bologna.cc

Secondary time

✿ This evening I had dinner with Roby. He’s a vegetarian friend who invited me because I’m one of his only friends who eats meat and he had bought a piece of goose, which might have been smoked or cured, but definitely had been shot. We didn’t know how to cook it, so boiled half, and pan fried the other half in thin slices. It wasn’t thin enough, so we both found ourselves chomping on shrapnel, the size of a ball bearing. Neither of us broke our teeth. He’s also excited that Philip’s work will be shown in Leipzig; my experience of advocating for shows at bcc moves between the intention of the artist and the social space in which we interact. As such, it’s sometimes a point of reflection for what I like being around, what I like to think about, and I wonder what duty there is to reflect a broader swathe of imagined audience. The goose we ate had been shot over Schiphol airport, and the marketing as edible is a new classification. We can confirm that it tastes more like beef than chicken.

with

Philip Ullman, What Dying Feels Like

➥ Hesitate to pity the animated lab mouse, rather, enjoy the rooms she is placed in. Thoughtfully pieced together from renders of furniture that have passed physical tests of durability and function, their resilience transforms them to the symbolic. The lofty heights of western science in practice are coupled with a necessity of proof. Staged encounters with symbolic tests are a hallmark of the bildungsroman. Film holds the eye, or the eye reflects.

The cruelty of Ullman’s worlds lie in the unclear tests all subjects have passed through. Animated from captured movements and voices, tethered into fictional 3D realities, his proposals of frame evoke a temporality between cinema and gaming. Feeding and drawing the gaze of the viewer, the mouse is a character foil who may already be crumpled. What did she preserve?

Hyperlink Athens

Origins

✿ Imagine living on a planet with six suns that never experiences Darkness. Imagine never having seen the Stars. Then, one by one your suns start to set, gradually leading you into Darkness for the first time ever. Image the terror of such a Nightfall.

Scientists on the planet Kalgash discover that an eclipse - an event that occurs only every 2049 years – is imminent and that a society unfamiliar with Darkness will be plunged into madness and chaos. They realize that their civilization will end, for the people of Lagash have a proven fear of Darkness, but they are unable to predict the insanity and destruction that will accompany the awesome splendor of Nightfall.

with

Katerina Komianou
Alexandra Koumantaki
*Simon Kounovsky
Malvina Panagiotidi
Yannis Voulgaris
Georgio Karamanolakis

➥ The science fiction novel Nightfall, written by Isaac Asimov in 1941, tells the story of the planet Lagash and its people. Lagash is about to experience nightfall for the first time after 2,049 years of full sunlight, with a sunset. The expected darkness terrifies the planet's people since, for 2,049 years, they are genetically in need of light.

Inspired by Asimov's story, the video piece, Origins, investigates the hypothesis of eternal sunset to open a dialogue of Cosmogony, concerning the origin of Cosmos and its possible endings. In its post-apocalyptic tone, the work reflects the axis of time to create a moment for the universal experience. Under this prism, the video focuses on the mystery between reality and fiction, offering glances at a different future, even glimpses of events that seem lost to history. Each work in Origins reveals itself startlingly, transmitting an otherworldly essence. After all, it would be as if someone encounters remnants or ephemeral monuments of life and absence while floating in psychedelic dreams between our universal, past, present, and future.

The video piece, Origins, was shoot during a warm sunset in Schinias Beach, Greece, featuring 6 autonomous works of regional artists. This off-site installation’s video documentation transforms into artwork with added visual effects and OST, composed* especially for the video. The 10 min. video on display is an end result of open research, focusing on capturing a glimpse of a high meditative state. Additionally, the physical works revised to flow with the off-site context will appear only within the video piece and not be transferred into the gallery space.

Clovis XV

Gilles Well's Journey

✿ During a poorly executed magic trick by Kevin (the artist and the investigator), Gilles Well disappeared on the internet. Since this incident, Kevin has been searching for Gilles in virtual reality, particularly watching tutorial videos of how to travel in virtual worlds and overcome virtual travel bans.

However, there is another entity attending this quest, The Magician/Narrator. This omniscient narrator is not corporeal, and its identity remains undetermined. Throughout the investigator's hunt, The Magician contaminates the videos and disrupts the search by dubbing voices and modifying subtitles. The hacking actions expose the frailty of the investigator and his control over his computer. After a while of dissonance, sounds gradually synchronize and finally gives way to the Magician's sole voice.

