FOREIGN OBJEKT :
"Limitrophy offers a strategy for questioning the validity of those perceived boundaries by identifying gaps, spaces, discontinuities, through surveying the interstitial space between that which constitutes and that which deviates."
-- Jacques Derrida
Limitrophy is therefore my subject. Not just because it will concern what sprouts or grows at the limit, around the limit, by maintaining the limit, but also what feeds the limit, generates it, raises it, and complicates it. Everything I'll say will consist, certainly not in effacing the limit, but in multiplying its figures, in complicating, thickening, delinearizing, folding, and dividing the line precisely by making it increase and multiply. . . . [The limit] has an abyss: The discussion is worth undertaking once it is a matter of determining the number, form, sense, or structure, the foliated consistency, of this abyssal limit, these edges, this plural and repeatedly folded frontier. Jacques Derrida
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.
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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.
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.
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 where chemical substances thrive and communicate with the brain. They send signals to the central nervous system (CNS: brain + spinal cord) to handle the immune system with neurotransmitters and hormones that are key to determine our mood and likelihood to acquire diseases such as depression, obesity or cancer... Learn More
Entangle for the Alien to Continue
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, ..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?
The Swan Platform
Swan Platform seeks beyond surveillance and what is going on not in its realm or even peripheral vision, but out of its conventional vision, still in the panopticon, but out of the observer’s vision fracture. Swan platform’s main figures are out of the scale that sovereignty expects, as they have learnt how to alienate themselves from persistent observer.
How to extend as a rhizome and a representative of multiplicity out of the focused totalitarian demands. The realm that these figures are existing in, is foreign to both the figures and to the observer. The surveillance operator does not know the foreign realm, the confusion of huge figures and also their possible power.
*In panopticism, the watcher ceases to be external to the watched. Rather than external actions, the gaze of the watcher is internalized to such an extent that each prisoner (economic agent/worker) becomes his/her own guard.
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.
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. In this vein, I focus on the processes by which obsolete memory technologies are destroyed, the way their traces are erased, and the gestures of destruction itself, such as burning or tearing. This brings some questions like what is left after destruction? Is it the proof for the materiality forgetting? This is why process-oriented experiments and performances play an important role in tracing and appropriating the memory of materials, objects, and environments at the intersection of local and global trends, as well as human and non-human agencies...Learn More
Study of archetypal meanings of clothes, hidden stories back in time about certain types of clothes. To use these narratives into creating artworks with deeper conceptual research in the meaning of items of clothing in contemporary society and their futuru. Perceived clothes as sociological narration more than a piece of fabric. Some types of clothes are more archetypal than the others and the work will focus on inner meanings and context of clothes which are nowadays eaten and forgotten by contemporary fast fashion monster. For example, the history of a parka jacket saying a lot about a culture, colonization, gender and political contexts of different decades.. And what about the future of these items of clothes?... Learn More
I see myself in possibilities between what is material, how do we understand depth and distance, what does it mean to walk in the city, and how do notions of eroticism, humor, and comic book stories function.
I’m also interested in the spaces in between which artworks occur, where you ride a thought, travel with it, soak it in, research it through the fields of cognition, language, thought and all of this leads to some form of action, or many such active steps.
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
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...
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...