This form of resistance allows a new language to develop.

ll

lossy life

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06.04. - 11.05.2024
wanda gallery x exo exo
with gaspar wilmann
during constellation warsaw

What does it means for an artist to co-inhabit the digital space ?

Through their images and objets, Linda Lach et Gaspar Willmann use digital technology, data and AI to create space tchat generate fictions. These fictions delve into our emotions, habits, perceptives and what the use of data can contain of human, absurd, dangerous, poetic and also profoundly political.








SKYROCKETING AGAIN

Skyrocketing again explores the liminal space between performance and sculpture, questioning the role of objects as tangible representations of thought processes. It consists of technological parts which have the purpose they were assigned at birth by our civilization and remain constant throughout their existence. They are ontologically squished, squeezed and compressed until we reject everything about them that’s indecipherable to us. The logic inherent in capitalism does not allow anything to grow besides what’s (potentially) profitable. This does not only apply to our human fates but also ontological modes of everything existing. In the painted object tech-elements linger and exist without forcing them into any anthropocentric frame of reference. Bent structures seem to be abstract and illegible, on closer inspection, they reveal festering digital wounds, suppurating fragments of code, glitches, decision trees, and anthropomorphic shapes. Polycarbonate, which was used in this object is completely transparent, yet it has a very dense and well-defined molecular structure. Although physically rigid and rigorously describable, when looking through this material our brains don’t notice it. To put plastic in our phenomenological sphere it has been bent and deformed until refracting light makes all scratches and chips come out. What was unnoticed becomes present. Skyrocketing again is a mental process which allows us to approach technology in a deeply humanistic way, allowing for care, concern and communal experience.



DREAMY HARP (RACK CABINET)

How do we persist under siege? Beset by efficiency focused machinery will prepared for any failure. During a high-tech siege, it is better to wait, to linger, to prolong the process and let a new language emerge. The object consists of technological elements ranging from cables and server racks to glass and plastic. They don’t loose value, are forever recyclable and function in neverending cycles of industrial exploitation. The purpose they are assigned at birth by our civilization remains constant throughout their existence. They are ontologically squished, squeezed and compressed until we reject everything about them that’s indecipherable to us. Dreamy harp is reminiscent of the well known RACK cabinet shape, but it has been purified of its internal structure. Several lights enlighten the void where the essential high-functioning server components should be located. Object, hunted by a specter of efficiency focused machinery ill prepared for any failure, disrupts the traditional understanding of technology. During a high-tech siege, a dreamy harp is waiting, lingering and prolonging. This form of resistance allows a new language to develop.



CACHE SERIES

I use aluminum as a reusable temporary thought cachE. It strikes a paradoxical balance between general cachE - a place to hide something - and computer cache - a place to make something more exposed. Aluminium’s possibilities are very sharply delimited by its material structure. Its smoothness and softness are often utilized as a protective layer for computer subsystems. Metal plates which comprise the Cache series have been manually engraved and then violated with a grinder. Peeling of layers of metal is directly analogous to wearing out of RAM memory. Every natural process is a lossy phenomenon. I believe that all tech is rooted in a vehicle of collecting and gathering, not pointing and dominating. I want to accept this lossiness and imperfection of technology, which is so akin to what we define as human. I see my pieces as objects welcoming tech to our empathetic sphere in the same way as a family welcomes a newborn. A rite of passage for our oft-ignored companion.