotiated.” The worlds that Aria creates are not necessarily propositions of a new or utopian arrangement.
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