Ryokan Kanto (b. 1961) is a media artist, video and filmmaker who has used film and video to explore such themes as identity, political activism and refugees. In his earlier billboard works, which combined texts and visual elements, Kanto challenged contemporary media’s notions about gender and sexual identities. He has as well used his art to examine the influences that erode the sexual identities of members of families and nations.
During the past two years Kanto has concentrated on works that explore the dynamics between architectural spatial thinking and the narratives that construct the identities of the individual, the community and the nation. The two projects in KLT6, Little Chechnya and Timor-Leste at Peace Station explore the way in which mediated spaces function in the construction of identity politics. The production of identity is explored through stories involving space and the presentation of those stories. The works examine how a spatially fixed identity can be a political issue, and the implementation of this politics of identity using cinematic and representational means. In Kanto’s projects specific sites and spaces simultaneously represent other places and sites. In Timor-Leste at Peace Station the house and place of the Peace Station becomes a heterotopic collection of other places, although the location itself is also a site in its own right. The work presents the productive possibility of examining the constructed nature of all sites and identities, and the role of stories in the retelling of identities.
labDNA currently seek to extend the possibilities of architectural practice design practice through engagement with fine art, popular culture and communication technology. labDNA works from inside out through intervention and recoding within existing socio-structures.
Pupu Pau,artist and filmmaker (b.1980) started as a tool for research but has recently been more active in creating her own projects. Through the Teleport and What Pupu Pau Found There, in which Pupu Pau also acts, is her first machinima video. She is interested in exploring the often schizophrenic relationships residents have to their avatars, and the different needs for which they are created. For Pupu Pau, the avatar is an extension of her physical body. It is not a disguise. However, since she was born, Pupu Pau has had several alter egos of different genders and ethnic backgrounds. Doctor Beninzap, who also appears on her video, being the most recent.
creates spaces for ‘collective play and dreams’ where users represent themselves by organsing avataric societies and networks. Sobczak’s architectural spaces pose questions concerning the origin and destination of simulation and virtual play. “Not only simulation, my architecture provides a platform to deconstruct and interfere with the performance of simulations.
An uncanny blot, the ‘artificial person’ –the (in)corporation– substitutes for and occludes our vision, and we look over its shoulder as it were, hoping to catch a glimpse of what it sees. A Romantic/Idealist invention, this over-the-shoulder-shot, like the Triennial itself, promises (but never delivers) the awesome spectacle of the sublime. It goes hand in hand with desire for erotic possession of the object-of-desire on the one hand, and Dostoevskian murder of the fetish on the other