Abstract Joan Jonas’s large survey exhibition at Tate Modern (2018) highlighted the contemporary relevance of this pioneer of performance art in her juxtapositions of analogue and virtual methods. Her process often relies on a ground or stage where physical remnants of her performances are tangible. Drawing from these insights and exploring figure-ground relations through a selection of works by various artists and filmmakers, this article aims to challenge Hito Steyerl’s polemic that we might not need a ground within contemporary virtual image worlds. The consideration of case studies will be informed by philosophical reflections as to the relevance and scope of the idea of ground within the post-digital era.

中文翻译：

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中间图像：地面在哪里？

摘要琼·乔纳斯（Joan Jonas）在泰特现代美术馆（Tate Modern）举行的大型调查展览（2018）中强调了这位表演艺术先驱者在模拟和虚拟方法的并置中的当代意义。她的表演通常依赖于其表演的身体残迹明显的地面或舞台。通过这些见解，并通过各种艺术家和电影制片人的精选作品来探索人与地的关系，本文旨在挑战Hito Steyerl的争论，即我们可能不需要在当代虚拟图像世界中立足。在后数字时代，案例研究的考虑将以哲学思考为基础，以反映地面概念的相关性和范围。