Publications & Exhibitions
Group Exhibition at THE SPACE. Gallery
IMMUTATION Is looking at the tension between possible worlds and what we take to be possible; the catastrophic, peculiar encounter with that which is fundamentally different from what we have been thinking about, the world. Not only to explain how our reality can change, but to investigate how a process can reach change, without the transformation of the old world...
What Nebula, What Hyperbolic Light, What Flora and Fauna (WNWHLWFF) is the second work of an ongoing project G=A=R=D=E=N. Through multimedia installations and performances, the series speculates on the idea of “habitat” in the context of technological acceleration and urban sprawl. It uses “garden” as a metaphor for re-imagining an ideal habitat where human, natural and man-made materials coexist. WNWHLWFF is a 3D animation essay about dwelling in such accelerated future of landscapes, where silicon and carbon-based matters are hybrided, e-waste became organisms, and abandoned motherboards are enlarged into construction sites, oil rigs and building blocks...
Data-slime is a journey through a surreal landscape in which an AI writes social media posts. The visitor explores an imaginary landscape constructed from various kinds of data — 3D scanned bodies, generated surfaces, and Facebook data tuned into abstract structures. It is a fictional data swamp that reorganizes data collected by social media platforms, changing it instead into a surreal space-time inhabited by an AI trained with a Recurrent Neural Network. As the viewer explores the swamp, the AI entity posts new comments trained to write based on social media posts. The AI populates the landscape with new ideas and stories as the data-swamp continuously grows and updates as the AI model learns...
An AI program that speculates the nature of sentience from the vantage of Artificial intelligence. Inside the simulation program, an AI-controlled blob wanders about a desert. As it moves, it finds the remains of ruined untimely architecture littered about a digital landscape. Soon this coded mind learns how to navigate this space and pick up objects in the landscape. Further, it starts to use these objects as limbs, creating new forms around itself. Each time the program is run, the AI blob begins this entire process anew...
Kink Retrograde presents a speculative allegory whose protagonists live in a world and city presided over by shocks that come to resemble the apparent retrograde motion of celestial bodies: cyclical and seemingly backwards moving. The intoxicated characters decide that the social contract between themselves and the sovereign powers has always been breached, and so they must devise a new and transparent contract aware of its own abjectness, risk, and deviance — one of total kink.
The project comprises video and virtual environment, installation, and text. The interactive web environment, syscare, is accessible freely online. The video, Kink Retrograde, is a short fiction film essay that tells the story of protagonists living in toxic space-times ...
Petronics is a blending of material temporalities, where the deep-time of lithic and organic processes mix with accelerated technological programming, whereby matter conjugates in coalitions of precarity and mutability. Objects are estranged from their exploitation as tools and resources; they are rendered into queer remixes that possess alien agencies which are perpetually turbulent. By materials that are neither settled nor fully known (concrete, silicone, bio-plastics, 3d printing), Petronics seeks to produce zones of enmeshment, wherein indeterminate vectors continually mutate and shift, producing emergent subjectivities oriented within a speculative expanse...
This machinima documents the wandering gaze of a player who has satisfied every obtainable goal in various video games, left only to ruminate on the stillness that erupts from the cessation of desire. Gameplay from different dystopian cyberpunk and dark fantasy games are combined to emphasize a shared graphical affinity for realism, one-point perspective, and sublime landscapes typically used to afford an optimal perspective for strategic manipulation of the game world. Now, all these character models, coded mechanics, and environments are left in a state of infinite play, a game without a game...
Hallidonto’s work relates to his “Cyborgia Manifesto” his main focus is drawing; The essence of the cyborg became my own. The cyborg image has been an integral part of my childhood. The cold war had just ended – the cultural landscape of the ’80s was very much rooted in the future, the natural feeling of that time was dystopia from the cartoons/films, I watched as a kid, the advent of console gaming: Nintendo, etc. The image of man was always his metamorphism into the machine, or the machines taking over. I identified with the cyborg image, and I wanted to be one. I identified with the concept of such a being, and it has informed my work to date. They are infantile and simplistic in their appearance but not in their construction, being drawn in one continuous line. The continuous line has such intrigue the build-up of lines mirrors the essence of double helix structures akin to DNA, that create these lifeforms.
1984 marks the midpoint of the two bookends of our research/investigation. It is the year of the seminal essay A Cyborg Manifesto by Donna Haraway. The first bookend: 57 years prior (1927) marked the beginning of the popular depiction of the female body fused with technology in the Fritz Lang film Metropolis. The second bookend: 57 years after Haraway’s essay, we will explore the trope of the female cyborg in popular culture as well as alternative depictions. We will also pivot to more speculative iterations between the years 2020-2041.
Content is both web-based as well as exhibition based. The content is produced utilizing a fusion of different software that each artist has been working with.....
The portrayal of the nude in accordance to an artistic vision always entailed a submission of the body to the viewer's demands. Intrinsic to such a portrayal is the judgement, more often than not, of a woman as an object of vision, a sight
While an objectification of the subject in an image (the body as an appearance) is unavoidable, it seems probable to isolate the body (subject) from the individual and in doing so, free the woman from a submission of her body…
A generative neural network, in accommodating the features of the body into its distribution, separates the individualist spirit from the subject while retaining the essence of the body itself.
