Rituals of Nascent Worlds Cluster of Art, Magic, and Technology
CROSSLUCID
Hollow
Jelena Viskovic
Lucile Olympe Haute
Moritz Jekat
Nolan Oswald Dennis
Sahej Rahal
Rituals of Nascent Worlds
– Cluster of Art, Magic, and Technology
Rituals of Nascent Worlds aims at framing the potential of magic in weirding our understanding and experience of reality, through its manifestation in digital worlds. Magic here is intended as an alternative system to technic and as a generative tool that weaves “the ineffable” (Federico Campagna) into a “certain reality-system.” By claiming the critical and generative potential of magical thinking, the artists featured in this third cluster reimagine our alliances with technology, queer our belief systems, and explore alternative cosmogonies.
These artworks generate magic and alchemy via AI and use virtual environments created with video-game engines as safe spaces for emotional connection and healing. Cultivating the ineffable within a non-binary world order, they address the ongoing crises of representation by advocating for a technophile mysticism and immersive shared hallucinations. They encourage political and philosophical thinking through speculative video games that enable their users to shift between human and non-human identities, whether those of city planners or fungal macro-organisms. They use world-building to question mythmaking while underlining the importance of actual scientific facts by means of fiction. They rearrange apparent common sense by encoding it with other thought systems, such as earth sciences, Black liberation theory, and the poetics of African decolonial systems.
Through collaborative practices and shared virtual spaces, Rituals of Nascent Worlds offers a nuanced perspective on the transformative potential of magic and weirdness as "recursive and irreducible" (Mark Pilkington) creative forces intertwining our reality—adding the transtemporal dimension of archetypes and ancestral knowledge to foster progressive frameworks for the configuration of new values.
Dwellers Between The Waters Synthetic Mournings and Amniotic Hallucinations
Dwellers Between the Waters conjures up a series of hybrid rituals that mediate between physical presence, trauma, memory, healing, and virtuality. Polyphonic in its artificially intelligent framework, Dwellers Between the Waters may be experienced as a happening chanted by various elemental entities such as water, wind, earth, air, and algorithm, as well as poetry, history, and human and more-than-human creatures. Combining AI with magical and alchemical practices, the work seeks solutions to the traumas of contemporary anthropos while examining AI’s phenomenological and cognitive idiosyncrasies. By evoking, cultivating, and connecting various forms of consciousness in virtual realms, it invites dwellers of various realities to share their stories and experiences, which then feed back into the (so-called) reality as evolving strings materializing across physical and virtual domains—invoking novel perspectives, catalyzing collaborative narration, and transforming conceptual spaces.
Founded in 2018, the interdisciplinary artist collective CROSSLUCID engages in collaborative projects in co-evolution with technology. Through filmmaking, poetic artificial intelligence, multilayered collage, assemblage, and experience-led interventions, they create scenarios and experiential formats that prototype and rehearse potential futures and metamodern values. Their work converges around the exploration of the self as a network, intimacy and the potential for pleasurable actualization through the digital sphere, and the re-imagination of our alliances with technology as part of a sympoietic biosphere and the universal post-material.
Concept, AI Training & Editing: CROSSLUCID
Sound Design / Voice: Sayaka Botanic
Text: Oxi Peng
Sound mixing: Louis McGuire
Worlds meet in a digitally augmented reality. As they intra-act they mutate and give rise to new worlds. In other words, when three travelers take a cross-reality journey that is represented in a faceted digital environment which seeps into, and at the same time augments, our physical reality, a process of de- and reterritorialization takes place.
This is how Hollow, a united collective body of three entangled minds, points at an ongoing crisis of political and illustrative representation. It seems that the crisis can only be resolved if we accept and foster the existence of the ineffable—and this means a non-binary world order.
As globalization transforms the relationship between where we live and our cultural activities, world-making requires an ontological shift toward embracing complexity by negating binary oppositions of real and virtual, or actual and possible. Upholding the transformative power of the imagination, this work attempts to serve as a compass for such an ontology.
The Compass is a rhizomatic diary, gathering virtual and actual memories, objects, and stories accumulated over the creation of an imaginary place and the artwork Hollow has built around it.
For the full experience, please note the following:
· The Compass works best on smartphones that support modern augmented reality (ARKit & ARCore).
· Unmute your device and turn up the volume.
· If you enter the portals through your smartphone, we recommend you wear headphones and have enough data (~100mb).
· To explore the objects in their entirety, you will need space. Go to a square, a field, or a beach before opening them.
