THE PAST OF THINGS TO COME2018
The Past of Things to Come is a site-specific interactive installation
based on an alleged occupation of a building, developing into a critical and
sarcastic narrative of a dystopic future by applying fictional and real events.
The installation spans in two
rooms: The room where the visitors first enter is a display/exhibition room, and
the other one is a bunker, a safe room. The visitors entering the exhibition room
have no idea of the existence of the bunker. The display resembles that of an
archive, consisting of visual documentation, mainly photographs and footage
from surveillance cameras, all dated in 2112. What it is depicted is an
enclosed space, a building and its surroundings which is no other than that of the
exhibition. Yet the images present a completely different situation: it looks
like a disaster had struck and the interior space served as a shelter and
eventually turned into a bunker.
However the visitors soon
discover that this room actually exists. A secret door in the exhibition space
leads them to the future-past bunker. The surveillance cameras in that room transmit live in the
monitors in the exhibition room, so the visitors in the bunker are now part of
the display as they are watched by the newcomers who will soon take their
The visitors’ role changes from spectators to participants suggesting not
only a change of relations between them, but also of time and space. This
incessant shifting between a virtual past, present and future, private and
public, outside and inside, near and far,
creates a loss of coherence where linear time and space orientation does not
make sense, like being in a kind of loop, which leaves no ground for fixed or
secure positions and points of view.
Download pdf here for more.
The catalogue of the exhibition The Past of Things to Come was published by Cube Art Editions with texts by Elina Axioti and James Bridle. Available for orders here.
Curated by Elina Axioti
Special thanks to:
With the support of NEON, the Architecture Syndicate and A-DASH.
AFTER THE END
We are not in the world, we become with the world; we become by contemplating it. Everything is vision, becoming. We become universes. Becoming animal, plant, molecular, becoming zero.
Deleuze G. and Guattari F.
What is Philosophy? London, Verso (1994, p.169)
The main idea of After the End builds on a sci-fi, possibly doomsday, scenario where a group of people find themselves on a deserted land among dispersed apparatuses. The work reflects on the relations between society, technology and nature and the dystopian scenarios that largely surround them today.
The series editing follows a continuation as the photographs succeed one another, in an attempt to suggest the notion of movement and transition and the importance of passage, as a means of reinventing ourselves and our futures within the world.
Electric Dreams’ scenario is set in the future where a computer is found ‘alive’ in an abandoned office space. The machine seems to have developed a kind of artificial and emotional intelligence in its effort to escape boredom and loneliness. As it explores the neighbourhood, using Google street view, it discovers that what lies outside its dark and empty room, is not only the usual dull urban setting but also the beauty of an archaeological site. Fascinated by these views as it navigates through them, it photographs (screenshots) its favorable parts, copies and repositions elements as to final construct its very own masterpiece.
Electric Dreams (2019) by Zoe Hatziyannaki is a site and context responsive installation reflecting on a future scenario where technology has obscurely reached a more advanced stage. A screen, a printer and other peripherals take the shape of a curious apparatus functioning on a self-programming and self-operating system. Artificial intelligence and its engagement with the advancement of technology lies within the artist’s immediate interests. The integration of simulated intelligence with emotional intelligence could be a credible plot changing the way we see technology today and how we interact with it.
The machine presented by Hatziyannaki belongs to a framework of a future reality, perhaps not so far away. It is able to enact its very own logic and reasoning and concomitantly perform a task while wielding its own emotional artificial brainpower. We witness a device that is surprisingly charmed by the ancient past and is attempting to rediscover the site of Kerameikos by autonomously accessing satellite footage and creating a brand-new work of art inspired by its beauty.
Analysing the topographical coordinates and other constituents with algorithmic and computational procedures, it automatically generates an image that for itself this represents the ultimate exquisiteness of aesthetics for such scenery.
With perspicuous allusions to the role of technological means over contemporary art practices, Hatziyannaki examines the debate on what is art today and to what extent technology is acceptable to be entangled with the production of an artwork. She challenges the belief that technology can arise as an obstacle for artistic expression as opposed to the fact that it is widely used to produce an artwork. The prospect of a self-thinking and feeling appliance might still be far away yet the sense of a manmade machine sharing mutual feelings with us may seem paradoxically comforting, especially when it comes to postulating a state of future dystopia on our planet.
Text by Kostas Prapoglou
“Electric Dreams” was created on the occasion for the group exhibtion +9.
Curator: Dr Kostas Prapoglou
Lydia Andrioti, Manolis Baboussis, Despina Charitonidi, Evangelos Chatzis, Lydia Dambassina, Diohandi, Kleio Gizeli, Zoe Hatziyannaki, Yannis Kondaratos, James Lane, Despina Meimaroglou,Eusevia Michailidou, Evi Savvaidi, Nikos Tranos, Adonis Volanakis, Eleni Zouni.
I have seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die.
(Blade Runner, Ridley Scott dir., 1992)
C-Beams was part of the Luminous Flux/Reflected Overlays on Locative Norms workshop organized by Campus Novel in Syros island.
My approach of Catholic and Orthodox churches in Tinos island is more social and spatial than historical or religious. It is a visual research into how the people of the island read and translated the coexistence of both creeds in their particular environment. A look into what extent different factors like tradition, society, location, ethics, individual beliefs intermingled and made their appearance in architectural forms.
The work obviously refers to the famous “Typologies” of Berndt and Hilla Becher and, as they proposed, it is a sort of an anatomy of the relations between constituent parts, where the objects of the structures need to be isolated from the context, without colour and as much as possible objectively portrayed. In this way the viewer can observe similarities and differencies and reflect on the multiple exchanges of specific geographical, social, historical and economical circumstances that construct them.
This work was made on the occasion of Bound for Tinos II exhibition in Tinos island.