. IN C
SU
BJ
EC
TIV
ITY
L I G H T Y E A R C R O S T A L P R E S E N S U B J E C T I V I T Y 04 02 2016 6-9PM THE TRIANGLE OF P AND ANCHORAGE P D U M B B R O O K L www.crosstalk.hu info@crosstalk.hu facebook.com/crosstalkvideoartfestival
1 0 S K T S I N C EARL LACE O Y N
The video selection consists of artistic visions of contemporary subjectivity, a lively discourse framed by the ‘new segregation of the two cultures, the Humanities and the Sciences/Technology’ (Rosi Braidotti). The dramaturgy of the compilation proceeds through the exodus of man from its position as a central and autonomous agent of world history / planet / its own destiny. Soon after a succinct invocation of the bygone modernist project of the integral & universal subject, videos shift towards a new landscape. Fragmented, dis-embedded or hyper-inflated existences re-emerge, now as part of an alien techno-architecture. A possibility of an alternative social and cultural blueprint is to be born out of this unprecedented symbiosis. Humanity lives in the beginning of sci-fi, rather than in the end of history.
Á U
D L
Á B
E
M R
T
The narrative of the video references excerpts from the travelogue entitled Noa, Noa written by Paul Gauguin after his return from his self-imposed exile to the island of Tahiti. The evocation of the wild, savage mother earth by the video’s imagery is infused with a modernist desire to experience otherness (sexual, racial, natural) as an exotic sensation for the enlightened, civilisation-ridden masculine man. His solitary ‘chasing-after-ghosts’ dance/performance displayed in a flow of continuous close-ups fills the video’s narcissistic universe.
The slow-moving images’ general affection resembles the cosy, relaxation, euphoric ‘high’ mood of typical ASMR videos. (‘The term ASMR [Autonomous sensory meridian response] was popped by online discussion groups such as the Society of Sensationalists and the Unnamed Feeling blog to describe the perceptual phenomenon characterized as a distinct, pleasurable tingling sensation in the head, formerly put as attention induced head orgasm, attention induced euphoria.’ Source: Wikipedia). The video’s persona lures with a certain seductiveness of commodity and well-being, while demonstrating a multi-sensory experience in the foreground of a planetary day, and in the presence of multiplied ‘agents’ craving for the ‘old’ organic human body to ‘Stay’.
N V
A U
J
T
O
A
S
L
E
I
V
J
I
A C
I R D
V H
O E
O M
Á N
Y K
N I Ó
3d gamer aesthetic overwhelms the surreal landscapes, where people are stuck in their own behaviour as human agents de-linked from the universalistic posture calling them to task. The quivering bodies are part of the alien environment, but cannot interact with each other in conventional ways. People losing their bodies, bodies losing their clothes, clothes becoming entities.
G K
E O
R V
G Á
Ő C
S
‘I draw inspiration for my recent videos from the similarities between the wavelike motion of water and the experience of the internet - and how one can struggle to remember when there is a superabundance of data. Once gentle scenes, social media statuses, soft substances can be seen, changing, often creating a nostalgic, fleeting feeling, other times flashing motions, scrolling visual feeds resemble the chaotic nature of impulses passing and going. Short, blurry and sometimes sudden just like the way you recall your memories.’ – Gergő Kovács
The video was commissioned by the Technologie und das Unheimliche collective for their exhibition ‘On extinction and distinction’ that applied a future archeological take on bio-catastrophes. The possibility of such a common threat negatively unites humans with non-humans and enforces a geo-centered, post-anthropocentric view on the historical mindset of humanity. The video sweeps through a wide-range ‘random selection’ of particularities arranged in a grid indexed to images and notions.
T K
A O
M
M O
R
Á Ó
C
S Z
K
Y
In this experimental 3D animation, classical sculptures in the museum participate in a destructive performance triggered by software glitches, distortions, and misused simulation, turning the space into a madhouse theatre with both classical beauty and digital chaos. It attempts to connect the sense of space, history, turmoil, and transformation to the idea of technological sublime in a twisted way.
R H
U
I U