Tag Archives: lala drona based on a fact

Social Media using us: “The Like Me”

14 Mar
"The Like Me" by Lala Drona video cover

The newest addition to artist Lala Drona’s video series “La Minute Ladrona (The Stolen Minute)” has just been released:  Title:  “The Like Me” (video below.)

video still "The Like Me" by Lala Drona

As if social media were a cosmic invader on the human species, the video begins with a view of Earth from outer space, and lands in Lala Drona’s home city, Paris, France. The viewer finds the artist underground, inside an air shaft.  Alone, and illuminated only by the light of her phone, she begins to voice opinions and expressions that have become all too familiar to anyone growing up post-millennial.    

The performance art video “The Like Me” delves into the isolating effects of social media through its guise of connection.  This video experience, examines the normalised anxiety we feel on a daily basis.

"The Like Me" by Lala Drona video still

The art performance video series “La Minute Ladrona” exists within the context of a confined space.  The black backdrop and  unknown location capture the viewer for a moment of intimacy through the screen.  However, “The Like Me” stands to be the first time Lala Drona has located herself in the context of our outside world— now injecting elements of story into this video series.

"The Like Me" by Lala Drona video still

“The Like Me” being the 7th, and most recent instalment, has critics and academics alike seeing the beginnings of an evolution regarding the art video series.  As one critic in the L.D. Confidential stated: “The Like Me is the first time that Lala Drona has played with the idea of space and context.  She has become a being which exists in our shared world, albeit still hidden in the dark corners of it.  She is publicly appropriating the role of “observer.”  The detailed work regarding lighting, place and concept, shows a confidence and artistic maturity.  This new instalment promises more exciting things to come regarding Lala Drona’s work.”

This video has Art fans asking if this video is a sign of coming changes in Lala Drona’s social media presence. Perhaps this video is what remains from the journey she’s made from tool to master. One thing is certain: the creation of this piece shows us that no one is immune to the effects of social media. Even when an artist attempts to evade it, its omnipotence proves itself by resurfacing in her work.

Chalie Malonie, Digital ArtWorld Newsletter

Newest video, desire or self-destruction?

20 Jul
Lala Drona photo from art performance shaving video "Willing"

Lala Drona’s latest performance video titled “Willing” has just been released.  The performance examines desire, choice, and notions of consent.  Critic Leanne Richmond stirred up media response with her recent reading of Lala Drona’s video, stating that, for her, the video is about “the inability to resist self-destructive behaviour.”  Based on a Fact caught up with Lala to learn more about the inspiration behind the video performance:

Lala Drona photo from art performance shaving video "Willing"

Lala Drona was inspired by ideas surrounding consent.  “I was thinking about the complexities of sexuality and society, and how in order to receive consent, we must in some way, already trespass.  In my video, this is demonstrated by how you cannot see the answer (yes or no) until the irreversible move is made by shaving.  Unwanted advances, verbal and physical, are seen as harassment (regardless of gender).  However, without them, we do not know how to begin advances towards what we want.  In a similar vein, this notion of obtaining consent is not at all new to women.  We have been systematically programmed to ask for consent to speak, consent to be part of to the team, consent to just be in the room.  Women asking men to start including it in their sexual practices is really nothing in comparison.”

Lala Drona photo from art performance shaving video "Willing"

Lala Drona mentions that the title “Willing” is not meant to be understood at face value, and is meant to be taken as humour au second degré.

Nonetheless, art critic Leanne Richmond theorised that “since Lala Drona is the only individual in the piece, this is really a piece about identity and the psyche.  The performer is asking and receiving consent from herself.  This demonstrates the loving and destructive acts we commit on ourselves.  In the video, although the performer’s psyche is saying “stop” (on the skin of her head), she is unable to resist the temptation to self-destructive behaviour, shown by the shaving of the rest of her hair.”

What do you think about Lala Drona’s newest art performance video? 

This is BETWEEN US.

5 Jul
Lala Drona with diptych "Between Us" paintings about interactions between women and how we may also contribute to systematic oppression

For the past four weeks, Lala Drona has escaped the hustle and bustle of the city and has retired in the small town of Kintai, Lithuania.  Away from distractions, Lala Drona has created a new diptych titled “Between Us.”

The first panel depicts several figures ascending, while the panel on the right depicts the same figures descending.  After an interview with Lala Drona, Diana Springer from the Daily Artlife Network relays what the artist said about these paintings:

Between Us by Lala Drona, painting 2 panels about women either uniting or destroying one another.

Between Us demonstrates the two choices that women have, starting from our first encounters with one another. We can ascend together, or destroy one another. The asymmetrical reflectivity of the bodies represent the slippery difference between creation and destruction. Observations show that first encounters between men and between women differ in the western world. In first meetings, men approach other men as if they are “friends first, and enemies later.” They are friendly, until the other provides a reason that they should not be.

In a world where women are statistically offered less opportunity than men, it is no wonder that women approach each other as enemies first. There is a smaller piece of the pie offered to them, so they are pitted against one another to fight over that smaller piece. This is why women approach one another with the mentality of “enemies first, friends later” (Springer, Daily Artlife Network, Issue XXII).

Lala Drona also stated that in her experience, not all women approach other women as enemies first.  “I’ve met women that are absolutely welcoming.  Other’s have given me the impression that I have to prove myself before we can be friendly. I created this diptych to show how we [women] may also be contributing to systematic oppression.”  This piece serves as a call to action to all women.  Lala Drona claims that the first step to unite as women is to change our perceptions of one another in our first encounters.  Perhaps, if we can see one another as allies first, rather than competition, we will be able to protect and trust one another.  And in the end, help each other rise to create a world where we can exercise our potential and prosper by our own rules.

Based on a Fact

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