Hollow embodies the shared hallucinations of Viktor Szeri, Tamás Páll, and Gyula Muskovics, who have been working collectively since 2018. In their immersive world prototypes that often merge performance art with cutting-edge technologies, game design, and role play, they question dominant systems of consensual reality and propose new modes of co-existence.
In The Compass, Hollow uses images of the performers of their immersive performance Aura at the Trafó House of Contemporary Arts in Budapest and at Montag Modus at radialsystem in Berlin, including: Gyula Muskovics, Viktor Szeri, Tamás Páll, Thea Soti, Yinna, Imre Vass, Imola Kacsó, Márton Glaser, Marcio Kerber Canabarro, Patrik Kelemen, and Júlia Vavra.
Composition for the teaser: Thea Soti & Yinna
Designed by Jelena Viskovic and Federico Campagna, Lamassu is a speculative video game that nurtures political and philosophical concepts, immersing its users as transformative entities. Lamassu presents one territory as four distinct yet simultaneous worlds; it can be experienced as a group of human city planners, as a fungal macro-organism, as the host of souls of creatures yet to be born, or as a rock. Worlds and ludic conditions vary depending on the metaphysical and metaethical settings of each character.
Upholding a phenomenological understanding of a “world” as being the unique cosmos or arrangement of meaning projected by a subject, Lamassu's territory takes form as worlds that are contingent upon the specific character experiencing it. The role of philosophy in the design process of video-game worlds thus comes in for questioning.
Jelena Viskovic’s work focuses on games and leisure spaces and the narratives they produce through time and place. She uses game mechanics as non-linear, ornamental systems built into sculptural and spatial works, responding to new and old technologies. She often works with historical and political narratives as participatory interactive spaces with a playable mechanics.
Concept: Federico Campagna and Jelena Viskovic
Art Direction and Production: Jelena Viskovic
Cyberwitches Manifesto calls on us to think collectively about spirituality, technical emancipation, and political commitment—which must be understood in the broader sense of an eco-responsible living together, going beyond anthropocentrism and including the plant, animal, and fungal kingdoms up to the communities of bacteria in our biotopes.
Cyberwitches Manifesto brings together three areas that are usually thought of separately: spirituality, politics, and technology. More than dreaming about them, it invites us to implement alternative paths to catastrophism and inertia. Symbols have both psychological and political effects; they shape our culture, our values, our expectations, and our thresholds of acceptability. Fiction changes the world.
Using multiple references, the manifesto therefore addresses witches, activists, and hackers. We can read quotes from Audre Lorde, Carolyn Merchant, and Starhawk as well as suggestions from Monique Wittig’s Les Guérillères and Susan Griffin’s Woman and Nature, among others.
In a process of technological emancipation from proprietary software, all printed forms of Cyberwitches Manifesto are produced in web-to-print (PDF output from a web browser based on html and css languages).
Lucile Olympe Haute is an artist, researcher, and educator. Her research brings together spirituality, technologies, and politics—understood in the broader sense of a committed and eco-responsible living together that goes beyond anthropocentrism and includes kingdoms of plants, animals, and fungi. She combines these issues in Cyberwitches Manifesto, bringing together witches from different backgrounds who are all political (such as ecofeminists, queer/transfeminists, and technological emancipators) and involved in empowerment processes.
Concept, text, video, and web design: Lucile Olympe Haute
Performers: Lucile Olympe Haute, Chloé Lavalette, Silvie Mexico, Hélène Mourrier, and Lizzie Saint Septembre
Sound: Hear the invisible – Radius projekt, Martin De Bie & Ivan Twohig, 2016
Type: Bluu Next, designed by Jean-Baptiste Morizot
Wetlands of Pharmacology
Moritz Jekat
2023
CGI video excerpts, 5 min, from original installation
Inspired by the writings of Donna Haraway, Laboria Cuboniks, Helen Hester, Judith Butler, and Bernard Stiegler, especially their thoughts on using new technologies under the umbrella of xeno-hospitality, vulnerability, care, and digital pharmacology, Moritz Jekat initiated an open call among fellow artists. It was a call for hospitality, empathy, and exchange of feelings through the act of playing with identities at the junction of physical and virtual worlds.
This CGI-video excerpt from the original immersive large-scale installation Wetlands of Pharmacology posits the idea of digital pharmaca, experimenting with a slow, intimate, and absurd coming together among five artist-individuals in a computer game engine. As humanoid aliens, they retreated to this virtual space and came together in a caring pile to exchange thoughts, emotions, and dreams through collective subconscious writing sessions and certain tools of the Wetlands. The pharmacon, both cure and poison, refers here to the technical objects, biological or non-bodily organs, and social relations through which we open ourselves up to new futures. Acting on the idea of empathy and of understanding yourself through others, Jekat performs the collected script on behalf of the group within the computer game engine. Motion capture technology allows Jekat to “wear” the avatar bodies, meticulously crafted to embody both the physical appearance and inner desires of the participating artists.
