Self-Portrait Hanging between Personal and Social Grimace

Doi: https://doi.org/10.47659/m2.086.art

The article argues that contemporary selfie culture is fully organized around grimaces, one type of face succeeding the other. After being recorded plenty of times, the “duck face” and “fish face” have become almost natural and socially acceptable. Article questions this assumption asking if these types of faces have not in fact already existed before. Grimace can be a result of an inner input, such as pain or madness, distorting our natural face, which then covers up the natural grimace as clothes do our intimate body parts. Thus, there are funny and less funny, socially communicative and mirror grimaces, there are meaningful ones and completely meaningless distortions of one’s face. Discussing the works of both artists and scientists, such as (among others) Anton Joseph Trčka, Alphonse Bertillon, Jean-Martin Charcot, Duchenne de Boulogne, Hannah Wilke and Sanja Iveković the article deals with the notion of the grimace as the posing in the intersection between public and private sphere.

The article argues that contemporary selfie culture is fully organized around grimaces, one type of face succeeding the other. After being recorded plenty of times, the “duck face” and “fish face” have become almost natural and socially acceptable. Article questions this assumption asking if these types of faces have not in fact already existed before. Grimace can be a result of an inner input, such as pain or madness, distorting our natural face, which then covers up the natural grimace as clothes do our intimate body parts. Thus, there are funny and less funny, socially communicative and mirror grimaces, there are meaningful ones and completely meaningless distortions of one’s face. Discussing the works of both artists and scientists, such as (among others) Anton Joseph Trčka, Alphonse Bertillon, Jean-Martin Charcot, Duchenne de Boulogne, Hannah Wilke and Sanja Iveković the article deals with the notion of the grimace as the posing in the intersection between public and private sphere.

The article argues that contemporary selfie culture is fully organized around grimaces, one type of face succeeding the other. After being recorded plenty of times, the “duck face” and “fish face” have become almost natural and socially acceptable. Article questions this assumption asking if these types of faces have not in fact already existed before. Grimace can be a result of an inner input, such as pain or madness, distorting our natural face, which then covers up the natural grimace as clothes do our intimate body parts. Thus, there are funny and less funny, socially communicative and mirror grimaces, there are meaningful ones and completely meaningless distortions of one’s face. Discussing the works of both artists and scientists, such as (among others) Anton Joseph Trčka, Alphonse Bertillon, Jean-Martin Charcot, Duchenne de Boulogne, Hannah Wilke and Sanja Iveković the article deals with the notion of the grimace as the posing in the intersection between public and private sphere.

You must be a subscriber to view the main content of this page. Please subscribe to an option that fits your needs and get access to core content! If you are already a subscriber just sign in below. If you have purchased a subscription via Offline payment, the content will be unlocked upon receiving your payment.

Grimace culture finally reached its peak with the development of self-portraiture, proving a certain madness, which had previously only existed in asylums, was now everywhere around us, in various amounts.
Reading Time: 9 minutes
Reading Time: 9 minutes
Share on facebook
Share on twitter
Share on linkedin
Share on facebook
Share on twitter
Share on linkedin

Similar subject

Historically, snapshots have always been about the everyday, the banal, the repetitive, the cliched events that are part of everyone’s lives. And by using Snapchat, almost any everyday activity can be combined with the production and distribution of an everyday image.
While the smile is an invitation for social interaction and is used widely in public depictions to invite people to interact with strangers, celebrities, or commodities, the grimace explicitly questions these invitations.
Camouflage repels “evil” gazes. In this game of concealing and revealing, identity and non-identity and over-identity, of the real and the unreal, camouflage just will not relinquish its “excessive” magical function, which both attracts and repels in a sort of a deeper experiential sense, just as it both attracts and repels looks.
With this complexity of relations that a person has to navigate since the emergence of new technology it is not surprising that our minds are on a subconscious level preoccupied with the performance of identity.
Breaking of the convention is an argument for certain kind of authenticity. A grimaced face is not a posed face, therefore it must be an authentic, truly expressive face, the real face.
Each innovation in visual media changes the way the world behind our back was seen.
We are basically told how to feel about things, but when that happens in real life there is no script, there is no music, and sometimes really horrific things can unfold in a very, very ordinary way. In a way what is really horrifying about it, is that it is just normal life, except that really bad shit happens.
Facial recognition technology, which seeks to identify the shape of the skull beneath the skin and tissue of the face, is based on the assumption that it can be anything that occurs on the surface of the face, a potential camouflage, while the bone structure underneath it is impossible or at least very difficult to transform.

Our site uses cookies to improve our services. As an user you need to agree to the usage and accept our conditions. We are currently using only necessary cookies for normal web page functioning. For more information visit our Privacy Policy and Terms of Service. For more information on the cookies that we use please check the list below.  

Cookies that we use

PHPSESSID
This cookie is native to PHP applications. The cookie is used to store and identify a users’ unique session ID for the purpose of managing user session on the website. The cookie is a session cookies and is deleted when all the browser windows are closed.

I consent to the cookie usage, agree with the Terms of Service and Privacy Policy and want to continue using the web-page. 

sign up

and get the latest news and calls for papers & projects