Teslaism: Economics After the End of the End of the Future – Bahar Noorizadeh

Teslaism: Economics After the End of the End of the Future (2022) – teaser 2

Teslaism is a 3rd person racing musical game featuring Elon Musk and his self-driving car/lover and life coach, as they drive towards a shareholder meeting in a post-gamified Berlin landscape.

The work takes the newly built Gigafactory in Berlin as a prism to describe the emergence of Teslaism (succeeding Post-fordism) as a novel system of production and consumption predicated on advanced storytelling, financial worldbuilding, and imagineering “the look of the future.”

The Teslaist CEO is a collage artist. Weaving together one tweet, one dance move, one meme after another, he creates a set of perpetually postponed and too-fabulous-to-be-fake narratives to make time make power.

If post-industrial Detroit was soundtracked to techno’s futures, the age of Teslaism seeks its own common sonic imaginaries: forms of resistance inhabiting our exceedingly financialized cities.

The original draft of Teslaism was commissioned for Tresor 31: Techno, Berlin, and the Great Freedom, an exhibition reflecting on three decades of musical evolution, social change and city development from Berlin to Detroit, told through the lens of Techno’s history (July-Aug 2022.)

Soundtrack:
Conic sections – XOR Gate (brainchild of Gerald Donald, one half of Drexciya and Dopplereffekt)
Helena Hauff – Humanoid Fruit (Unreleased)
GRV Tr 4 – TV Victor

All tracks are courtesy of Tresor Records and the artists

[text copied from Bahar Noorizadeh]

Human Experience 

©️Rob van Hoorn – Nina Runa Essendrop at Marres training-the-senses-human-experience/

Human Experience  – Nina Runa Essendrop

Medium: LARP

Human Experience is a physical, immersive live action role play (LARP) about the sensations we get from movement, touch and sensory experience. The LARP is played by two groups. One group is called Ancient Consciousnesses. They are floating minds that have existed in our world forever and understand basic concepts (like the concept of a human or a flower), but they have never tried to be physically in contact with anything. For the duration of the play, they materialize into human bodies in order to carefully experience the nuances in the way humans move and sense and to try to understand what it is like to be human and experience through a body.

This is where the second group enters the story. This group consists of the audience that is part of the fiction of the LARP. They are there to aid the Ancient Consciousnesses in their exploration by showing movements or describing sensations to them. The purpose of this LARP is to create a sensory awareness of what it is to experience everything anew.

[source: Marres.org ]

The Convenience Store

The Convenience Store – Jonne Hansson

video still from The Convenience Store, 2018, digital video from Grand Theft Auto V in-game editor (PC), voice-over by Jonne Hansson, August Bällgren and Evelina Maria Odette Jönsson, sound design by Agatha Lewandowski

The story follows three (not long time ago) graduated artists who went to Umeå Academy of Fine Arts in Sweden and then moved to the fictional city Los Santos (based on Los Angeles) in hope to succeed as artists. They have struggled in living and working within different artistic fields. Some years have passed since they all graduated, and one day they accidentally meet each other in a convenience store. In a setting, similar to Kevin Smith’s cult classic “Clerks”, they are awkwardly starting to have a strange, meta-referential conversation with each other.

Jonne Hansson

MILAN MACHINIMA FESTIVAL interview linkVimeo link

YOU

YOU (2022) by Maurizio Cattelan. Credits Roberto Marossi. Courtesy the artist and Massimo De Carlo. -artnet 6/4/2022

Maurizio Cattelan – YOU

A barefoot statue of the artist hangs from a noose in the gallery bathroom. It wears a blue suit and holds a bouquet of flowers in its right hand.

“YOU is a hallucination, a simultaneous image of control and failure. A generous welcoming gesture or a sad and inevitable farewell, YOU explores the role of the individual in the collective realm: an admission of surrender, or perhaps an affirmation of kindness. This new intervention by Maurizio Cattelan affirms the death of great powers, while infusing a new energy in the strength of the individual. Despite trying to create a distance between the work and the viewer, Maurizio Cattelan’s YOU is certainly all about us.”

-official press release via sybariscollection.com

Medium: platinum silicone, epoxy fiberglass, stainless steel, real hair, clothes, hemp rope and flowers Date: 2022 Location: Gallery bathroom Massimo De Carlo, Milan

It’s not you, it’s me. It’s not yours, it’s mine.

➡️ UPDATE 4/05: The maker, Daniel Druet, of Maurizio Cattelan’s wax prototypes is suing Cattelan for stolen intellectual property.

link to article

Call to Arms

Call to Arms – PentHouss

“Mirrors ring a claustrophobic space, fractalizing it into infinity. Lights flash. Enter the riot police. Obscured behind darkened face shields, they menace. And then they begin dancing. Conceived by London/Paris multidisciplinary collaboration PentHouss, Call to Arms blends movement, sound, light, and architecture in an immersive meditation on power, resistance, and control. Reacting to the crackdowns on people’s movements from the U.S. and the U.K. to Turkey and Hong Kong, where protests are met with overly-armored use of force, artists Anna Lann and Yonathan Trichter, curator and creative partner Helen Neven, and choreographer Ekin Bernay joined to mobilize a response.  

Call to Arms conveys the experience of political mobilization by appropriating the garb of the powerful themselves. The dancers in PentHouss’s performance skew the “us” versus “them” mentality the state profits on and challenge those who might steer clear of direct action to understand on-the-ground reality. By leveraging the uniform as costume and turning the synchronized movements of militarized police forces into a kind of dance, PentHouss exposes the theatrics inherent to such shows of force (what they refer to as “the instrumentalization of fear”).

PentHouss uses movement to evoke the power of physical solidarity and to show that, as its title suggests, modes of resistance remain. As PentHouss writes: “Movement is dance; movement is assembly; movement is a call to arms.””

[image and text copied from https://dis.art/call-to-arms%5D