Eine postapokalyptische Fiktion – eine digitale Dystopie der Herrschaft des „Physarum polycephalum“, des „Blob“, einem intelligenten, hochsensiblen Organismus mit 720 Geschlechtern, der sich ohne Gehirn zu erinnern, ohne Gliedmaßen fortzubewegen und ohne Sinnesorgane Wissen weiter zu geben vermag.

Um den Blob in unserer Versuchsanordnung am Leben zu halten benötigte er eine dunkle, sterile, quasi leblose Umgebung, die mit Vorstellungen postapokalyptischer Welten vergleichbar ist. Eine Welt, in der der Mensch zu einer bloßen Oberfläche geworden ist - Teil der Landschaft auf der der Blob sich ausbreitet. Das Projekt ist eine Zusammenarbeit von Emma Chapuy, Julie Bader und Paul Schengber.

In the gable of the Festspielhaus, after the swastika, the Red Star, the original Yin Yang symbol of 1911 was reinstated. The symbol of Taijitu forms a binary structure in which the white Yang and the black Yin can be found. Received as opposite poles in European contexts, yang is described as positive, masculine, and yin as negative, feminine.

A queer choir wonders when the binary thinking patterns will be abandoned and proposes a throbber as a representative element in the pediment until then.

I don’t see what you don’t see and that is future. Facing the reality that we have left until 2030 to change and preserve what’s left of humanity, culture and nature.

A digital image translation of perception in space of our scanned past, a preservation of what once was.

It is increasingly necessary to be able to think new technologies in different ways, and to be critical of them, in order to meaningfully participate in that shaping and directing.

- James Bridle

Die menschliche Überlegenheit liegt in der Kraft sich im sinnlichen zu verlieren, so, dass der Mensch es selbst zu erzeugen vermag.

Mein Sinnesobjekt, das Kirschbaumholzstück, ein Relikt aus dem Garten meiner Kindheit. Detailgetreu kopiert, konserviert für die Ewigkeit. Aus einer Reliquie wird, mit Hilfe von erweiterter Realität, eine sinnliche Wahrnehmung erschaffen. Meine Erfahrung und die eigene innenwohnende intuitive Vertrautheit ist mit der Welt der Technologien nicht zu erfassen. Aber die Untersuchung mit der Technik und der eigenen Vertrautheit offenbart mir Abstraktionen und eine neue Ästhetik, die wiederum Raum für neue Prozesse schafft und mir Antworten und Gedanken auf die Fragen des Lebens heraus filtert.

Give me back my broken night

My mirrored room, my secret life

It's lonely here

There's no one left to torture

Give me absolute control

Over every living soul

And lie beside me, baby

That's an order!

Give me crack, give me witchcraft

Take the only tree that's left

And stuff it up the hole

In your culture

Give me back the Berlin wall

Give me Stalin and St. Paul

I've seen the future, siblings:

It is murder!

Leonhard Cohen - The Future (1990)

"Quadrupes Absurdum" is a bizarre fictional city on legs, allowing it's inhabitants to change their place by walking to good spots with supposedly better influences of environment.

Is it an utopia for all or still just a thing for the privileged, who are able to escape from climate change?

Is it the "Game over" scenario or could we have a chance to change the world destroying structures? Hybrid forces are called for now!

I don’t see what you don’t see and that is future. Facing the reality that we have left until 2030 to change and preserve what’s left of humanity, culture and nature.

A digital image translation of perception in space of our scanned past, a preservation of what once was.

It is increasingly necessary to be able to think new technologies in different ways, and to be critical of them, in order to meaningfully participate in that shaping and directing.

- James Bridle

The space around us seems empty. But is it? It is filled with its history, performative aspects of its inhabitants and cultural artifacts contextualizing its architecture, social cartography and different instances of reality. "Reterritorialized Space" is a series of performances wherein Litto / Daniela Weiß documents and explores spatial boundaries, conceiving them as "territory". To this end, space is translated into video, a medium that by definition lacks the depth to capture traditional notions of space. The artist introduces the concept of spatial video by adding a third dimension through digital means. In collaboration with Daniel Nuderscher & Sandro Nicolussi, a laser beam is used to scan a space with a head mounted display, a mirror mask in front of the artist's face. The reflection of the mirror creates a new way of perception. Time and space are turned upside down. The performative aspects of space take on agency. They themselves become actors in their own accord.

The jewel robbery in the Green Vault 2019, in whose setting contemporary discourses are reflected that intertwine colonial history, class issues, justice, and the art business, forms the starting point of the work. The artifact of the grid removed by the thieves exemplifies theft as a potential moment of disorder, re-sorting, power shifting, and provenance reflection.

To be transparent means to be see-through, invisible, penetrable, for what surrounds you.

thin skin as an AR work deals with the concept of transparency within our society. It is a reflection of the permeability between body and environment and deals with the question of what defines the inside and outside.