works presented in KLT6
Ryokan Kanto with A. Law and Pascal Sobczak The Chechen refugees of Western Europe are experienced users of computers. In a project initiated in 2008 by Kanto, Chechen refugees began to model Virtual Chechnya’s first building, the mosque that is now presented in KLT6. The primary architect was A. Law, who was trained and assisted by Pascal Sobczak.
While the diasporic experience will inevitably change Chechen identity, a group of Finland-based Chechens believe that Virtual Chechnya may function as a place where a new self-image is imagined and negotiated. This project conflates 1stLife and 2ndLife worlds, tragic cultural histories and game environments in the ‘deep play’ of complex ‘actor networks’. Where the silicon-based game environment ends and the carbon-based network begins is ambiguous, contingent and constantly transforming. Political economies of the screen open into the economies of daily life skewed by ethnic and political strife, and global markets.
Ryokan Kanto with Pascal Sobczak
This project explores the relationship between memory, representation, and the presence (or absence) of the act in historical context.The focus of the work is the Confederação do Desporto de Timor-Leste, and the Finnish activists who helped in its struggle for national self-determination. The former East Timor’s human rights situation caught the attention of Finnish activists and peace organizations after the Santa Cruz massacre in 1991. Their efforts led Finnish politicians and the media to recognize the crisis. In Timor-Leste at Peace Station activists whose engagement was to some extent informed through digital information transfers and screen-culture recall their activities in an appropriately double-screened film documentary, projected on the wall of a simulated building. Divided into ten sequences, the narrative video poses questions around the identities of the activists who worked for East Timor‘s independence. The ‘characters’, Tom Lindahl, Irja Maristo and Kalle Sysikaski, all volunteered as poll watchers in East Timor’s referendum in 1999. It was acts, real, imagined, fabricated and repeated (or their absence), that produced the ethnic-cleansing in the former East Timor. The killings took place in analog space but were only possible through the movement and exchange of virtual capital and arms along digital networks and across screens in New York, London, Jakarta and other financial centres. Meanwhile representations of the tragic events on the streets of Dili were accessed by most of us through the television and the world-wide web. Space Mapping Space (analog installation) ANDbal Maps and measuring, perhaps the earliest human technologies of spatial virtualisationare represented by the architectural consortium responsible for the renovation of the Annexe. In this work they measure and scale the site of the Annexe for its transposition into virtual space, raising questions concerning what can and cannot be measured, mapped, believed, known.
Pupu Pau with Pascal Sobczak
Sound design by Koona Namiboo) Constructed on Tipsico island, this installation can be accessed only via teleport. The small, empty room resembles a doctor’s waiting room, but the doctor has left and locked all the doors behind her. There is a video on one of the walls, and it shows something that happened in the room while it was still in use. We are led by the film through another passage and orifice into yet another excessively ‘realist’, but in this case videographic youtube appropriation.
Cast includes: Pupu Pau, Doctor Beninzap, Marty Halsey, KarlElina Wellesley, and JeChen Yootz. Sound design is by Koona Namiboo. Actant networks tend to proliferate into conditions of increased intertextuality. This ‘machinima’ represent’s the merging of digital animation, the virtual machine environment, and viral youtube video. Pupu Pau analogises late-modernity’s hybrid cultural economy with the now ‘classic’ modernist trope of the existential Waiting Room, the antechamber, the annexe, or addendum. like this triennial the waiting room holds the body as excess.
Pascal Sobczak with Yayasan Zunimoor
The zoetrope is a remnant of an earlier phase of screen culture, and of a late capitalist (can we say post-bourgeois) economy that centrifugally distributes new representational forms. A product of the same military-industrial complex that produced nuclear warfare, the internet now spins-off virtual constructs of daily life very much like the daily life culture erradicated in Hiroshima on 6 August 1945. The zoetrope, and cinematic culture can be traced back to Ting Huan‘s (丁緩) 180 C.E. zoetrope prototype. In KLT6 this visuality machine serves as the cycling screen of traumatic memory and guilt... a memento mori of a still immanent end of the cycle.
The Quote Generator Performance will be presented at the Official Opening, 6 August 8pm..
Pascal Sobczak At the core of it all is the burning sauna.