Reason for freedom fries12/31/2023 Global Search Search Type/Aim/Production-year/Artist/Zone #BIG_SYNECHDOCHE #BRAND_MASCOT #COMMENTARY #COMMODITY #FASCINATION #IRONY #NEWFORMS #NOSTALGIA #OUTLET #PACKAGING #RE-TYPING #REPETITION #SIGNS #SOLO-LOGO #TUNING 1910's 1920's 1930's 1940's 1950's 1960's 1970's 1980's 1990's 2000's 2010's 2020's Addie Wagenknecht Adrien Guillet AFRICA Ainhoa Ortells Ai Wei Wei Alejandra Prieto Alexander Kosolapov Alexey Kallima Alex Katz Alfredo Romero Alfred Steiner Alicja Kwade Andreas Gursky Andre Petterson Andy Warhol Angela Strassheim Angelika Loderer Antonio Caro Antonio De Pascale Arahmaiani Ariel Orozco Ashley Bickerton ASIA Avelino Sala Banks Violette Banksy Benjamin Verdonck Bertrand Lavier Blue Noses Brad Downey Brian Jungen Brian Maguire Bruno Peinado Burton Morris Cady Noland Camila Soato Carl Fischer Ceal Floyer Cey Adams Charles Green Shaw Chen HangFeng Chloe Wise Chris Burden Christophe Guinet Christto & Andrew Cildo Meireles Claes Oldenburg Clara Hallencreutz Collective H5 Cornbread Cory Arcangel Cristian Lagata Cyril Le Van Dale Lewis Damien Hirst Daniel Arsham Daniele Buetti Daniel G. Freedom Fries documents the consequences of an economic and political system that has eroded our agency so deeply that we have lost not only the connection with other species and other human beings, but we have also become alienated from our own corporality. In such a context, the work points out the irony of how, in the name of Freedom, we have become prisoners of our own bodies. In Freedom Fries the obese body becomes the evidence of a neoliberal system which ideology promotes an idea of freedom based on disproportionate consumption and the continuos promotion of low self-esteem. In this sense, the site itself acquires a symbolic nature: McDonald’s, as a representative of corporate culture, references the way in which “consumer society” alienates the human body. The resulting work references the way in which the body is tricked and, above all, dehumanized by the corporate environment. For this piece, Okón convinced both a McDonald’s manager to grant him access for an overnight shoot and a McDonald’s loyal customer to participate as a model. His work, like a series of near-sociological experiments executed for the camera, blends staged situations, documentation and improvisation and questions habitual perceptions of reality and truth, selfhood and morality.įreedom Fries includes a single channel video installation, a sculpture and two photographic tryptichs. Yoshua Okón was born in Mexico City in 1970 where he currently lives. Duration: 3:42 minutes, loop.Dimensions: variable.
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