Prosthetic Pavilion, Vol. 2

Tamara Spalajković, Manuel deLanda, Agata Wieczorek, Wei-Yu Chen, Wisrah Villefort, Plastique Fantastique

Curator: Darko Vukić


November 1st – 2nd


As a continuation of the first edition, this version also tackles upon some quotes but in a mash-playful manner. With a stand-out term and phenomenon of lying. It is this fragility that makes deception so very easy up to a point, and so tempting. As such, a prosthesis is always in excess of the whole to which it is added, and necessarily requires an ideological basis in order for it to gain and retain its legitimacy and validity. It never comes into a conflict with reason, because things could indeed have been as the liar maintains they were. The prosthesis is thus always and only ever a tool or instrument subservient to the sovereign subject–the human subject in this case–that desires its existence and demands its usage and compliance. Ideologically, the prosthetic limb is just as excessive as the mobile communication device, or the internet, or a telescope, or a bicycle, or a jet aircraft, or language, or any other human prosthesis**. Lies are often much more plausible, more appealing to reason, than reality, since the liar has the great advantage of knowing beforehand what the audience wishes or expects to hear. He has prepared his story for public consumption with a careful eye to making it credible, whereas reality has the disconcerting habit of confronting us with the unexpected, for which we were not prepared*. And happily ever after. Our life is prosthetic. We assume that through these variety of processes we can realize our desires which themselves are becoming prosthetic. We also assume other life through this prosthetization of our current endeavors.

*Hannah Arendt, ‘Lying in Politics’ in Crises of the Republic, 1972.
**Matthew Poole, ‘Specificities of Sitedness’ in When Site Lost the Plot, Urbanomic, 2013.


The liar paradox [increasingly common sub-topoi of current affairs and conditions in contemporary art and digital culture. Viewed allegorically- as a cephalopod figure, or better yet, octopus figures composed of multiple prosthetic limbs that interfere with interpersonal relationships, interactions and exchanges -they are paradoxical in nature. The erotic nature of social interrelationships and their different economy reveals beyond-rational sources of imaginary attempts and attitudes. Combining them with cultural activities, from subtle to raw gestures and statements, practices or intentions. Overall, they point out the lie as a wholly implicit necessity for interconnectedness in normatively-mediated conversations. The specificity of imagining and persuasion as the capacity to realize or prosthetize relations, with the intention of satisfying the need to calibrate or categorize these position-oriented labors in the ever-increasing complexity of the given. Between the supposedly real and what is not; what is nature and the so-called culture is a vast network of production that oscillates in the unofficial abysmal recess of a global towards a localized learning horizon. It is almost always repeated through sameness and imperceptibility, and their influence creates a sufficiency that breaks down in the virtual. Someone who initiates and decides something sets the topic for another with the same conditions to decide, initiate and propose. Liar-deceiver relationship is internal phenomena of self as that which is distinguishable of what stands (was before) against it. An honest and insincere position for sincerity is a key basis from which the upper framework emerges on the battlefield of resolved strategies and coping with exaltations, leading to form, modality and behavior results. Whenever there is a lie around the corner, life is slowly transforming into a wider range of thriller modes. It is a justified tool of harassment, increasingly present in our temporalities.]

Photo: N. Ivanović