LOST DIMENSION

Exhibition screening at AMIFF - Arctic Moving Image and Film Festival 

DATE: 21.10.2017, 3:30pm (duration: 2h)

VENUE: Harstad Kino (Harstad, Norway)

 

ARTISTS

Sebastian Díaz Morales, Graeme Arnfield, Agnieszka Polska, Nicolas Rupcich, David Blandy and Larry Achiampong, Christopher Kulendran Thomas and The Mycological Twist.

Curated by Vanina Saracino

 

When publishing “Lost Dimension” in 1984, philosopher Paul Virilio imagined a near future dominated by interactive networks, data transfers and interfaces, a world in which any notion of space as we know it, measure and perceive it, would be drastically transformed. Today, new technologies (including the Internet) give us the illusory feeling of unlimited access, with products, information and experiences being at hand reach with the lazy touch of a click. To a certain degree, not being online equals to not exist. Tangible realities and simulated environments begin to merge. Images are no longer a way of representing reality, they are constituting a reality in themselves, and the same notion of inhabiting is dissolving through an increasingly disembodied experience of the space, with our existence being permanently split between online and offline presence.

The program “Lost Dimension” brings together six internationally renowned artists to reflect on the evolution of new notions of space under the principle of simulation, and invites the audience not to look at the cinema screen as an inanimate canvas, but to inhabit it as a temporary space.

 

WORKS

The Lost Object, Sebastian Díaz Morales | Video installation, HD, 14’ (2016)

Reality goes beyond fiction. In a film-set the elements and language for creating fiction are being disarticulated. A ritual is performed in which the camera, lights, set and objects break through to a place where fiction and reality merge into one single element. Where the paraphernalia to make fiction vanishes and there is no more need of it. Fiction becomes autonomous and auto-generates itself. The universe gets under control by the principle of simulation.

Sebastian Díaz Morales, The Lost Object (2016)

Sebastian Díaz Morales, The Lost Object (2016)

Sitting in Darkness, Graeme Arnfield | HD video, 16’ (2015)

Out of the darkness a sound emerges. It echoes and drones. Terrified people take to the streets in search of its source. They get their cameras out and document the sky, searching for an author. We watch on, sitting in darkness, our muscles contract and our pupils dilate. “I hope the camera picks this up”. “Sitting in Darkness” explores the circulation, spectatorship and undeclared politics of contemporary networked images.

Sitting in Darkness, Graeme Arnfield. HD video, 16’ (2015)

Sitting in Darkness, Graeme Arnfield. HD video, 16’ (2015)

What the Sun has Seen, Agnieszka Polska |. HD animation, 7’ (2017)

The film borrows its title from poem by Polish poet of the realist/positivist style Maria Konopnicka (1842-1910). The poem What the sun has seen recounts in a childish style the quotidian, peaceful rural activities and happy family life of the nation in the countryside, as observed by the sun on its daily journey across the sky. Polska offers her own dark, ironic version of the poem, dealing with contamination by information (information waste) and the role of the `helpless observer` who, like the `Angel of History` in the well-known adage by Walter Benjamin, can only look at the debris piled by lived time without being able to intervene.

What the Sun has Seen, Agnieszka Polska. HD animation, 7’ (2017)

What the Sun has Seen, Agnieszka Polska. HD animation, 7’ (2017)

EDF, Nicolas Rupcich | HD Video, 5’ (2013)

In “EDF” the Chilean Patagonian landscapes from the “Torres del Paine National Park” are the main protagonists. As the video develops the images are slowly been deleted. The intervention consists in a “monumental black block" that literally blocks the landscape images. What we finally see is similar to the logic of the “fade to black” transition, the difference here is that not only the two-dimensional image fades to black, but also the topography is gradually covered. One of the main ideas in the project is the problem of digital representation, in the context of what some people calls the “post-photography era”, where the images are no longer a representation of reality, but a way of reality itself. The annulation of the geography in the screen is an effort for making a simple visual but symbolically strong intervention that make us aware of the instability of the representational surface.

Nicolas Rupcich, EDF (2013)

Nicolas Rupcich, EDF (2013)

Finding Fanon 2, David Blandy and Larry Achiampong | Ultra HD video, 9 min (2015)

Finding Fanon 2 collides art-house cinema with digital culture’s Machinima, resulting in a work that explores the post-colonial condition from inside a simulated environment – the Grand Theft Auto 5 in-game video editor. The two artists continue their search for Frantz Fanon in the digital realm. This video work combines several stories, including how the artists’ familial histories relate to colonial history, an examination of how their relationship is formed through the virtual space, and thoughts on the implications of the post-human condition.

Finding Fanon 2, David Blandy and Larry Achiampong (2015)

Finding Fanon 2, David Blandy and Larry Achiampong (2015)

60 Million Americans Can’t Be Wrong, Christopher Kulendran Thomas & The Mycological Twist, in collaboration with Annika Kuhlmann |HD video, 31’ (2017)

"60 million Americans can’t be wrong" is part of the collaborative experiment New Eelam, a long-term artwork in the form of a startup, that brings together specialists from the fields of technology, real estate, art, architecture, finance and design to develop a new form of distributed housing based on a flexible global subscription. It originates from contemporary art’s role in pioneering new lifestyle formats and new forms of labour as part of the processes by which cities around the world are shaped. Its strategy is based on re-engineering some of these structural operations of art - and some of the property relations at the very heart of the present economic system - through collective access rather than individual ownership.

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