{"id":29094,"date":"2024-07-08T09:55:38","date_gmt":"2024-07-08T07:55:38","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/diy-selfie-guide\/"},"modified":"2024-10-23T17:26:44","modified_gmt":"2024-10-23T15:26:44","slug":"diy-selfie-guide","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/diy-selfie-guide\/","title":{"rendered":"DIY Selfie Guide"},"content":{"rendered":"\n

DIY Selfie Guide<\/h1>\n\n\n\n
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Willem Popelier<\/h2>\n\n\n\n

Photos<\/p>\n\n\n\n

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What an Australian boy more or less in passing termed a ‘selfie’ in a social media post in 2002,\nbecome a worldwide phenomenon in 2013 and is now omnipresent: a self-portrait made with a\nmobile telephone or webcam. By now millions of people photograph themselves every day, with\nor without a friend in the picture, with or without a special location in the background. Vast\nnumbers of selfies get shared with friends and acquaintances, or with total strangers on social\nmedia. The selfie has become the ultimate and very contemporary expression of the ego in the\nmodern world.\nWillem Popelier analysed tens of thousands of selfies, thousands of tips and dozens of research\n\narticles on selfies. He looked at selfies of unknown people that have gone viral, at famous self-\nportraits in history, and selfies that were shared millions of times on social media. Out of all this\n\nresearch Popelier came to 66 criteria for the ultimate selfie.\nThese 66 criteria are accompanied by 66 re-enactments of Popelier, mimicking some of the most\nfamous and infamous selfies on earth. These were made by Justin Bieber, Kim Kardashian and\nBradley Cooper, among many, many others, including the very first self portrait ever taken with a\ncamera in 1839.\nGo and take your own selfie based on rules applied by the stars. You can shine just like them. All\nyou need is a camera, yourself, and a hashtag.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u00a9 Willem Poppelier<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Willem Poppelier<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Willem Poppelier<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Willem Poppelier<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Willem Poppelier<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Willem Poppelier<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Willem Poppelier<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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With the support of the Mondriaan fund, a public cultural funding organization dedicated to the visual arts and cultural heritage.<\/p>\n\n\n\n

Artists<\/h4>\n\n\n
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Willem Popelier<\/a><\/h2>\n
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Willem Popelier (1982) is a visual artist working with photography, based in Utrecht, the Netherlands. His focus is on the mechanisms and politics of representation. He researches the generally accepted ways in which photos are used, and how identity is represented and perceived through photography. Thus his focus is mostly on popular culture, the ubiquitous image and its effects on society.
\nHis work is exhibited and published worldwide and awarded with several prizes including a C\/O Berlin Talent, a Bronze Medal for Best Book Design from all over the World, and nominated for the ICP Infinity Award and the Prix Pictet, among others. His work is included in the Gallery of Honour of Dutch Photography.
\nWillem Popelier is tutor and co-course leader Photography at the Willem de Kooning Academy in Rotterdam and regularly gives lectures and workshops addressing the ubiquitous image, selfies, implementation of artistic research, and more.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n","protected":false},"featured_media":27235,"menu_order":0,"template":"","edition":[116],"type_oeuvre":[28],"class_list":["post-29094","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/29094","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/27235"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=29094"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=29094"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=29094"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}