Project title:
I spaghettified myself for pastime and consent
I spaghettified myself for pastime and consent
Essay // Video // Playing Cards // Installation
Eindhoven, 2021/Wroclaw, 2022
The “I spaghettified myself for pastime and consent” is a 9 minutes long hybrid screen home video essay on digital distraction and destruction of the self.
This project is situated within the Post-Truth era. Not in politics, not in the news world, but in the condition of the passive receiver; the viewer in lethargy, in front of a screen, in the many surfaces of screens, making a reality that has little to do with the felt or the true self.
It is a compilation of writings on digital time and digital duration that accompany short counteractive vertical screen clips. Together, they perform a self-therapy monologue to expose a digital condition that was intensified by the pandemic. The one I prefer to call “postponed until further notice”, or in this case, “living the illusion”. That is, distance and isolation playing out against the self. It is a sidelined currently experienced dimension of a forced, nearly hysterical, exclusive dependence and proximity on one’s self and the screen. Invisible fingers, tight motivational words, and pixels point out the self, demanding self-criticism, self-improvement, self-confidence, self-caring, and self-control. Time seems to get only valorized by an open window and a direct confrontation with yourself. This idea generally makes me angry. That to say, it is ultimately a play with emotions.
Thinking along with the “being pilled” condition, I translated my phone into a stage for (my own) immersion into the leap of time. It is a try-out act against the elusiveness of non-happenings in the state of constant self observing and monitoring. It is an exaggerated manifestation of stress projected into the constitution of the relationship between (my)self and the screen. Of course, I am kidding—I don’t have a relationship with my screen.
The project was shown as a multimedia installation in the Survival Art Review 20, Wroclaw, Poland (June, 2022).
Full video upon request.
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5 video installation view, Survival 20.
This project is situated within the Post-Truth era. Not in politics, not in the news world, but in the condition of the passive receiver; the viewer in lethargy, in front of a screen, in the many surfaces of screens, making a reality that has little to do with the felt or the true self.
It is a compilation of writings on digital time and digital duration that accompany short counteractive vertical screen clips. Together, they perform a self-therapy monologue to expose a digital condition that was intensified by the pandemic. The one I prefer to call “postponed until further notice”, or in this case, “living the illusion”. That is, distance and isolation playing out against the self. It is a sidelined currently experienced dimension of a forced, nearly hysterical, exclusive dependence and proximity on one’s self and the screen. Invisible fingers, tight motivational words, and pixels point out the self, demanding self-criticism, self-improvement, self-confidence, self-caring, and self-control. Time seems to get only valorized by an open window and a direct confrontation with yourself. This idea generally makes me angry. That to say, it is ultimately a play with emotions.
Thinking along with the “being pilled” condition, I translated my phone into a stage for (my own) immersion into the leap of time. It is a try-out act against the elusiveness of non-happenings in the state of constant self observing and monitoring. It is an exaggerated manifestation of stress projected into the constitution of the relationship between (my)self and the screen. Of course, I am kidding—I don’t have a relationship with my screen.
The project was shown as a multimedia installation in the Survival Art Review 20, Wroclaw, Poland (June, 2022).
Full video upon request.
5 video installation view, Survival 20.
photo credits:
Małgorzata Kujda
View from the Szewska Pasja Street Gallery
photo credits: Magdalena Basak