ELASTICITY OF RESILIENCE

Spanning installation, sculpture, augmented reality, virtual reality, and net art, THE MAW OF features a site-specific installation at Tieranatomisches Theater (TA T), Berlin

Ongoing exhibitions at Veterinary Anatomy Theater (Tieranatomisches Theater) and SAVVY Contemporary, panke.gallery, and SAVVY Contemporary  Reinickendorfer Straße 17, 13347 Berlin

I knew that if I walked in your footsteps, it would become a ritual
Mixed media installation, code, video, riso prints, variable dimensions, 2022
For the video, family members were asked to speak about specific family photographs. Using the footage from these interviews, images generated from the machine learning model are being animated. Surrounding the video are prints of the generated images mixed with actual family photographs. The model is remixing and approximating as a meaning for personal and generational memory while, at the same time, reflects on question regards to training AIs: the relevance of datasets. The qualities of datasets will determine the AI’s conduct, scope and way of operating. Homogenous datasets result in biased algorithms that are not able to recognise any subject that doesn’t remotely fit the imagery. In this work, Aarati Akkapeddi appropriated a top-down AI training process from a personal point of view that might reposition a multiplicity of her/their stories over a single history.

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“Mike Char lee el discurso sobre el colonialismo de Aime Cesaire mientras un par de Bboys hacen el famoso giro decolonial”**

Eliecer Salazar, painting, acrylic on canvas, 80x80xm, 2021

“Mike Char reads Aime Cesaire’s speech on colonialism while couple of Bboys do the famous decolonial twist”, Salazar creates a pictorial universe where the popular aesthetics of the Colombian Carribean Soundsystem also known as pico, the dancing style of Breakdance and Carribean Philosophy dialogue. Thus, while the announcer and animator Mike Char reads and amplifies in a pico the discourse on colonialism by Aimee Cesaire, philosophical concepts such as the decolonial turn become a dance step for the breakdance. System of the pico is highlighted in this piece as a metaphor of the stories about resistance and liberation of the Carribean people.

Gabriella Torrer Ferrer, Installation, pineapples, live cryptocurrency displays, variable dimensions, 2022

Pineapples are indigenous to what is known as the American tropics, and during the 16th century Western European colonization, the fruit was heavily desired and exoticised, turning it into a prevalent symbol of power and wealth (and an early example of a global commodity). This was weighted by the connections to plantation slavery; the displacement and exploitation of local resources and millions of enslaved African and Indigenous lives and indentured labour. This work consists of pineapples and microcomputers displaying real time data on cryptocurrency and decentralized technologies. The twist in its name tries to distance itself from the colonial cocktail drink as this tropical cliche and allude more to the colloquial use of the verb “colado” in Spanish, meaning to “crash” a party uninvited, or to “get in” but in a fugitive manner.
This living sculpture is made of fruit which is decaying in real time along live data fluctuations that cross-examine global fintech point of deregulated empowerment and sovereignty.

ABAANA Ba KINTU

Sheila Nakitende, sculptural installation, barcloth, 2022

Sculptural installation, barcloth, 2022
This sculpture brings us in place of the origin of the ancestral technology of barcloth (lubugo) making in central Uganda. Installed like tree stems, the pieces that form the ABAANA Ba KINTU collection, invite us to reflect on the regenerative and sustainable qualities of this technology and craft.
The tiele of the artwork refers to the Luganda proverb “Abaana Ba Kintu Tebaggweerawo Ddala” which means “the descendants of Kintu (legendary ancestor of the Baganda) will never die out”. For the artist, this proverb calls to reflect on how humankind is renewed. Her work which departs from hundreds of years old practice Okukomaga (the practice of crafting this permanently renewable bark from Mutuba without having to fell the fig tree) pushes this technology forward by innovating the use, material and form of the cloth.

Bi0film.net

Jung Hsu & Nataia Rivera, installation, dome shape umbrella, metal mesh, 3d printed case, raspberry pi, yellow fabric mesh

Bi0film.net is a project that consists of P2P networks in demonstrations. Yung and Natalia reappropriate Hong Kong movement’s iconic yellow umbrellas and turn it around to make it a parabolic WiFi antenna. Apart from covering and protecting demonstrators Bi0film.net enhances umbrellas to strengthen P2P communication. The umbrella can act as antenna for a mini server, repeater or a router, increasing the range, while building a nomadic network that accompanies the demonstration in the streets. Umbrella work hosting research Netting group, practitioners for the collective envisioning and research of digital technologies and new media art.

Reading Design in the Borderlands, book edited By Eleni Kalantidou, Tony Fry, advancing post-geographic understandings of physical and virtual boundaries

Arjun Appadurai’s library in the SAVVY gallery, 21.09.2022 launch of the public library