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Interview with Hit Styel about the Pompidou Center show

If there is an artist who can understand this contrary era, it is Human Steier, the poet laureate of digital turmoil and social cataclysm.

In her video installation, essay, and lecture performance, a German artist breaks the line between the Internet and what is called the “real world,” and how digital technology moves from the screen to war zones, financial markets, real estate development, I investigated whether it would be leaked to the auction. House. By skillfully combining bitter humor with high-resolution and low-resolution images, Steyerl emphasizes the violence and absurdity that results from the fusion of human life and data. “1” in a more or less arbitrary list of “”The 100 most influential people in the art world.

Last year, the “Hito Steyerl: I Will Survive” exhibition was held at the K21 Museum in Düsseldorf. It’s late, but now I can see it. At the Pompidou Center in Paris“I Will Survive” is Steyerl’s most important European exhibition to date, debuting a new installation “Social Sim” nodding to pandemics and police violence, along with her most famous early works. Here, animated police officers infect each other with a dance attack rather than a new coronavirus. This actually happened in the notorious era 500 years ago. Strasbourg dancing plague..

Her work has been talked about, but other videos of “I Will Survive” evoke the missing “Salvator Mundi” and the similarities between fashion label Balenciaga and right-wing populism. , Steyerl always brings deep ambiguity to new technologies. After months we spent in front of the screen, her skepticism looks more effective than ever. In a recent conversation, summarized and edited below. Acceleration. (Speaking on the video link, Steyerl appeared in front of a wonderful zoom background of pink flowers.)

You live in Berlin and teach at an art university there. Did you stay still during the pandemic?

It has been completely locked down since last March. I’ve been teaching about Minecraft. This is a game for kids from the age of 7 where you can use blocks to assemble something. You can build a fantasy world very quickly. Last week, my students staged a version of Brecht’s “Countermeasures” at a huge communist showcase made in Minecraft.

What restrictions did the pandemic impose on the art you are producing?

Perhaps nothing new was needed except to enhance the existing one. I used leftovers from previous shoots, previous works, generated ones, and even remote ones.

In your recent Social Sim, you’ve witnessed social transmissions from “dancing viruses,” but you’ll also see more modern social transmissions.Opposition to wearing a mask that culminated in Germany Attempt to attack the German parliament In August of last year, it spread and spread like a kind of virus infection.

There was another truly shocking event in Berlin at the end of last summer. Suddenly, the Egyptian Museum was attacked by a mysterious “sprinkler”. Someone entered the museum Sprayed oily substance About 70 objects. And the idea-though it hasn’t been confirmed-was that it had something to do with these conspiracy theorists who have a very network with the right wing in Germany.

After two big thefts, this can happen a bit crazy. At the Bode Museum Berlin and then Green vault In Dresden, Germany.

It was one of the main discussions around Humboldt ForumOf those who didn’t want to restore anything, these objects are unsafe. Now it turns out that they are absolutely unsafe in Germany as well.

What do you think of the Pompidou Center building? It’s not like the Humboldt Forum, but it has its problems.

The building is this 70’s Fun palace Cybernet machines that have been pushed into the neighborhood in some way have now acquired nostalgic qualities and refer to some sort of welfare state. So for me it’s a machine. It’s a big machine and a bone. It’s a machine that eats. And in fact, the show is related to the broken part of the museum. Because the show leads to a service corridor, where you can see that the windows are actually broken.

Museum Must be closed for refurbishment, In four years.

It was built as a symbol of modernism and brilliant newness, not so long ago. However, I am vulnerable to these Plexiglas tubes, the “Star Trek” atmosphere.

About glass shards: In a recent video installation, The City of Broken Windows, we interviewed an engineer breaking a window at a data production company.

It was created in 2018. I was really angry with people who wanted me to do only shiny and interesting CGI jobs. Mr. Trump was elected, but he wasn’t in a good mood anyway, so I thought, “Let’s do something simple and real.”

I went to a British company called Audio Analytic in Cambridge.I had Read about them on the BBCAnd they manually destroyed thousands of windows and trained AI (Neural Networks) to recognize the sound of broken windows. The underlying idea was that the device could call police, security, etc. In fact, someone is standing in a huge plane hangar, destroying windows all day to make the machine smarter. I was completely fascinated.

The old modernist vision of shattering objects — Cubism, Futurism — has been absorbed by metrics and surveillance.

The idealism of a smart home. But creative destruction is also a Silicon Valley idea that destroys things quickly. All of that goes into it and creates this kind of surveillance panorama. But people are very enthusiastic about breaking windows. You can see me too. I also broke one. I used the video in “Social Sim”.

You are by no means an “Internet native” artist. You don’t have a web page and your work isn’t online except for pirated editions.But during the lockdown you did A series of streaming presentations Of your work. Did you learn any lessons from lockdown livestreaming at this new show?

In these four streaming evenings, I’ve created more or less new contexts. For example, by talking to the main character of the work itself. I added a new angle to the work and felt it was legal. In most cases, video was a good choice for streaming, not complex multi-screen projections.

But in Paris I have to say that I gave up. At this point, people are already very tired of looking at the screen and are flooded with content. This was the show I actually tried to think about physically. It space. I never thought I could actually create a digital clone that could replace it. It’s just a kind of homework, and the timing is wrong.

I’m almost sick I have a question about NFTBut as anyone who has been ruthlessly investigating the relationship between art and financial speculation and crime, they should be familiar with it.

At this point, art can be an excuse or excuse for deploying infrastructure. Web 3.0 infrastructureAnd the slogan is this magical spell of NFT This is really a magical spell, because it doesn’t mean anything! That is, I own you and enter it into the blockchain by magical encryption .. But it feels complicated and high-tech, so it gets a lot of attention, right? It’s basically a disinformation mechanism. The more confusing you are, the more attention you get and the more you run out.

The rhetoric of NFTs, and more generally of cryptocurrencies, seems to have had a major impact on the modernist appearance of artists. The institutional agnostic personal creativity is finally unleashed.

That is, I have witnessed it at least the third time. An implementation of a new infrastructure with the same kind of slogan and propaganda. “It will be more democratic. It will be more accessible. Opportunities will be equal. Everyone will get the information. We will eliminate middlemen.” That is, how often will we hear it? Is it? How often do people get hooked on it?

The first time I heard it was the so-called “Internet Revolution “, SerbiaNow 20 years later, you can look at Serbia to see if all of this has happened. It was the beginning of social media, the Arab Spring, Iran. However, the rhetoric of the same technology that automatically brings progress and equality is being redeployed. The same is basically true for NFTs.The only difference is that we are listening to it now From Paris Hilton..

Interview with Hit Styel about the Pompidou Center show

Source link Interview with Hit Styel about the Pompidou Center show

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