OONA

Like a feeling of déjà vu... This is certainly the feeling that will grip you when you see a work by OONA. This anonymous artist was born in the Vatican on November 1, 2021. A worthy heir to an artistic scene at the crossroads of video and performance, she is part of the continuity of the history of the feminist avant-garde of the 1960s /70. OONA knows and masters the history of art, but above all, she respects the people who compose it. In “Look Touch Own", she invites the public to touch her chest, while attacking the aesthetics of cosmetic surgery and female beauty standards, a clever mix of “Touch Cinema" by Valie Export and “ Carnal Art" by Orlan. Déjà vu is assumed and verbalized. Déjà vu is political. Déjà vu claims a new definition of value in the world of artistic creation, affirming that the creator is not always in the The obligation to discover something new to produce a significant impact is to conquer, to be the first, to dominate. This masculine quest for knowledge does not interest him. questions that a Valie Export, an ORLAN or a Carolee Schneemann, it's good because the latter are still relevant today. The déjà vu of OONA is only a mirror of the society in which we operate, a. a cruel reminder that this society is not evolving that much.

OONA uses blockchain as a support for its artistic performances, a space that allows it to explore the equity (or rather inequity) of this new world of online art, where women artists still exist through the gaze of men Aware that the history of art is crossed by countless examples of works by women artists, whose names have been forgotten, erased or misattributed, OONA sees in this technology, this public register, a solution to this recurring anonymization of female artists. The artist uses her own body to challenge traditional and current representations of the female body. His presence is felt by the public as a permanent performance. She hides behind her sunglasses and a cloth mask, hiding any recognizable features that might distract you from her often-baring bib. Its anonymity is a reminder of some of the fundamental principles of the web3 community: the protection of privacy and the recognition of the sovereignty of the individual are imperative.

The work presented within the “ART GIRLS TRUCK" is a still image taken from the surreal and absurd artistic performance “Basic Instincts: The Horse" which questions the domestication of sensitivity, which is defined as our capacity to feel and to express. Everything here is symbolic. The performance lasts 12 seconds, the average time needed to hit a new block on Etherscan. Those nostalgic will certainly have identified the landscape of this creation: Bliss, the name given to the emblematic background of Windows XP, an image captured by the American photographer Charles O'Rear in 1996 in California. This emblem of internet culture acts here as a symbol of a cyberspace domesticated with kindness. An undeniable dialogue with the work “The Hero" by Marina Abramovic, the conversation about the concept of belonging seems obvious, however, OONA's video does not present any flags, because it reaches its audience through technology that works without depending on a State, OONA poses a new question in its performance: if artificial intelligence is built in our image, what do we predict will happen to humans when we are no longer the most intelligent?

OONA has performed and exhibited internationally, including Art Basel Miami, Metropolitan Museum of New York, Proof of People London, Proof of People New York, Vellum Los Angeles, Avalanche Summit Barcelona, NFT Paris, Art Dubai… OONA's performances and exhibitions have received critical acclaim and attracted the attention of several collectors and curators. His work has been the subject of numerous publications and his works are held in private and public collections.