Sara Cwynar's exhibition, Baby Blue Benzo Beta, is a captivating exploration of contemporary visual culture, offering a unique perspective on the relationship between images, consumerism, and the internet age. This thought-provoking installation at the Museum of Contemporary Art Toronto challenges the viewer to reconsider the role of photography in our lives and the impact of visual motifs on our perceptions.
One of the most intriguing aspects of Cwynar's work is her approach to creating an alphabet of contemporary visual culture. By drawing keywords from the internet's trending terms and her own search history, she constructs a personal and idiosyncratic collection of images. This method allows her to highlight the contingent nature of visual representations and the ways in which they are shaped by our desires and societal trends. For instance, the letter A, representing 'apple', is a nod to the tech company's prominence in the news at the time, while the letter B, for 'bank', could be a commentary on the financial sector's influence on our lives.
What makes this installation particularly fascinating is the way it challenges the notion of objectivity in visual culture. Cwynar's inclusions are not meant to be neutral or representative, but rather, they are personal and subject to change. This approach raises questions about the authority of images and the ways in which they can be manipulated or reinterpreted. The artist's use of outtakes, marked by the letter X, is a powerful commentary on the contingency of visual representations and the ways in which they can be deconstructed or reimagined.
The installation's design, with its tall panels forming walls that subdivide the gallery, creates a maze-like experience for visitors. This design choice is not merely aesthetic but also symbolic, as it reflects the ways in which images envelop and guide our actions. The second-floor gallery, wallpapered with large-scale photographs, further emphasizes the all-encompassing nature of visual culture, suggesting that images have become the very bricks with which our reality is built.
Cwynar's practice, as a tour through the factory where images get made, is a powerful commentary on the production and consumption of visual culture. Her work illustrates both the front and back of house of a picture, offering a hybrid photo studio, showroom, and theatre experience. The idea of provisionality, echoed in the details such as the use of gaffer tape, adds to the sense that everything is in flux and subject to change.
The exhibition's title, Baby Blue Benzo, is a reference to Cwynar's landmark video, which is a narcotized dream sequence featuring a figure skating pit crew sponsored by Marlboro, Pamela Anderson, and the artist herself. The video is a commentary on commodity fetishism and the outsize role of images in the formation of value. The dream car, a symbol of outlandish wealth and impossible desire, is contrasted against benzodiazepines, the class of central nervous system depressants that happens to share the automaker's name. This juxtaposition is a powerful commentary on the palliative effects of consumer culture and the ways in which images can both allure and manipulate us.
In conclusion, Sara Cwynar's Baby Blue Benzo Beta is a thought-provoking and engaging exploration of contemporary visual culture. Her work challenges the viewer to reconsider the role of photography in our lives and the impact of visual motifs on our perceptions. By drawing on the internet's trending terms and her own search history, Cwynar constructs a personal and idiosyncratic collection of images that highlights the contingent nature of visual representations. The installation's design and the artist's practice, as a tour through the factory where images get made, add to the sense of provisionality and flux in visual culture. Overall, this exhibition is a must-see for anyone interested in the intersection of art, technology, and consumerism in the 21st century.
