PUPPETS

2015-11-26

WELCOME

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‘Welcome’ is a multimedia installation that is to stage a post-human vision. We gave up our intimacy for the benefits of technology. Surrounded by devices we live in the conditions of everlasting circle of compulsory identification. The installation reflects on the human body at the post-internet era in two ways. The Likeprint transforms users to printers through gamification (visitors may fill a blank paper with “likes” by a stamp according to numbers printed on the paper, thus creating an image). Inside the container a crowd of life-scale paper puppets create an empty yet humanistic space of replacement, thus showing our dis-identified bodies.

The exhibition object itself serves as the space of emptiness, a construction that is to contain and incorporate human content. The installation is to reflect the negative aspect of such spaces, thus manifesting replacement and lack.

HIMMELFAHRT

iSelf

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Since the ambitious program of measuring the world has ended by the turn of the century the techniques of surveillance have started to control new spheres of life. What was once the science of statics for the Enlightenment, it is now, in the context of digital totalitarianism, the technological “dataism” (Byung-Chul Han), that not only means the fetish of the datafication, but also the recreation of the “reality” that is to be measured. This leads to a sort of “expansive vacuum” since the Big Data produces the spaces of its possible calculations from itself. Within these technocultural circumstances the subject becomes an object of “psychopolitical” regime because within the spaces of the aperspective transparency and digital surveillance the humanist ethics of the Self will be inverted to the practices of (self)tracking. Whereas the analytics and data mining systems seemingly operate for the sake of the user, in fact the digitized subject becomes its own panopticum.

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János Brückner’s exhibition aims to elaborate counter-practices against dataism. In this case the basic tool for these counter-practices is to unfold the paradox of surveillance that lies deeply hidden in the digital regimes, which means that the Quantified Self is the observer of itself as well. Therefore Brückner, by the radical over-acceleration of self-surveillance (sousveillance), in fact imitates the logic of the digital regime, while overfullfiling its demands and deconstructing its ideology.

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COPY OF VÉGLÉNY

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Cooperation with Máté Fillér, based on a rumor at MuseumsQuartier Vienna: an artist gone mad during his residency: he closed himself in the room and destroyed everything, police had to take him.

 

BROKEN UTOPIA

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