絵文字ボット： Emoji-bot [Du{think}BTTR_off_alleine?], 2021
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performance ketia, Harald Stojan, & Annalise Van Even
Invision & Fitueyes stands, Samsung 55”, Hisense 50”, Sharp 80”, Zindoo 3D window-film, Rabbitgoo 3D window-film, duct tape, GameCube
( ◡‿◡ *) Remember when grumpiness evolves in a rather short time towards a sense of longing and total existential evacuation… Some temporal segments are structured by concise “5, 6, 7.1, 8” – whereas others are documented impromptu and post-produced. Quadruplets presently demonstrate comparable rhythms; one emerged at the beginning with a camera attached to its face. Gathered within a social solo of (dis)embodied emote-reactions, their togetherness asks if similitude is always already algorithmic.
▓▒░(°◡°)░▒▓ Attitudinize… and plug into the wall-socket (full-recharge fantasy)! 絵文字ボット (“Emoji-bot”) is a four-player avatar with human’s feet-coverings, polygonal posture, and misapprehended grandeur – of mortality, sass, age, and pending resurrection. It-we enacts a “post-embodied performance”: an onscreen departure from a cute world of mediated liveness which has been recently (re)constructed.
( ˘ ɜ˘) ♬♪♫ Initially shortlisted for Akademie Schloss Solitude Web Residencies, Emoji-bot [Du{think}BTTR_off_alleine?] debuted after pandemic-unique residency at ACUD MACHT NEU in ACUD Galerie with DJ-sets by ketia and lil witch global, co-organized by Johannes Braun and Paula Ďurinová. Early sketches in the development of the work were shown and supported by DFBRL8R (performed by Stevie Hanley for What Remains), TV x KW Institute for Contemporary Art (for The Berlin Sessions: ClumpTV), and Natascha Sadr Haghighian (Bad Muskau); later, the work was fully reinstalled for glitching code at one gee in fog in Geneva (documentation images © Alizée Quinche published on Contemporary Art Switzerland and KubaParis) and Dust to Dust at Zabludowicz Collection in London (documentation images © Andy Keate), amongst exhibition of smaller extracts for more intimate contexts at Plexus Projects (New York City), #DUMPHAUS (Tokyo), and others. The original solo exhibition was additionally partially supported by NEUSTART KULTUR and developed via early/pandemic-residency support from Tanzbüro Berlin.
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