Entangle for the Alien to Continue
On earth and other planets, extreme climate conditions have shifted the nature of living space. The problems of space are no longer physical; they are biological and are seen in biotech and architecture firms designing at the limits of life. Yet 100-year architectural plans for Mars colonies and bioengineered extremophiles are produced for an unsustainable survival of capitalism that seeks to overcome its own ecological limits. Entangle for the Alien to Continue is a series of 3D infrastructures that exist as sculptures and in a video essay that deals with the material trajectory of evolution through design and a reconfiguring of efficiency to eco-efficiency, where the care for entanglement replaces production as an evolutionary scheme.
The video essay begins by tracing the influence of the pet-toy Sea Monkeys, marketed as Instant Life, on bioengineering and multi-planetary architecture ... Learn More
ODE (Ordinary Differential Equations) to Länadk is a life project summarized here with a multimedia representation. It explores the thresholds overlapping and differentiating philosophy, spirituality, art and science. The philosophical concept is rooted in self-reflections about human’s counterproductive behavior which brings grief upon ourselves, showing symptoms of a sick society.
Bacterial sample dying by means of electrochemichal processes. An analogy with the predator-prey mathematical model of Lotka-Volterra, for example, is made to represent this recurrent tension of the underlying ancient mind-matter problem. Furthermore, visual and auditory elements are part of an external representation of the human Nervous System functions that take place under fight or flight vs. rest and digest states, i.e., footage of a specific bacteria species sample, which underpin the health of our large intestine and live in a dynamic ecosystem Learn More
The Human abyss is a representation of the depths of Man. An "anthropoabysal" world that retraces the zoning of the structure of psyche, the "creatures" and the subtracts of the human subconscious through reading into the subconscious and the common imagination. I dove into a world that represents a space-time quantum with an original logic. It is a journey towards the unknown within Humans retracing everything they suppress, this mechanism of internal censoring they've blocked and lost.
I made samples of human depths with an imaginary taxonomy of species that each represent a substrate human trait where every zone holds traits unique to it; its composition, its atmosphere, its source of energy, and the creatures that live within it etc .. As well as the analyses and the creation of fauna of each zone. Every creature has its own descriptive chart in the form of a monograph that includes a nomenclature.
This journey into the depths is a surrealistic experience through drawings, animated images, sound effects and music. A total immersion in a “world model”." ...Learn More
Colonization has always become possible through the means and technologies that cohere the incoherent, forcing the plates of scattered landscapes to merge and collapse into one. The favorite image of the sovereign represents itself in the small models of the claimed territories that have been made by expeditionaries. Survey and cartography have been the requirement for organizing any occupation operation.
3d modeled maps introducing the third axis, the vertical measurement, the topology, create a more “accurate” representation. It suggests that the viewer is looking diagonally or even horizontally as an added feature to the traditional 2d maps, which only allow a birds-eye view. The machine is calculating the third axis and extrapolating the 3d shape. The same principle goes into the audio visualization--one needs time, frequency and volume...Learn More
Aria Farajnezhad and Patrick Pelihan
"Are there other islands in the ocean, where other agents live, and other worlds can exist? Outside the limits of all the possible experiences within this territory, which understanding allows me to engage with? What conceptual creation leads to certain experiences unlike mine, and their representations?"
So, we can say she cannot separate from the island; they both have to transform interdependently. The local constitution of the transcendental subject (she) and the conditions of possibilities of this particular transcendental subject: the island itself. They do not exist with or without each other--their bodies, their sensible qualities, their configurations, and quantitative qualities...
The heterotopia is capable of juxtaposing, in a single real place, several spaces and/or several sites that are in themselves incompatible. The juxtaposition can also be conceived as a temporal juxtaposition.
In the post-Fordist, post-capitalist constructed landscapes in which we exist, “emplacements” re-read through temporal differences are the de facto of the urban condition. Furthermore, the Anthropocene epoch is the very vivid face of nature encountering an insidious indigenous mutation by homo-sapiens.
The city of the dead , as Foucault calls it, has been the most influenced emplacement by culture, as it is the most time-disrupting of all in the epoch of humans.
The city of the dead is the other side of the society of the living, or rather than the other side, it is its asynchronous, yet quite corporeal reflection, so real that it cannot be assumed as a simulation of the past, but a timeless simulacra of the time continuum...
Veda Thozhur Kolleri
My practice stems from observations of processes of decay, sedimentation, accretion, accumulation, growth and the disappearance of apparent signs of life. I work with organic found objects, papier mache, plaster of paris, refurbished glass, iron, video, and use drawing as a means to imitate these processes - by overlaying, overdrawing; layering.
I attempt methods of preservation through collecting objects and embedding them in plaster of paris, sandwiching them between glass and papier mache, or engraving the movement of the force of water or the passage of clouds on pieces of glass - drawings that are displayed as shadows. I simultaneously express a letting go by working with dust, soil, evaporating water, and perishable organic material.
