VRAL is currently exhibiting Aleksandar Radan’s This water giver back no Images. Today we take a closer look at his 2017 experimental minimalist video work Prophezeiung eines lächerlichen Avatars (Prophecy of an ridiculous avatar).

PATREON-EXCLUSIVE CONTENT

〰️

PATREON-EXCLUSIVE CONTENT 〰️

Aleksandar Radan’s experimental animated short Prophecy of an Ridiculous Avatar (2017) (sic) and the video installation This water gives back no Images (2019), currently exhibited on VRAL, both manipulate found digital imagery to probe the boundaries between real and virtual identity. However, their approaches differ strikingly. Where Prophecy renders its appropriated clips from video games and social media into hand-drawn outlines, This water revels in the saturated hyperreality of gameplay graphics. And while Prophecy strips figures of identifiable features through the technique of rotoscoping, This Water foregrounds emergent narratives by concentrating on a single, recurring pale, somehow uncanny, avatar. Ultimately, Prophecy pursues abstraction by removing context, whereas This Water achieves discomfort by submerging viewers deeper inside familiar and yet uncanny simulated worlds.

Created specifically forhis 2017 solo exhibition at Frankfurter Kunstverein, the 5-minute experimental video Prophecy sees Radan meticulously rotoscope over 4,000 individual frames of digital footage. Culled from sources like YouTube and Twitch, scenes of violence, exploitation and vulnerability intermingle and repeat in a seamless flow. Despite utilizing digital editing tools, Radan manually traces each cell by hand — a painstaking process where two days of work yield just 10 seconds of finished film. Through exhaustive frame-by-frame drawing and erasure, offensive moments become diffused into hypnotic movement studies. Bereft of facial details, the abstracted figures traverse a contextless void…

(continues)

Matteo Bittanti

Works cited

Aleksandar Radan

Prophezeiung eines lächerlichen Avatars (Prophecy of an ridiculous avatar)

digital video (rotoscoped, 3D animated film), 5’ 02”, 2017, Germany

Aleksandar Radan

This water gives back no Images

3-channel video installation, 6’ 12”, loop, 2017, Germany; hereby presented as a single-channel digital video

All images courtesy of the artist

BECOME A PATRON

This is a Patreon exclusive content. For full access consider joining our growing community.

YES, THE FUTURE DOES SOUND LIKE A CHATBOT

Patreon-exclusive content

〰️

Patreon-exclusive content 〰️

Exclusively featured on VRAL until September 15 2022, Gina Hara’s latest project Valley was originally developed during a three month artist residency at Ada X (October-December 2021) under a different title. Originally founded in 1996 as Studio XX, Ada X (2020-) is a bilingual feminist artist-run center located in Montréal, Canada committed to exploration, creation, and critical reflection in media arts and digital culture. Its main goals are making accessible, demystifying, equipping, questioning, and creating art and culture to contribute to the development of a digital democracy. Ada X hosts residencies, workshops, discussions, exhibitions, performances, and educational activities. Hara’s residency was supported by Algora Lab, an interdisciplinary academic laboratory that fosters a deliberative ethics of AI and digital innovation and analyzes the societal and political aspects of the emerging algorithmic society. Gina Hara is an artist-filmmaker with a background in new media and video art. Her work focuses on marginalized narratives from feminist and immigrant perspectives, specifically in the context of social media and games culture. Entitled AI the End, the original video - which you can watch here - was officially unveiled on Thursday December 9, 2021.

Gina Hara’s ongoing interest in the proliferation of artificial intelligence assistants offering pseudo mental-health help online piqued during the Covid-19 pandemic, which was marked by social isolation and an unprecedented lack of IRL interactions. Specifically, Hara draws a parallel between video game playing and AI-assisted mental health. Such a comparison is remarkable because it provides a possible explanation for the rise of digital gaming as neoliberalism became the world’s dominant ideology: taken to its extreme yet logical consequences, we may suggest that there’s a direct connection between mental disorders and video games. The more psychologically unstable we become due to the conditions of the environments we live in, the more we play Minecraft and the likes. Which is to say: the more unstable, precarious, broken, and unpredictable the World becomes, the stronger the need to exert some kind of control and agency over another kind of world, a simulated world in which we are cast as a powerful demiurge. As the Neoliberalism project succeeded in excising democracy from politics, disenfranchising the masses and replacing it with the so-called “freedom to choose” which pair of sneakers you can buy on Amazon, video games introduced a form of pseudo participation through interactivity. TED Talk “gurus” and Silicon Valley’s “edgelords” call this phenomenon “democratization”, a word that like “friend”, “community”, “like” has no real meaning outside of the Big Tech bubble, or rather, has purely transactional implications.