No Strings Attached
Kneel in the quest for love
In times where technology is deeply embedded in everyday lives, it is hard to imagine the segment of our lives where we do not have to be tech fluent. Indeed, our emotional lives are not left behind. To fall in love or to find an ideal partner, we rely on algorithms to do the job for us. Although these apps are designed to help us find love, actually they promote consumption. We are transformed into commodities or objects of trade – it is you and market with an increased competitive aspect. With intensified engagement with dating apps, the desire for love becomes excessive. When the stakes are high, how much are we willing to give for love? Are we ready to go through the most radical transformations and let the dream become a reality? After all, almost everyone in the world wants to be loved.
Thus, seeking advice presents an effective solution to deprivation inside the digital-dating culture. In this account, No strings attached is focusing on trends of self-improvement methods. As the title of the work may suggest, we invite the audience without emotional attachment to kneel in front of the sculpture and dive into the world of intimate commentary.
With a playful approach, our services are designed to confront your most private doubts about your potential as a dating subject.
By utilizing the latest facial-analysis tools, the algorithm assesses overall desirability and provides recipients with practical advice.
These messages are inspired by a dark sense of humor and emotional depth. In the end, the work is a playful artistic comment on the imbrication of digital technologies into dating life.
Anja Malec (HR/NO, b.1986)
The internet and media culture define Malec’s art practice. Her primary focus is on the video medium and the aesthetics of transformative videos. Trough artistic practice she explores digital lifestyle with a close emphasis on questioning the relationship between the phenomenon of poor image and the value of low-quality image in contemporary art. This correspondence Malec view in the realm of found footage that reflects upon the process of repetition, appropriation, cut/edit as a critical potential of an image in the social and cultural field.