Sidetracks of the Final Landscapes

Tamara Spalajković


January 19th – February 4th

Tamara Spalajković in collaboration with Jakub Daněk, Marija Iva Gocić, Léa Mainguy, Marko Obradović, Daniel Rajmon

I wake up. The time stops being linear. The grasping shows me around the meadows of a technologically based world. If we can think of a container as a technology, what happens when we catch images? When being watched, images bring closer another world, similar to what we already know, imagined as a meaning bearing ffffffffff black hole of the impacted world. Such a story gives me chills, but it is happening to everyone we know. 

The exhibition is constructed by the three videos ‘Orlando: Fear Eats The Soul’, ‘Net Worth’ and ‘Truckbaby’. These videos work to recognize/represent the complex systems supported by everyday technologies, such as a camera, a brain computer interface, and a failed developer project. All of which have an impact on the lived experience of the characters. The exhibition uses fictional modes of expression to describe intersections of different sectors of governing, all turned to profit, hiding behind their service agenda. The stories take place in ‘final’ landscapes. The term ‘final landscape’ describes a failed anthropocentric environment, a scarcity of urbanism, for-profit developer projects, being conceived solely by humans for the use of humans. All while deepening the worsening quality of life for human and non-human actors in the local intensive land-use biomes and technocratic ecosystems. Somewhere inside these places we can find subversive pieces of land, which refuse to be subdued. The narratives describe imagined situations which implicate the subversiveness of the landscape.

No one even needs to watch me through the laptop camera as I already act as if being watched. This creates a mirroring, a shifting inconsistency between emptiness and punity. 

As the leading structure’s paradigm shifts focus towards complex systems, infrastructures and networks, the structuring condition of time replaces the present in order to center around the future. The needs become conditioned by expectations and affected by speculation towards the future, creating a feedback to the present.* When engaging with the topics of identity might seem to be deemed as non essential, the perspective-becoming politics influences our lives. Inevitably, watching through the screen instrumentalizes or even patronizes the ones being caught on camera, and equips the ones behind it, all until they are weaponized. 

The apparatus of the digital camera is a prototype – gatekeeper of the relationship between human and the digital, as it enables capturing of data from the ‘real’, introduces it to the digital sphere and consequently the online network of data. The digital camera opened the door to the development of an even more complicated computational process of the smartphone camera. The new technologies become smaller and possibly part of our body itself. 

 Is there a precondition for critical reflection of one’s position? Not everyone can have this privilege, but it is definitely not (exclusively) material. Is it possible to reenact these conditions in the gallery space? Recalling a place we know from our memory. Where we can settle in, even the spider’s web is familiar. Kind of an unbothered situation. 

The furniture can be moved around. Each visitor can change the space in order to shape their own environment.

*Armen Avanessian and Suhail Malik, The Speculative Time Complex, 2016

The three videos were made in collaboration with Marija Iva Gocić, Marko Obradović, Jakub Daněk, Daniel Rajmon as collaborators on the narrative, direction, post-production, 3d animation; Miloš Spalajković, Lea Mainguy, Vincent Šimek, Barbora Ilič, David Mišťúrik, Adam Žufníček, Maria Neal, Kristýna Gajdošová, Judita Levitnerová as actors; Ondra Silný, Jarek Kaláb, Matěj Sláma, Kristýna Sidlárová, Martin Dominik Kratochvil, as camera, 3d animation (map sequence), graphics and drone operation; special thanks to Marija Spalajković, Risto Ilič, Kovina Andrić, Vanja Žunić. The production was supported by FaVU.

Photos: Tamara Spalajković