Mostra sull'aspirazione delle immagini: il tramonto contro l'orrore

An exhibition in Berlin has drawn attention for its exploration of how images exert influence over viewers, particularly through their ability to captivate and manipulate. The show, titled The Lure of the Image, How Images Online Tempt, is hosted at C/O Berlin until September 2nd. It presents a range of artistic approaches that examine the power of visual media in shaping perception and behavior in the digital age. At the heart of the exhibition is Dina Kelberman’s work The Wave, which compiles Instagram videos featuring hands wearing rubber gloves gently pressing soft sponges, producing foam while accompanied by soothing water sounds. This piece taps into the phenomenon known as ASMR, Autonomous Sensory Meridian Response, which describes the pleasurable tingling sensation some people experience from certain sounds and visuals. Kelberman's installation evokes a sense of calm and fascination, offering a contrast to more aggressive or provocative imagery often found online. The exhibit suggests this form of sensory engagement could represent a new stage in image-based manipulation, one that stands in opposition to the polarizing effects of violent content and the relentless pursuit of aesthetic perfection in influencer culture. The exhibition features 14 distinct artistic perspectives, curated by the Fotomuseum Winterthur and adapted for C/O Berlin by Boaz Levin. These works span historical analysis, critical commentary, and explorations of self-liberation through media. For instance, Simone C Niquille’s animated study of the IKEA chair Bertil highlights how computer-generated imagery (CGI) became a standard tool in product marketing long before it was widely adopted. According to Niquille, 75 percent of all images in IKEA’s catalog were generated using CGI by 2014, illustrating the growing reliance on digital fabrication in commercial contexts. Another artist, Joiri Minaya, investigates stereotypes surrounding women of Caribbean descent through her project #dominicanwomengooglesearch. By embedding silhouettes of female bodies behind floral patterns and landscape depictions, she challenges dominant representations and seeks to reclaim control over how these individuals are visually portrayed. Her work reflects broader efforts to resist cultural clichés and assert agency over personal narratives. Zoé Aubry’s installation #Ingrid offers a striking example of how digital platforms can be used both to spread and counter harmful imagery. The artwork displays photographs of sunsets, idyllic landscapes, and flower arrangements, images that activists used to drown out the disturbing photos of Ingrid Escamilla Vargas, a Mexican woman who was murdered and severely injured. Initially shared by sensationalist media, these images were later overwhelmed by activist efforts to replace them with more peaceful visuals. The exhibition thus underscores the potential for audiences to challenge and reshape the narratives shaped by mass media. Meanwhile, Hito Steyerl’s early video installation Strike (2010) explores labor resistance through a symbolic act: swinging a hammer and smashing a monitor. This gesture critiques the commodification of technology and the ways in which media can be both a tool of control and a medium for subversion. Steyerl’s work aligns with the exhibition’s broader themes of questioning authority and reclaiming narrative power. As the exhibition continues, visitors are invited to reflect on the complex relationships between images, emotions, and societal norms. Through diverse artistic interventions, The Lure of the Image encourages a deeper understanding of how visual media shapes, and can be reshaped, by collective action and individual choice.