Dear data miners, beloved eyes of the Cloud,
You used to read it on your cell phone. Mostly two-eyed, leashed to the Cloud, a phone in your palm “contains minerals and metals sourced from every continent”[i]. It is a small model of the globe itself. Your phone—a heterotopic space that lets you be at two or more space-times at the same time. As a mirror is (another heterotopic space), to use a well-known example. It’s just a surface, but also it’s a space where the reflection of your eyes meets your eyes.
However, your eyes aren’t yours anymore. Multiple concepts, stories of an eye, of eyes. “The eye is the most deceptive organ in the body.”[ii] An eye as a ball, bladder, testicle, as an art object, tool, telescope, GoPro camera, even a Kunsthalle (also as camera obscura); a sensor, sputnik, satellite, drone; an eye as a surveillance (killing) machine, or the Cloud itself, full of smaller clouds.
Maybe you are on a double-decker. You catch a Pokémon. Ok, you don’t. You install a mirror app. You take selfies of your make up, just to be sure you have a look. Or you are at some dark ecology meets left-occult chaos writing conference. Your eyes in a video stream, from the conference, searching for friendly eyes in the audience, likes on Facebook, friendly comments on YouTube. Or maybe you look for critical opinions. You demand a serious discussion. Your eyes meet. All of them.
Someone says “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the darkness at Tannhäuser Gate. All those moments will be lost in time like tears in rain. Time to die.”[iii]
Someone comments “Its NATO art, isn’t it?” The image collapses into an ironic laugh and the laugh breaks down into hybrid space.
The eyes, the gaze as the hybrid space. One eyelash may be stuck in a live broadcast from a cuckoo’s nest, with breaking news ticker from hot spots around the world, while another may be watching a YouTube video with artist Cécile B. Evans saying that “I just don’t believe in the word ‘virtual’” and that in today’s society, where drones are used for warfare and romantic relationships begin online, we can no longer distinguish between the so-called real and the virtual.[iv]
You take your Oculus Rift off. It’s Berlin, Art Academy, boring, you put Oculus back on, you put even more eyes on.
The stack of eyes, the stack of layers, another metaphor for the Cloud.
In his book “The Stack: On Software and Sovereignty” (MIT Press, 2016) Benjamin Bratton proposes that new different genres of computation—smart grids, cloud platforms, mobile apps, smart cities, the Internet of Things, automation—can be seen not as so many species evolving on their own, but as forming a coherent whole: an accidental mega-structure called “The Stack” that is both a computational apparatus and a new governing architecture. Discussing similar ideas and drawing a parallel between the Stack and the Cloud, artist and writer James Bridle concludes his recent article “Cloud Thinking” with the thought that “In place of computational thinking, we must respond with cloud thinking: an accounting of the world which reclaims the recognition and the agency of unknowing. Aetiology is a dead end. The Cloud, our world, is cloudy: it remains diffuse and forever diffusing; it refuses coherence. From our global civilisation and cultural history arises a technology of unknowing; the task of our century is to accommodate ourselves with the incoherence it reveals.”[v]
Here we met again, dear data miners. As eyes of the Cloud or the Stack are taking over the world, what about using this cloudy space as an exhibition space; what about accommodating us and the way we organise exhibitions “with the incoherence it reveals”?
“The Stack: On Software and Sovereignty,” Benjamin Bratton, MIT Press, 2016. [ii] “Electrons” The eye chews the apple, […] By Ruth Madievsky. [iii] Roy Batty (portrayed by Rutger Hauer) in the Ridley Scott film “Blade Runner”, 1982.
sends the brain
an image of the un-apple. Which is similar
to the way I throw my voice
like a Frisbee, like salt
over a shoulder, a birthday party
where someone’s brother
is grilling hot dogs, a little speed
in his blood,
some red balloons. The eye
is the most deceptive
organ in the body.
“The Stack: On Software and Sovereignty,” Benjamin Bratton, MIT Press, 2016.
The eye chews the apple,
By Ruth Madievsky.
[iii] Roy Batty (portrayed by Rutger Hauer) in the Ridley Scott film “Blade Runner”, 1982.
List of works:
1. Thomas Geiger. “I carry a hand full of sand with me until the sand has disappeared completely.” 2016
3. Kah Bee Chow 圈. Tube, water, air, water pump, plastic container, laser cut acrylic stands, engraved acrylic coins. 2016
As shown at Goya Curtain, Tokyo, November 2016
The title is the chinese character 圈, which means, among other things, a circle, ring, loop, to encircle, enclose.
4. Angelo Plessas, promo for “The Eternal Internet Brother/Sisterhood 5”, 2016
5. Saemundur Thor Helgason, promo for “R E V I S E D | Loewe auf der IFA 2016,” 2017
6. Robertas Narkus
7. Viktor Timofeev, DipMind Lab pdf
8. Pakui Hardware, Soft Encounters, 2017. Soft foam, backpack
9. Alberto Y Garcia, pdf
Dear involved parts and others,
This is an open letter regarding the case of the Karl Marx head sculpture from Chemnitz by Lev Yefimovitch Kerbel, which is also known for being a subject of Deimantas Narkevičius’ work “The Head.” In 2007 Deimantas Narkevičius intented to transport the monumental bust weighting forty tons from Chemnitz to Munster Sculpture Project for the duration of three months. However, after long negotiations between artist, curators and city municipality the proposal was rejected and the project resulted in a film made using archival material reflecting the shift of society. I will not elaborate much on the importance of of this film for the development of contemporary art scene of Lithuania and the beyond. It is a fact that the film became a bridge and inspiration for whole range artist trying to resolve the identity crisis of post-soviet nation. <…>. At this point I would like to come back to the current days and last summer when we were sitting at the cafeteria in Vilnius discussing development of augmented reality technologies, that me and fellow colleagues under “Doghme” junction were working with. Later on you suggested creating a virtual replica of the sculpture and completing the gesture started by Deimantas Narkevičius in 2006 by placing it in Munster though the means of augmented reality. Although there are all the necessary ingredients for different sorts of complications to happen, yet I accepted to authorise and take artistic responsibility over this action. In this latter I want to clarify motives, raise possible questions and open a discussion over this matter. Leaving the appropriatory aspects or questions of artistic legacies aside, I would consider it a privilege to take part in the dialog between different epochs and perspectives towards art and sculpture in more narrow sense. Yet I find it important to emphasise that I assume our gesture not so much as a tribute to the peers, but rather as an sovereign, utilitarian project – the third leap, the generational step that brings its own ruptures to the development of artistic language. Further consequences, technical and aesthetic aspects of the project (I would call it “The Head Spinning”) (if it is meant to happen) has to be discussed separately in succeeding exchange.