"Insufficient projections” in video installation art about skin tone bias: parasitism in Tau Lewis’ flesh-tone mask

H. Westgeest
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Abstract

 This essay revolves around the question of how parasitism as fate of video’s insufficiency may metaphorically contribute to the contents of a video, as well as to the meanings of the installation in which it is included. A case study of Tau Lewis’ Flesh-tone Mask will serve as basis for addressing this concern. From the perspective of haptic visuality, it is clear that this video parasitizes on the surface of the masks included. At the same time, the video also acts as masked host, which provides new insights into parallels in insufficiency between video projection and casted, heterogenous masks. Moreover, the video’s symbiotic relationships strengthen its contents: the black woman considered “insufficient” can be said to “parasitize” on the appropriated pale skinned masks, thus evoking spectators’ “skin-awareness” while also breathing life into them as host. If Christine Ross argues that video’s insufficiency helps to complexify perception, I develop the argument that Flesh-tone Mask extends the suitability of this statement to the politics of skin tone bias.
关于肤色偏见的影像装置艺术中的“投影不足”:陶·刘易斯肤色面具中的寄生
本文围绕着这样一个问题展开:作为录像不足命运的寄生性如何隐喻性地促成录像的内容,以及录像所包含的装置的意义。Tau Lewis的肉调面膜的案例研究将作为解决这一问题的基础。从触觉视觉的角度来看,很明显,这个视频寄生在面具的表面上。同时,视频也充当蒙面主机,这为视频投影与铸造的异质蒙面之间的不足之处提供了新的见解。此外,视频的共生关系强化了其内容:被认为“不足”的黑人女性可以说是“寄生”在被挪用的苍白皮肤的面具上,从而唤起观众的“皮肤意识”,同时也以主人的身份为其注入生命。如果克里斯汀·罗斯(Christine Ross)认为视频的不足有助于使感知变得复杂,那么我的观点是,《肉色面具》(Flesh-tone Mask)将这一说法的适用性扩展到了肤色偏见的政治上。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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