Contradictions

Last winter, as I sat in a home made of dirt bricks, with a bamboo roof, ill from whatever parasites had infected me, and lacking heat or running water, I was very nearly driven mad by the contradiction of being in such a harsh environment, but still able to connect with my family and friends via wireless internet. (I am now experiencing this in reverse, as I chat online with friends that still live in Morocco. More than once have I read "My fingers are too cold to type! TTYL!) It was nearly impossible to imagine that the environment in which I sat could exist simultaneously as the one which I had left. Was I even on the same planet?

Trust art to address this issue. I just learned about the artist Filippo Minelli. Now a conceptual artist who uses graffiti and documents it photographically is not that novel, but his ongoing project Contradictions, speaks to me in such a visceral way, I barely even have the vocabulary for it. By visiting slums in the developing world and scrawling incredibly popular websites, such as Facebook, Myspace and Flickr, on tin houses, scrap heaps and run-down trains, he frames the incredible chasm between how people live in these environments and how, we in the developed world, spend a great deal of time in an alternate reality. Here's a quote from him from the Daily Dish:

What I want to do by writing the names of anything connected with the 2.0 life... [on] the slums of the third world is to point out the gap between the reality we still live in and the ephemeral world of technologies. It's a kind of reminder, for people like me..., I'm an Apple user and also have social-network accounts, that the real world is deeply far from the idealization we have of it...

What speaks to me most about is the tightrope many developing nations walk as they build technological infrastructures, which are vital to their efforts to attract foreign investment, but often neglect what we consider very basic infrastructure, such as rural electrification and water treatment plants. There simply aren't enough resources for them to do both, and foreign investment wins out because it ostensibly generates immediate revenues. A rural farmer simply isn't going to produce a larger crop because the government connected him to the power grid, but her sons can travel to the nearest large town to work for outsourced jobs from larger economies.

I doubt that Minelli's art "helps" anyone in the communities in which he works, but that's not really the point. You and I are his target audience. How we process the contradictions he highlights is the truly interesting aspect.