The captivating realm of digital desires
Welcome to a world where algorithms pull the strings, teasing our senses with sensational violence, overstimulation-induced alienation, and speculation about the present and future. From feb 9-11 and 16-18, Semester9 is teaming up with curator Alendandre Pastor to present ‘Post-Fascism,’ a mind-bending exhibition delving into the captivating realm of digital desires.
In the era of late capitalism, where bureaucratic and technological systems flirt with totalitarian tendencies, the ‘Post-Fascism’ artists sound the alarm. As societal progress masks powerful networks, our vulnerability to totalitarian tendencies becomes glaringly evident. So join us at LOODS 6, to experience the fear, aggression, absurdity, and fantasy, that unmasks the dual nature of systems designed to emancipate and yet deceive.
If you haven’t yet experienced Levi van Gelder’s work, this is your sign to. Van Gelder injects humour into the exhibition with Ötza, a cryodesiccated mummy and freelance fanfiction writer – AKA icon. The goal? To reveal tensions between dichotomies such as reality and fiction through forms of performance research. Well for “Post-Fascism” Ötza’s iconic desk takes centre stage adding an added layer of cheekiness to the exhibition – promising an unforgettable opening night ;).
Dutch artist Ilse Kind, a maven in Vienna and Amsterdam, challenges the simulated reality imposed by technological systems. Luckily for us, we get the chance to see her new sculptures, crafted with the aid of A.I. along with a video exploring the obscured symbiosis at the core of A.I.-generated images. Oh but wait, there more. In another area of the exhibition, Kind confronts us with a video revealing the ways in which hidden surveillance resembles the behaviour of parasites; leaching beneath our skin through biometric algorithms.
Founder of Indebt Studios, Ciro Duclos, invites us to contemplate aggression, industry, and consumer security through his evolution of polished steel fences. His sculpture defies standardised forms, challenging corporate aesthetics and consumer culture. Through this he contributes to his oeuvre of pushing social constructs to their limits. Begging us to think through difficult questions while casting out hope.
In “Post-Facism” Melle Nieling explores the binary realms of good and bad, virtuality and reality. Presenting fictional click bait ads that unravel the complex relations between binaries and questioning our perception of reality shaped by daily encounters. How do we know something is ‘real’? How do daily encounters shape out of reality? Here parallels are drawn to the manipulation and influence of cults as the ultimate extreme of authority.
Noah Latif Lamp is taking a stand. For this exhibition, he presents an NFT featuring his own personal data. Through this, Lamp definitely asserts himself in the inescapable surveilled urban environment. Challenging online corporations by reclaiming control over his digital identity. Here, Lamp reveals and critiques the loss of freedom but vividly putting his sensitive data out there for all of us to see. The catch? All of our data already is.
Questioning the possibilities of living defiantly in a surveilled urban environment, Manon Pretto’s work is rethinking space through media. Prepare for new video work involving a LED-screen fabric depicting a human skin like texture, surrounded by a steampunk inspired steel frame. Ultimately exploring the intricate bonds between technology and humanity and human/non-human identities.