The politics of attention in the paintings of René Tavares

Abstract

René Tavares’s artistic production actively engages with political themes like migration and racism, simultaneously reflecting and inviting the deconstruction of the ‘alert attentional regime’. This term refers to our digital era's characteristic heightened state of alertness and fragmented attention, which scatters our focus across multiple streams of information. Rather than simply mirroring society’s fragmented attentional state, his work fosters more mindful and intentional engagement, encouraging viewers to transcend the transient attentiveness inherent in contemporary society. Central to his practice is the concept of rhythm, symbolizing the velocity of modern life and facilitating a shift to more sustained attention. This is achieved through patterns and colours that mimic swift information cycles, inherent to our times, captivating the viewer’s attention while setting the stage for a deeper, more mindful engagement with the artwork. Tavares intertwines elements like the ‘floating mark’, representing ephemeral meanings in our digital era; ‘polyfocality’, reflecting and addressing society’s fragmented attention through multiple focal points, and ‘pictorial syncretism’, which refers to the amalgamation of different painterly registers such as stains, graphic registers, splatters, layer overlay, word insertion and scrapings, blending visual traditions to highlight the fluid cultural boundaries in our globalized world. By doing so, it potentially opens up the possibility for a redistribution of the sensible, prompting critical thinking and an inherently political understanding of our place within a broader societal context.