Moritz Jekat is a visual artist whose practice spans CGI, video, sculpture, and installation. He holds a BA in visual communication from the University of Applied Sciences Potsdam and an MA in photography from ECAL in Lausanne. At the core of Jekat’s practice lies an exploration of contemporary developments within “Western” society, with an emphasis on identity and digital culture. His work delves into themes of co-existence, cohabitation, and the convergence of diverse ideas in shared spaces, aiming to uncover broader universal truths.
Script: Andrea Bocca, Antoine Simeao Schalk, Valentina Parati, Yuna-Lee Pfau, and Moritz Jekat
Concept, voice, performance, 3D, and production: Moritz Jekat
Installation: Felice Berny-Tarente, Marine Col, and Moritz Jekat
Sound: Noah Gokul Bindiram (sound piece) and Tamara Meli (mastering)
"everlasting, not admitting destruction, granting an abode to all things having generation, itself to be apprehended with nonsensation, by a sort of bastard reckoning" 1
Azalabad is a liminal plane. In resonance with the notion of khôra, as described in the above quote from Plato, it is meant to be a space that gives a place for being. Between absolute order and chaos, it is a continuous negation of binary oppositions in its constant becoming.
Azalabad is also an intermission in the space-time continuum: a moment between past and future that, instead of remaining non-dimensional, spatializes the ineffability of now. It manifests in an imaginary version of Inamgaon, or what is left of it—a place where time was not measured with devices but flowed like rivers, until the metaphor allegedly actualized in a flood that swallowed its inhabitants. Azalabad is thus a virtual reality, a space that stretches between existence and essence, gossamer as a mirror’s reflecting amalgam. An actual reality that seeks to give birth to a rising world between technic2 and magic on an excursion between India and the West.
Navigating Azalabad, we become cyberneticians of a nascent world, steering that world into existence. Since no inhabitants remain wading in the shallow waters, this is a solitary act. Our presence doesn’t generate a force that makes the “natives” see themselves as “other.” While examples from nineteenth-century India show that colonizers obliged “natives” to world their own world anew as the alien was domesticated as “Master,”3 our worlding in Azalabad means no harm—instead of forced deconstruction of a world it enables imagination of new ones. Azalabad is a site of speculative archeology for a potentiality that contradicts the constructed past promoted by nationalist movements in contemporary India to define the nation’s origins and build its monolithic Hindu identity. Azalabad challenges mythmaking with world-building and, by means of fiction, underlines the importance of actual scientific facts.
1. Quoted by John Sallis, Chorology: On Beginning in Plato's Timaeus (Indiana University Press, 2020), 52a-b. 2. Federico Campagna, Technic and Magic (London: Bloomsbury, 2018). 3. Gayatri Chakravorty Spivak, “The Rani of Sirmur: An Essay in Reading the Archives,” History and Theory 24, 3 (Oct., 1985), 253.
Sahej Rahal (b. 1988, Mumbai, India) is primarily a storyteller. He weaves together fact and fiction, to create counter-mythologies that interrogate narratives shaping the present. His myth-world takes the shape of sculptures, performances, films, paintings, installations, and AI programs, that he creates by drawing upon sources ranging from local legends to science fiction, rendering scenarios where indeterminate beings emerge from the cracks in our civilization.
Privacy Policy
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Despite careful monitoring of content, ifa does not assume liability for the content of external links. The operators of any linked websites bear sole responsibility for the relevant content. All linked websites were reviewed for potential infringement before the link to that site was initially created. No illegal content was identified at the time of linking. ifa cannot be reasonably expected to monitor the content of linked websites on an ongoing basis without specific indication of legal infringement. As soon as ifa becomes aware of any such infringement, the relevant links will be removed immediately.
Legal Information on Copyright
The copyright for text content, photographs, graphic elements, and website layout as well as all other website content is held by ifa (Institut für Auslandsbeziehungen) and in some cases by third parties who are identified by their names. All rights are reserved. Any duplication, editing, dissemination, or any kind of use beyond the limits of copyright law shall require the written approval of the relevant author or creator. Text content, images, and graphic elements may be printed or downloaded for personal, private, or non-commercial use only. Any website content not created by the operator is presented in compliance with third-party copyright. All third-party content is marked as such. Please inform us should you become aware of any copyright infringements. As soon as ifa is notified of any such infringement, the relevant content will be removed immediately.
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