REMAINS IN THE END TIMES. With YOSHI SODEOKA, ROSA MENKMAN, DANIEL MENCHE, JK KELLER, CRISTOPHER CICHOCKI. December 2, 2011 — January 5, 2012, Florida, US.
Dazed and Confused interview.
Tell us about your upcoming group exhibition, ‘Remains in the End Times’. What work are you including in the show? Is it all new pieces?
In "Remains In the End Times" I will show my work next to some respected friends and colleges. The exhibition is about what Zizek has described as "the myth of the end of the world" - the myth of the total collapse. According to Zizek, in fact, we are already there; the movements triggered by the collapse are moving slow and fast at the same time: meltdowns, the development of 'better' pepper sprays, standardized sweatshop models, corporate dark fiber scraping and ionospheric research facilities are just some examples of this.
At the same time massive, drifting occupational movements, favela chic and new glitch genres and communities are growing 'urban' practices; celebrating the collapse and showing or celebrating the new perspectives they could bring.
Everything is two-sided, the collapse is not the end - this is what I try to reflect on in my work. In Remains in the End Times I show two videos and two photos. They all involve broken technological flows. Most of the works are new and have never been shown before, one is older.
Your work focuses on accidents in digital media, what is it about this subject in media that appeals to you?
We are in a time that nothing and nobody is good enough. We change governments every year, fire people that don't work as fast as the hyper active 25 year olds and we only eat food that is flavor enhanced. We have our relations through brightly lid pixel screens and we commit pixel genocide when one of our pixels defects. In general, I think live has turned very superficial; everything is moving so fast that we need for instance technologies to be easy, polished and transparent.
By working with accidents in digital media, I get to see the unpolished, inner flows and breakages of the media. I get to know the materials, the fibers of what now gives form to my day to day life. I feel there is some kind of deeper engagement with the powers that more or less control my day to day life. It also makes me feel more confident in expressing myself through these media.
How has your work developed compared to when you first started, has further advances/trends in technology influenced your work at all? What’s your process in making a visual piece from these glitches and accidents etc.?
Yes, they always influence me, whether I want it or not. I used to photograph a lot with my analogue camera. At some point I was high-school photographer, high-school dj and high-school newspaper writer. Good thing my high-school wasn't huge!
Growing up, new schools, hardwares, computers and softwares take opportunities away and bring new possibilities forward. I try not to get stuck on one technology, school, etc. I am just like these flows, constantly moving - at least thats how I wish to see myself… This is also why there is not one way of working. I like to work with a bottle of wine or with very strong coffee. Sometimes I work for months and sometimes I am done in 5 minutes. Sometimes I have a desk full of wires and sometimes my desk is a mountain of old paper collections. When I work abroad I usually only have my computer - which has been the case for most of the last year.
Dazed and Confused interview.
Tell us about your upcoming group exhibition, ‘Remains in the End Times’. What work are you including in the show? Is it all new pieces?
In "Remains In the End Times" I will show my work next to some respected friends and colleges. The exhibition is about what Zizek has described as "the myth of the end of the world" - the myth of the total collapse. According to Zizek, in fact, we are already there; the movements triggered by the collapse are moving slow and fast at the same time: meltdowns, the development of 'better' pepper sprays, standardized sweatshop models, corporate dark fiber scraping and ionospheric research facilities are just some examples of this.
At the same time massive, drifting occupational movements, favela chic and new glitch genres and communities are growing 'urban' practices; celebrating the collapse and showing or celebrating the new perspectives they could bring.
Everything is two-sided, the collapse is not the end - this is what I try to reflect on in my work. In Remains in the End Times I show two videos and two photos. They all involve broken technological flows. Most of the works are new and have never been shown before, one is older.
Your work focuses on accidents in digital media, what is it about this subject in media that appeals to you?
We are in a time that nothing and nobody is good enough. We change governments every year, fire people that don't work as fast as the hyper active 25 year olds and we only eat food that is flavor enhanced. We have our relations through brightly lid pixel screens and we commit pixel genocide when one of our pixels defects. In general, I think live has turned very superficial; everything is moving so fast that we need for instance technologies to be easy, polished and transparent.
By working with accidents in digital media, I get to see the unpolished, inner flows and breakages of the media. I get to know the materials, the fibers of what now gives form to my day to day life. I feel there is some kind of deeper engagement with the powers that more or less control my day to day life. It also makes me feel more confident in expressing myself through these media.
How has your work developed compared to when you first started, has further advances/trends in technology influenced your work at all? What’s your process in making a visual piece from these glitches and accidents etc.?
Yes, they always influence me, whether I want it or not. I used to photograph a lot with my analogue camera. At some point I was high-school photographer, high-school dj and high-school newspaper writer. Good thing my high-school wasn't huge!
Growing up, new schools, hardwares, computers and softwares take opportunities away and bring new possibilities forward. I try not to get stuck on one technology, school, etc. I am just like these flows, constantly moving - at least thats how I wish to see myself… This is also why there is not one way of working. I like to work with a bottle of wine or with very strong coffee. Sometimes I work for months and sometimes I am done in 5 minutes. Sometimes I have a desk full of wires and sometimes my desk is a mountain of old paper collections. When I work abroad I usually only have my computer - which has been the case for most of the last year.
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