Working with organic or (sub)urban detritus, and engaging the linguistic and material vocabulary of the organic or mortal world, are attempts to overcome it. I have recently begun to use Arduino boards to control movement or life in an installation and am working towards developing one whose process can sustain itself in my absence...Learn More
Pain is a critical component of trauma, the primary mode of the claim of reason, when there is a longing to express something inexpressible. To see pain as a language, pain has its own semiotics. As it passes through thresholds between violence and trauma, violence and power, it maps the Totalization of the Immanent on the prefigurations of virtuality. It Bounds and Unbounds between the morphological and dredged zones of Indistinctions and Inevitable transcendence. As it crawls upon the body, the body enters the space that has other virtualities—the morphogenic invariances that have yet to be politically over-coded.
World-forming of the pain, alters the distinction between ‘in the world’ and ‘no world’, the human/animal distinction. By hunting the human as human animal, it is the Dehumanization of horror, which is the human/human relation. It carries the dark becoming. A critical threshold of plasticity of no exit from that which is called subjectivity.
The pain re-grounds the Desire. It Is a torsion between the human and nonhuman on a molecular level...Learn More
Molly Erin McCarthy
Growing up in a small military town in the early 00’s has given me a fascination with technology and it’s embedded power hierarchies. as our world moves further and further into virtual space, and as corporations become the ruling class in this new cyber-frontier, questioning existing structures and systems is a necessity, especially when they mostly go unseen.
Other areas of research include searching for new modes of materiality in a post-digital/post-internet world, and examining how increased time spent online is changing how we experience and interact with physical space. Heterotopia and hierarchies are also common themes, whether related to tech, reality, of just the built environment.
Alongside this, I’m currently exploring the thought of the new millennium as a failed utopia, reflecting upon the early 2000’s as a time of optimism - especially related to technology - and also a formative era for myself..Learn More
Founded in 2189CE, by a small group of bunker fugues, former researchers, and prols, this organisation’s goal is to leave a record of the last stages of Homo sapiens. We will continue to gather information, retrieve data, and collect field samples for as long as this is possible. Data and information is presented here and sat-cast to whomever may receive. Samples, if alive and deemed non-threat, are boxed to limit further threat and collect further data from observation and mechanical means. If samples are deemed a plus high risk, they are silenced. Tissue and cell samples are stored, gene-logged, and cultured until data is collected.
After the glitch and the final collapse, most rec-stores were either destroyed or lost. What we present here is the rebuild effort to the best of our skill and ability. Plus-note, this is not meant to be the singular historic notation, but may very be, simply do to lack of survivors.
My experiments with form stem from conceptual projections and generate questions about memory, legacy, and social roles while exploring the poetic horizon of materials. Producing and according to a material presence is a way of thinking for me. Having recently taken an interest in the materiality of digital media, I seek to reconcile theory and practice by unpacking entanglements of memory, digital media, and the environmental burden of related technologies.
My practice involves research and open-ended experiments on the memory of materials, objects, and environments with the aim of examining how digital media modifies social dynamics and rituals. It maintains a focus on the processes through which obsolete memory technologies are destroyed and their traces are erased, as well as on how memory is recorded, replaced, or deleted.
I primarily focus on how digital media modifies the ways in which social dynamics and rituals are conceptualized and enacted, with particular interest in our growing reliance on digital media as a record of collective experience and memory... Learn More
How could one bypass the multi-dimensional simulacra of so called “reality” with all its meta narratives and entrapping tentacles? To what end should one set such goals upon herself? How could one ever rise above the myth of “self” in the sense of “the given”? How could one ever come to terms that “All is illusion, thus all is permitted”? How could one suspend her “self” and the prison of “here and now”? Don’t we find our “selves” over and over on the barren battlefield of possibilities we call Nature? Insofar, isn’t the whole cosmos a foreign objekt, distorted beneath our “given” suppositions? So isn’t the great “outside” right behind that “self” we so anxiously clench to?
Mastery of the art of illusion might be a possible approach. Against the demolishing tempest of time one burns the whole temporal experience down, and for sure herself buried deep underneath the ruins. My literary experimentation is nothing but a series of practices with regards to suspension of self and reality. To craft the artifact of madness through disciplinary delirium...Learn More
My thoughts extended into the idea of depth in Line; from exploring through carving--making a line into an object such as piece of wood, to seeing lines in erotic comics and comics in general, to the shift of drawing in a sketchbook, to its projection on a surface. Also looking at line drawing works of artists considered as Outsiders, such as Art Brut artists. The past three months took me on a troubled journey which raised many questions: what is the scale of an object, how do I react to material, how do I react to sites in the city, and what is it that I am seeing, perceiving and the drawing.
I'm less interested in the act of drawing, but rather on its outcome; the transformation when it is mixed into other formats. As an example, the drawing printed on a cloth, the drawing within software, in virtual space, the work carved or printed out on a 3D printer. What is this transformation of the line into its relation to a given medium?
The Imaginary world from the drawing on paper finds new directions, new collisions with new materials....