The Upside Down Amsterdam, founded by Anna influencer Nooshin, the third Instagrammuseum of the city. What is going on here?
It starts before you’ve bought a ticket. You walk through the bright pink, upside-down restaurant to the toilet, wash your hands and then left a pool installation. A room with blue-painted walls and a staircase which you can reach, if you’ve been swimming for a while under water and out again wants. You make a little jump and click. Doing well on Instagram.
And then the journey must by The Upsidedown, the brand Instagrammuseum of influencer Anna Nooshin (33) at the RAI yet to begin. Fifteen rooms and 25 sets and art installations along the “ultimate Instagrammable Dutch Experience ‘should form. Leitmotif is ‘upside down’, so plants where it appears in the picture as if you’re floating or glued to the ceiling.
That in a nutshell is the Instagrammuseum: voluminous interactive installations and decors which are particularly photogenic. In The Upside Down ‘visitors create content by being part of the plant, there are people to help you in choosing the perfect pose. You can take selfies or even smile at one of the cameras of the museum. Afterwards you have a little luck enough photos to keep a couple of weeks you Instagrampagina running again.
Nooshin know that this is what the digital generation. Playfully shooting the shots in several lavish facilities and sharing on Instagram. The museum makes the implicit promise that the photographs will catch online. The installations are attuned to what is suitable for social media: the possibility would disappear, bright colors, graphic patterns, 3D, mirrors and optical illusions. It’s safe. The likes will flow.
The first Instagrammuseum opened in 2016 in New York. It was an instant hit. Many large cities followed, in Amsterdam there are now three – that Nooshin, Wondr and Youseum. What makes this museum so popular? And what does it say about this time that the digital generation (18-35 years) there so much going?
Writer and philosopher Maarten Doorman understand the fun of the selfies, but young adults who will pose in a ball pool or install a little childish. “It fits into our experience economy, but it also shows infantilization of society. The term ‘museum’ is cleverly chosen, because it suggests that it is not stupid vanity and that you relate to real culture. You also see that real museums here instead to make room. As Catholics earlier by Mary came to God, so are youth now through Instagram to Art. ”
Moreover, man has always been vain, says Doorman. “This generation is no more than the last. Only now there is technology that facilitates our vanity. Had there been forty years ago, that we had used it. The German philosopher Arthur Schopenhauer said that we ourselves are the main character in our own drama and always extras that of the other. Now arises Instagram with a new opportunity to lead our form. Instagram offers our audience and the technology to construct ourselves convincingly. Of course we use it. ”
“In our culture we find the right visual decor. This requires a Instagrammuseum ideal. The decors provide an aesthetic luster to our lives and nurture our (vain) hope also to be protagonist in the life of others. ”
Instagrammuseumbezoeker it is so very easy made. According to philosopher Hans Schnitzler technique is that the problem with most new technologies. It makes life as frictionless as possible. “It’s hard not to connect you to access an artwork directly from your perception. Eventually you can lose yourself in it, it can get people thinking. There is hardly invoked in Instagrammusea. That does not do justice to the importance of commitment and effort to do something. Because the less you exercise you need to make, the less interest you’ll find an art installation or final. ”
Yet it is not surprising that Instagrammusea so in vogue are the digital generation. It fits exactly at a time when young people are accustomed to show themselves through photos and videos to the outside world. They grew up with social media and smartphone. Without shame she steps inside a Instagrammuseum can shape themselves as museum artwork too. It is a concrete expression of individualism and neo-liberalism reigns supreme: you are your own brand and manifest yourself online, your windows need to be as beautiful and interesting as possible for attention and likes to rake in. That thought is internalized by a large part of the digital generation, Schnitzler says.
You might see taking selfies in Instagrammuseum as an intensification of something that already was going Tourists walking along a famous church and are mainly engaged himself to get to the church on the photo. To confirm that they are the church have been spotted. Really look they hardly do. The picture often gaining the experience. want to share on social media in a Instagrammuseum comes on top you get the picture. Prove that you are is not enough.
It is reminiscent of what sociologist Nathan Jurgenson writes in The Social Photo. First revamped the photography world. We knew we henceforth any time capture, immortalize. Situations did not slip through our fingers. Social media then turn the world into something part perch, always ready audience. It causes a constant awareness of how we ourselves will be possibly seen by others.
“The Instagrammer is therefore caught in the gaze of the outside world,” says Anneke Smelik, Professor of Visual Culture at the Radboud University. “The psychoanalyst Jacques Lacan said that if you look in the mirror, you see a perfect image of yourself. The tragedy of man is that he always fails; you never meets the ideal image you have of yourself. It also works alienating: you look at yourself through the eyes of another. Also, film and television reflect an ideal that does not coincide with how you look. Nowadays we try selfies an ideal image of ourselves to produce and show to a wider audience. This means that whenever anyone ideals put online that you want to emulate. ”
The idea that there is always an audience for them to share content, our behavior will change more than we might suspect beforehand. Dorothy Smithuijsen, which portrays the digital generation in her book Golden Mountains, writes that when we see something beautiful or funny, we inadvertently get our phone in our pocket for a photo to create and share. On vacation we look for the best spot on the beach for a photo.
And those are still situations where we more or less accidentally walk into a nice decor. Today it is not unusual to find locations consciously doing well on Instagram. A survey of British Millennials even appears that the ‘Instagrambaarheid’ a place largely determines where you go on holidays. So we come close to what the French philosopher Jean Baudrillard a ‘simulacrum’ calls, a world where the electronic version of reality is found, however, than the ordinary reality.
You see their furniture and restaurants set menu full service Instagram. You can even hire a professional company. Museums like Moco and Voorlinden please the digital generation with life-size installations, mirror spaces and decors that they know they are doing well on Instagram. The physical world is shaped by the needs of the online world.
And why would not you go all the way, as Anna Nooshin does with The Upside Down? A Instagrammuseum arouses annoyance because a museum traditionally a place where you look, and does not take pictures. But it is more sincere and honest than Moco and Voorlinden, or “instagrammable ‘restaurant. It is not pretended. In Instagrammuseum Instagram is not a side issue, but essentially. And who else complains as part of the visitors through ball pool by swimming to a ‘real’ museum?