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Priyageetha Dia

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Open a larger version of the following image in a popup: Priyageetha Dia, LONG LIVE THE NEW FLES$S$SH, 2020 Single channel video, 16:9 format, colour and sound
(stereo), 4 min 30 sec
Open a larger version of the following image in a popup: Priyageetha Dia, LONG LIVE THE NEW FLES$S$SH, 2020 LONG LIVE THE NEW FLES$S$SH (INSTALLATION VIEW), 2020, Image courtesy of National Gallery Singapore
https://vimeo.com/manage/videos/517693462

Priyageetha Dia

LONG LIVE THE NEW FLES$S$SH, 2020
Single channel video
16:9 format, colour and sound (stereo), 4 min 30 sec
Edition of 3 plus 1 artist's proof
Copyright The Artist
Enquire
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Further images

  • (View a larger image of thumbnail 1 ) Priyageetha Dia, LONG LIVE THE NEW FLES$S$SH, 2020
  • (View a larger image of thumbnail 2 ) Priyageetha Dia, LONG LIVE THE NEW FLES$S$SH, 2020
  • LONG LIVE THE NEW FLES$S$SH

The title is an adaptation of Nicolas Provost’s film Long live the new flesh (2009) in which data moshing techniques is utilised to render a newer visual experience to films. Using that as a catalyst as a way to fragment the visual language of racial, gendered trauma by breaking, morphing, fracturing and compressing frames as an infinite failure to perform in reading the body in the machine - which is then presented against a blue screen of death.

Long live the new fles$s$sh is also encrypted with a poem. Referencing the writings of Legacy Russell’s Glitch Feminism, “Encryption…indicates the encoding of a message, rendering it unreadable or inaccessible to those unauthorised to decipher it. It reminds us that there are gaps and hidden histories, parts of the file that cannot be heard and stories that will never be known to certain audiences.”

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The title is an adaptation of Nicolas Provost’s film Long live the new flesh (2009) in which data moshing techniques is utilised to render a newer visual experience to films. Using that as a catalyst as a way to fragment the visual language of racial, gendered trauma by breaking, morphing, fracturing and compressing frames as an infinite failure to perform in reading the body in the machine - which is then presented against a blue screen of death. Long live the new fles$s$sh is also encrypted with a poem. Referencing the writings of Legacy Russell’s Glitch Feminism, “Encryption…indicates the encoding of a message, rendering it unreadable or inaccessible to those unauthorised to decipher it. It reminds us that there are gaps and hidden histories, parts of the file that cannot be heard and stories that will never be known to certain audiences.”

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Exhibitions

National Gallery Singapore
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