After genuine efforts, Kevin finds his trace on Google Street View and tracks him to notice that he is departing from Paris for a 6-hour trip eastward bypassing Germany, due to Google restrictions on German virtual territory. Gilles is currently moving eastwards, probably towards Prague.

with

Kevin Senant, Gilles Well's Journey

➥ Gilles Well's Journey is a fictional investigation run simultaneously in physical and virtual space. The multi-screen video installation is placed in an investigation bureau in charge of a case, displaying the private computers of investigators, in a manner of a desktop documentary, from tutorial videos to email discussions. Behind the bureau, the fictional internet journey of Gilles Well's is projected. The installation refers to two bodies' movement and their impossibility between the real and virtual worlds. As the protagonists' physical and digital quality gradually blurs, the spectator doubts the truth of its identity. The avatars turn into masters of ceremony, relegating its creators to powerless observers.

Essenza Club

Formula Minima

✿ The Fountain
If you throw a coin,
Do a handstand with the object of your choice
Any acrobatic gesture
Choose a partner

You said you wanted to start over

I thought future was the place of truth:
You can carry it with you, place it in the palm of your hand and
Sink into the water,
Place a piece of ___ , choose the best location,
It will be an island, guarded.
Try to alternate your realities, see them as the mixed fusion of contradictions,
I think you can see clearly,
Accept compassion as a form of resilience

Be affected
 
Stand by your place, whenever,
Visualize an entity, fix it, find a way to make it hold.*

with

BCAA System, No~One is an Island
Laura Gozlan, White Foam
Neckar Doll, Education of War
Alessandro Nucci, Florescence Chemistry of Yoga
Lisa Signorini, Mercury Retrograde (Loosing you for good)
Graham Wiebe, Last Meal
Online Show: *Lucille Leger, The Fountain

➥ Formula Minima brings together empirical formulas in different aspects, each one holding parts of a truth. As sensible prescriptions take forms of little secrets, magic tricks, or mathematical equations, the first act to access the initial knowledge of things begins. Works of seven artists plan the first date, a temporary gesture in an intimate meeting, right before the physical nature of elements manifest possible failure. Yet, another possibility occurs when the combination of empirical formulas develops into research characterized by nonsense, a study aimed at itself. In front of this sensitive composition, the absurd and the real emerge simultaneously, in a fluid understanding.

PLAGUE

'eht llaw'

✿ A wall that has no inside and outside. It could be a line or a scar. A tattoo as a message, modifying one's own or someone else's body. Creating a ready-made form, if that form can exist. It could be a chain fetching movement or a network forming new connections.

A mirror that becomes an obstacle and a reflection of the same thing. Or could it be a different angle or even a different look? A gaze that takes your eyes away with us. Or can we look forever?

Maybe it's just a screen. A screen with an endless stream that threatens to turn into an abyss. Does this abyss have an inside and an outside?

We can't see where we stand. Maybe the wall is sometimes just a wall.

with

Vitaly Bezpalov
Arthur Golyakov
Stas Lobachevskiy
Natalya Serkova
Vanya Venmer

Video I: Brrrzhh by Arthur Golyakov
Video II: Quarterly Report on the Image Sales Growth II by Vitaly Bezpalov
Online Show: Eht llaw by Vitaly Bezpalov, Arthur Golyakov, Stas Lobachevskiy, Natalya Serkova, Vanya Venmer. Music: Nasenbluten - Cunt Face, Label: Bloody Fist Records

➥ Works of five different artists come together in one big piece in 'eht llaw', with multiple images on paper and video works. The installation unfolds new formats on how the artists work by crossing boundaries, simplifying communication, using accessible materials. The curatorial decisions are limited to artist selection, who work together for shared work, as the wall piece. Here the wall is a metaphor for a mirror or screen, a surface that can stop, reflect, or redirect movement.

Galerie A.M.180

The Linden Standup Drawing Comedy Episode 24 and Eastfield

✿ There, over the sink, was a large mirror. He stood me in front of it and seemed relieved to see that the mirror reflected two people instead of only one” Fledgling, Octavia E Butler.

Over the last few months drawing comedy students have been getting together to tell jokes. Each had a T-shirt to sleep in and a pencil sharpener prosthetic add-on. They woke up, they walked, they draw and waited and went to sleep again. They woke up, walked…They woke up walked… and as the time passed they somehow forgot who they were. Faceless bodies gathering practice.

1.Falloutboy jigsdfng 2. Neopets 3. Sanrio 4. Monky Band. Gorillaz, 6. Call me Kevin 7. Franz Ferdinand (Band) 10. Special

They all start out learning with their weekly workshops and open mics, while some have ended up being finalists in the Meetfactory Funny Bone Competition. Together they have been sweding parts from tv series and music videos. They were making jokes about screaming cats and waited again. As autumn came they couldn’t find each other again. Now becoming faceless diamonds beneath the sheets. Waiting…

Do you believe in the mess, like they do?

KEATON!!! KEANU!!!

