Please do not touch.
Noise and inspiration from Michael Jackson Pollock(CZ)
Event/premiere in Punctum, Prague in January ///
Event/ three days long presentation in Horizont Gallery, Budapest ///
The multi channel video installation with narration and sound draws up a vacated scene where the
automatization, introspection, and catatonia together aim to demolish the self and the body. To reduce it into a useful bio-mechanical system.
„The narrative part of the video draws from Mark Fisher’s call to consider mental
illness such as depression, or bipolas disorder as civilisational disease akin to
obesity. The reason for such radical call is Fisher’s claim tha the dismantling of
society and disappearance of collectivist political projects under neoliberalism –
as posited by 80’s prime minister Margaret Thatcher – brings all accountability
for failures on the backs of individuals rather then addressing their social
backgrounds. We, as individuals, are rendered helpless when facing difficulties of
world that is constantly stripping off post-war welfare state and such pressure,
together with precarious working conditions and thinning wages results in wide-
spread depressions. These depressions are no longer to be consdered as
individual chemical imbalaces but as whidespread symptoms of such conditions
in our society.
(…) the question is therefore – what has such layering to do with mentally
disturbed Ais existing under Late Capitalism? Why do artists layer things in the
first place? One reason is to build upon the artwork itself – to expand the
medium by other mediums and technologies and make such expansions visible.
And our present computational ontology is built from layers – or as Benjamin
Bratton puts it, it’s built from stacks. But the other side of such coin is the fact
that something is to be layered on. Something is to be hidden and buried and
such burial is also present and acknowledged. Burying something deep down is a
process of dealing with traumas. Isn’t it a strange loop through which we are to
be told a story of our present conditions and such story is hidden and supplanted
into an inhuman subject’s loud-speaker mouth? Isn’t computational complexity
technological images and used as a mirror in which we have to reach first but
ultimately we are rewarded with our selves in ever more real horror of our
condition? We seem to have both – layers upon layers representing our
computational megastructure and deep down in those layers – fragile human
subject, unsure with the world.”
Demolish a persona
Meta-existence & self-destruction
This is not a question of authority but rather ontological (still) in the age of the internet. Tapping my own limits. A tight-rope dance. Radical body politics? In a case of using it as a person to be sacrificed or simply to play with – yes it is. A fictional character as a virtual alienation. Distinction from reality with the help of a computer-based, dark, unlimited (and definitely not white) cube called viewport – in a 3D graphics software. This viewport is somehow the opposite of the twentieth century’s symbolic gallery space. The existence of each object and material grows out of the cooperation between a software and the human.
Socially self-destructive individuals engage in an annoying or alienating behavior. OR it may also manifest itself in an active attempt to drive away other people.
A „metaphorical social suicide” from both ways: the first time by creating a fake self (Vera Nimova); second time by imprisoning it into virtual – or simply let it become fluid, then vapor, then aeriform. Let it go and let it sublimate.
Nedotýkejte se toho, prosím / Let’s entropy 2018 // Punctum, Prague, Czech Republic
…during the one-night projection an approximately 15 minute-long monologue was played: it was Zira’s voice from a speech generating software. The three parallel video projection – placed in an L form and “from time to time, from time to time” – slipped on each other and sometimes the colored, greenish acid light fulfilled the interior. All of the videos – from different point of view – represented a laboratory scene: one painted up a dreamy scene of a medical exanimation (green dental chair, table, a transparent patient, and cables); in another scene there was a sound field of a breathing machine-like image during labor – with its well-known whistling-sound. There was also a scene with a faceless, seemingly fragile, sculpture-like figure rolled into pink cables – typing constantly something in the air with a series of an abstract line set resembling a human vascular network fading in an out softly.
The text is based on a fictive, artificial personality (referring but not using AI) – we are not able to define what is the scene drawn up for exactly: is it a simple medical exanimation or (rather based on the suggestion of the text) it is a psychological exanimation.
According to her self-definition, she does not exist physically. She tries to explain this state of existence with citing quotes from Mark Fisher, from Wikipedia; by creating freepoem-like ego-descriptions and tries to account for that the act of giving up faith for the social pressure and the interpretation of depression and meaninglessness as a biochemical disorder why is a an important question for her, for whom who does not exist in a physical form.
She is frustrated by the fact that she is differing from a human, existing form and it makes her outsider. As a sympthom, she tries to be as smart as possible.
With the topic of laboratory, exanimation, only virtual existence and machines it was a play and inquiry of the last years’ experiences: meeting and using 3D software, the dive into them, the escape into the usage of a pseudonym. To defer to the norms there are thousands of ways – and always the actual system (or regime) dictates and decides – and draws up the demarcation fields to define whom will remain outside even if it is one’s own accord (like nimova projeckt as a refusal of something) or even if it is an extrinsic isolation or rather a quarantine.