WRO Art Center / August 19, 9:00 PM

Reality rewinds like a VHS tape.

Videodrome draws directly from David Cronenberg’s classic 1983 film. Cronenberg paints a surprisingly up-to-date world, in which overexcitement and striving to crush the limits of one’s perception, while merging with fiction, becomes a tool of violence. Within the framework of the show we annex the modes of the registers of perception of reality and the various paths of episteme, which in American horror, by means of the mysterious cable television, are activated in the user literally consuming more VHS tapes. Videodrome takes place for real – it’s not a game – when an amalgam emerges from the cut tape in which we cannot distinguish what is real.

In Ben Morris’ Trouble in Paradise we follow a 3D rendered world full of elements, embedded in our minds by vaporwaveᐯ卂卩ㄖ尺山卂ᐯ乇 – fragments of ancient sculptures against a magenta background, spots and ferns in the rainy season, all arranged as if in a Far Eastern temple. Morris bursts our notions of temporality to colonise the ruins our predecessors left behind – we see what they saw, but is it really the same?

Gretta Louw combines quotations from posthumanist literature with speculation about jellyfish – archipelagos of fragility, fluid and delicate creatures that in the artist’s narrative are injected into the subversion of the status quo. Giving subjectivity to tiny organisms, emerging like us from a prebiotic soup, in A Giant Swarm we return to the state just after the Big Bang, when we drifted together as humanly indistinguishable organisms.

The phone receives a message that reads “m h y t n i x”, and this is a sign that the ritual is time to begin. In the work of Karin Ferrari, Bernhard Garnicnig and Peter Moosgaard, chronic depression rolls with the experience of successive visualisations and manifestations in the spirit of mindfulness, and the classic motif of the modern novel of the search for oneself is shattered by the twisted paths of the authors’ imagination, fuelled by the light produced by smartphones – all to indicate that fiction is truer than reality.

Marta Giec considers the phenomena of internalisation and the nature of experience, which is the building block of the individual. The pre-dawn, or the moment of intersection between dreaming and the world coming to light, becomes a handy metaphor for the memories that Places That Have Left Us picks out of the sedimentation of memory. The filtered recognition of a memory that has been but mutates with the passing of time, with its looping and re-enactment, indicates that each repetition has an immanent difference.

Cezary Wicher

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Trouble in Paradise

A Giant Swarm

m h y t n i x

places that have left us