It takes million brain to explain what love is but only 2 hearts know. It takes million years to form soil up to a few cm in depth. It takes a million years to become diamonds. So let's just burn like coal til the sky is black.

with

The Linden Standup Drawing Comedy Episode 24 Artists: Adrian Altman, Gertie Adelaido, Jakub Hájek, František Hanousek, Vojtěch Hlaváček, Jakub Hošek, Nik Timková
Eastfield Artists: Matěj Čech, Erol Medenčević, Adina Šulcová
Online Show: Tickely*Feather: Fantasy of Opposites Headpats by Adrian Altman, Gertie Adelaido, Jakub Hájek, František Hanousek, Vojtěch Hlaváček, Jakub Hošek, Nik Timková

➥ The exhibition is a presentation of two collaborative projects: drawing multi-artist collaboration by The Linden StandupDrawing Comedy Episode 24 and presentation of collaborative animated show on youtube called Eastfield.

Harlesden High Street w/ Underground Flower

命运和消耗CUTTY GUTS

✿ You can be taught to fight, but you can't be taught how to fall in love.

Or so the saying goes. In reality, it's not so simple. Everything we consider the most natural has the greatest accumulation of ghosts, past ideologies, and present stimulation pulling the invisible strings of our jerky knees. In the constant hum of machines, mythologies, cellular processes, and needs we are alone - yet we are never alone because we are made of the constant hum of machines, mythologies, cellular processes, and needs. Converging at a single brilliant point of light, the line of our vision: breathe in. 

We are the fever dreams of our ancestors.

Social scenes sway between familiar and unfamiliar things, forming all kinds of strange pictures. As night falls, the experience of the day is reproduced distortedly in the mind. We fill our time with violent collages and mechanical errors while refusing to give in, spiraling through automation until it points to some reality that makes people face to face.

We have no way of knowing who revolutionized whom, who controls whom, every day we walk together, carrying our own precious deaths. There is a sense of out-of-control behind the image: the ghost is beyond reason, the order is liquefied into molten iron and then poured on the ground, supporting the gleaming garbage dump, the fable of the world is about to come pouring out.

The light keeps flashing, heralding the future.

with

ChillChill, SHAMAN
Gondris Cavel, CYBORDER
Kludde (Conjunktival, Nooit Meer Naar Huis, Jannes Snyers, Glenn De Cock, Kris Catteau, Julie De Kezel), Kludde compilation
Pure Ever (Rifqi Amirul Rosli, Zhiyi Cao, Raigo Law, Elsa Wong, and Hilary Yeo), KNNCCBNunununu
PrsntPrsnt:
B. Maus, 星洲米
Chen Pin Tao, K141
Clara Wong, 抗疫三寶
Jennnital, 慢煮快餐，ok味道不錯
Suze Chan, Birdsong 2
Stach Szumski, Incognitative Constructivism II
Underground Flower (Ava Phen, Torre Alain, Valerie You, Rasheed Mirza),
notes toward a theory of Deadstock

➥ In the enclosed space of 命运和消耗CUTTY GUTS, digital contents and simple sensory components brought together, asking for the pure attention of the viewer — curated installation remarks on the interaction between presented digital content, its receiver, and its given context. The notion of reality is challenged by situating the spectator in a particular position to engage with the digital content. In this first encounter, the digital dimension's reality reveals itself, with its undeniable impact on physical reality. What comes next is the question of how this interaction forms, continuously and fluidly. The installation in this quest gives a hint - intense effects and emotions from our physical environment influence our memory of experiencing digital content and vice versa. It is an endless loop, with fuzzy boundaries between our minds, bodies, customized digital content, and situations.

ThunderCage

I Hope It’s Real

✿  Pictures make sense, and the reality cannot be touched anymore - living dreams on a green screen.

with

Lise Stoufflet, Papilonner
Clara Duflot, Angel’s Eyelid
Elsa Werth, No Object
Mahalia Kohnke-jehl, Leftovers, Case #1
Femmes Actuelles, NUIT
Victor Vaysse, Spinning Staf
Mehdi Besnainou, Playground - Session IV: Play Green
Wolf Cuyvers, I Hope It’s Real
Romain Vicari, Smoking Pipe

➥ I Hope It’s Real is a virtual work ascribed to the works’ physicality and immateriality. Nine invited artists submitted one material and one digital work, creating a hybrid position that brings together several artistic practices in a single video.

First, “the exhibition” is produced in Aubervilliers in a perfect white cube, gathering all pieces and the files for the inlays. The exhibition and performances were then shot together, creating the display’s final video work after the video files were inlaid during the editing. With its miscellaneous objects placed in a gallery space, the physical group show later becomes the single art piece. I Hope It’s Real is a group show, sent as a capsule, compressed into a video format.

The proposition is a capsule, underlining the relationship between exhibition, space, and its virtual appearance. Each artist has worked on registration and simulation; the green tones in physical works refer to the greenscreen, functioning as chroma keying, receptacles in the video’s virtual space.

The visualization of the physical space and the artists’ names and works’ position appends another dimension to the imaginary realm of space and abstract thinking.