Notes On The Afterlife

Thu. 20/04 → Sun. 23/04

Salonul de proiecte, Tipografia Universul, Corp B, Strada Actor Ion Brezoianu 23-25, etajul 1, Bucharest, Romania

We speculate on the afterlife and the artificial in a four day exhibition hosted by Salonul de proiecte, within the frame of Rokolectiv Festival.

Notes On The Afterlife
curated by rokolectiv
artists: Morehshin Allahyari & Daniel Rourke (IR/US), Nona Inescu / Vlad Nancă / Chlorys (RO), Chatonsky (FR), Amy Whittle (NL), Lu Yang (CN), AI SCRY (US)

20-23.04.2017/ Salonul de proiecte
visiting hours: 20.04: 20.00-00.00/ 21.04: 16.00-23.00
22.04: 16.00-23.00/ 23.04: 16.00-20.00

Opening : 20.04, 20.00

Lu Yang creates a digital nonsexual human simulator in her own shape for the first time to complete an artwork. Because of the powerful curse in the content of the work, the artist has to apply the spell to herself to avoid harming others. This artwork is all about neurosciences, in which the artist is always interested. She makes use of the principle of the stereotactic system, the deep brain stimulation and RTMS working on the deep limbic system, in order to extend delusions, substitute into religious perspective and fugacious meditation on the material world and produce objective delusions. “Delusional Mandala” is the second piece of the artist’s new series of video works. The first one, “Moving God” was presented at the Chinese pavilion at the Venice Biennale in 2015.

The Manifesto calls for artists, activists, designers, scientists, and critical engineers – to accelerate the 3D printer and other Additivist technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. “The 3D Printer is a metaphor for these weirdest of times: a technology with the capacity to channel creative endeavour, through digital processes, into the reformation of raw matter excavated from ancient geological eras. We propose #Additivism as a new movement in technological and artistic activism that contends with these concerns.”

The installation focuses on mystifying technology, using exposed wires, apparatus and sockets physically connected with the dead."As a non-believer I too desire a form of afterlife, as an interaction designer I believe these notions can be realised with the help of technology.” says Amy Whittle. Inspired by galvanism and the famous novel Frankenstein, an analogue electronic circuit was created using deceased animals as an energy source. The deceased animal is the circuit's key, generating red and blue visuals on a monitor screen. Without this source, the monitor will not be powered nor will it produce any visuals.

Chatonsky takes on the physicality of the internet trough a sort of meta-server-heaven. The Web was introduced during the last century as something immaterial, « in the clouds ». But the network is made of a heavy material infrastructure, cables from one continent to another and data centers that concentrate Internet data. « Horizon » is an endless traveling in photographs found on the web representing the corridors of these data centres. These images show a classical albertinian perspective. The eye moves it while remaining paradoxically immobile.

ECHO, 2017
“Echo” is a sound installation put together by Nona Inescu, Vlad Nancă and Chlorys, connecting 18 pairs of EarPods with 36 snail shells, which act as small resonance chambers. The analogy between the human ear and shells was first formulated by a 16th century anatomist, who named the inner-ear spiral cavity the Cochlea, Latin for snail.The history connecting shells and sound is filled with popular scientific beliefs and symbolism, shells reflecting the inner sounds of human bodies or containing worldly echoes. The work references an inwardly focused era, with both snail shells and headphones marking a personal space, allowing us to feel safe and comfortably alone. The outside world, once a shared auditory environment, has been effectively fractured by endless white earplugs, with shells as resonance chambers of individualy located bubbles of self-programmed sound.

DISK CACTUS / AI • SCRY, 2016 (iphone app.)
“A tree climbing a piece of wood. A large bird sitting on a mountain.A bike with a bike leaning against it.” Point your camera at the world around you. Harnessing cutting-edge artificial neural network technology, AI • Scry (rhymes with "I spy") generates automatic textual descriptions of the objects it sees. The matrix is subject to rigorous mathematical analysis that scientists have yet to fully comprehend. The detector system has no direct knowledge of objects in the world (donuts, bananas, skateboards, wine glasses, etc) as we know them. Instead, the detector maps patterns received on the signal line to a sequence of word-choice probability distributions and assembles an output stream. The internal routing through this artificial neural network is largely meaningless to a human observer. Nonetheless, it works (sometimes)! With AI • Scry in your hand, you become an alien psychologist, probing the quirks, biases, impossibilities, and idiosyncrasies of this unknowable mind.
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