https://zanderporter.com Zander Porter Mon, 19 Jan 2026 11:25:57 +0000 https://zanderporter.com en https://zanderporter.com/desktop Mon, 29 Mar 2021 15:13:49 +0000 Zander Porter https://zanderporter.com/desktop <img width="167" height="128" width_o="167" height_o="128" data-src="https://freight.cargo.site/t/original/i/196a4c0cc5ab53fbf6b6d25a5750a9aea0fcd8f9af61e672fe27740796db4a0d/orbeetle-gigantamax.gif" data-mid="128068633" border="0" data-draggable alt="[XEN]" data-caption="[XEN]" src="https://freight.cargo.site/w/167/i/196a4c0cc5ab53fbf6b6d25a5750a9aea0fcd8f9af61e672fe27740796db4a0d/orbeetle-gigantamax.gif" /> <img width="97" height="136" width_o="97" height_o="136" data-src="https://freight.cargo.site/t/original/i/a726f9234ae38655bb9dd5738f1836f2d78dcaf546e4bc93778954fb900bdb9b/duraludon-gigantamax.gif" data-mid="128068627" border="0" data-draggable alt="ADHD Penetration" data-caption="ADHD Penetration" 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data-src="https://freight.cargo.site/t/original/i/d832df82abd117b3063b47910114c68da52ee5942afea54f7ad6e3836bfa5d2b/butterfree-gigantamax.gif" data-mid="128068626" border="0" data-draggable alt="絵文字ボット" data-caption="絵文字ボット" src="https://freight.cargo.site/w/269/i/d832df82abd117b3063b47910114c68da52ee5942afea54f7ad6e3836bfa5d2b/butterfree-gigantamax.gif" /> https://zanderporter.com/trilogy Mon, 19 Jan 2026 11:25:57 +0000 Zander Porter https://zanderporter.com/trilogy 탈-trilogy: {1} 탈-dissociation, {2} imiji パフューム 메이킹, {3} Do VOCALOIDs dream of meadowland?,&nbsp;2026︎︎︎︎︎performance {1} / collaboration {2,3}&nbsp;Yooha Cheon performance {3} Jozef Jie Sheng Chua&nbsp;&amp;&nbsp;Léa Valérycomposition {2,3}&nbsp;Doukus &amp; {3}&nbsp;Dong Zhoutech {3} Lengleng various decoupled shoes, latex dress shirt, blue-indigo light, business cosplay, VOCALOID character wigs, artificial snow, cursed school-chair, sweatshirt sleeves, (non)edible flowers <img width="3840" height="3840" width_o="3840" height_o="3840" data-src="https://freight.cargo.site/t/original/i/6408e99200a917a5453ecd3c885d4e1a84a2395f772b8760bee8be43e3f6f695/De-dissociation-Instagram-image.jpg" data-mid="243545817" border="0" src="https://freight.cargo.site/w/1000/i/6408e99200a917a5453ecd3c885d4e1a84a2395f772b8760bee8be43e3f6f695/De-dissociation-Instagram-image.jpg" /><img width="4080" height="4080" width_o="4080" height_o="4080" data-src="https://freight.cargo.site/t/original/i/26a7506e020e9942252ac70850a525c6e398ffe6b56b9b402cf3486488a96272/PXL_20260312_214818722.png" data-mid="247527572" border="0" src="https://freight.cargo.site/w/1000/i/26a7506e020e9942252ac70850a525c6e398ffe6b56b9b402cf3486488a96272/PXL_20260312_214818722.png" /><img width="4433" height="4433" width_o="4433" height_o="4433" data-src="https://freight.cargo.site/t/original/i/661bacbf95e7b043f5f3fb8ad00ddd4ef390b9c40843a31823dc5614295114da/Do-VOCALOIDs-dream..3.jpg" data-mid="250816018" border="0" src="https://freight.cargo.site/w/1000/i/661bacbf95e7b043f5f3fb8ad00ddd4ef390b9c40843a31823dc5614295114da/Do-VOCALOIDs-dream..3.jpg" />{1} “De-dissociation” (탈*-dissociation) traces the psychic and sensorimotor textures of a body performed by and developed in collaboration with Yooha Cheon’s (전유하) spiritual/psychic relations to birthplace (서울/Seoul). Questioned are postcolonial and post-DMZ (Korean Demilitarized Zone) cultural phenomena which complicate notions of origin and psychological categorization/diagnosis in globalized techno-culture amidst rippling wakes of empire (Japanese, United States). A series of solo dance scenes responds by negotiating an “East-West dichotomy” with cyborgic and spiritual overlay, unfolding a choreography of corporeality and its possessions vs. decompositions. The performance researches dissociation not as psychiatric DSM (Diagnostic and Statistical Manual of Mental Disorders) pathology/retreat but as a site of wonky attunement amidst aesthetic contours and atmospheres of “Gen Z” joy or horror. *Depending on the context, 탈 translates to “mask” or acts as a prefix for “escape/removal.” {2} Version 1.0 of "image-perfume-making" is an intergenerational render of and by Yooha Cheon and Zander Porter, exploring cross²-cosplay unbecoming and study of hyperpop-pioneering sounds and their place in time (~2006, Facebook) before technological domination by, e.g., businessmen of Silicon Valley. A shared (operating) system is performed and destabilized through both fusion and fission of Yooha and Zander’s bodies-as-holograms. Through protocolized gesture, the performance sources vulnerabilities from a historically loaded U.S.–Japan–Korea loop and its implications for late-exorbitant cultural consumption. Depression and social withdrawal are articulated via somber techno-aesthetics, including (AI) software predecessors like VOCALOID. imiji パフューム 메이킹 examines some qualities of this psycho-cultural loop with disidentificatory potential, replete with worlds of direct impact and lightness. The performance is upgraded as version 2.0 for its East Asian re-premiere in Yokohama.{3}&nbsp;Do VOCALOIDs* dream of meadowland (꽃밭 [flower-field])? hosts the audience in a screensaver-reality to observe four next-gen vocal androids. They wonder: does personal desire exist outside of psychosocial pressure and projection? In the performance, this team of grumbling e-friends reimagines the spirit of source code — supported by four vulnerable yet immortal animations. They together unfold a story of impossibility and tranquility. The performance traces boundaries of time, body, voice, and self, reincarnating and blurring them. It asks how intimacy with practices and histories of 무속 (Musok, "Korean shamanism") may support ceremonies of questioning identity across ethnocultural inheritance. The work is the third and final of this trilogy of performances that centers and traces connections between dissociation (1), depression (2), and hallucination (3). *VOCALOID™ was originally codenamed DAISYプロジェクト ("Daisy Project"), referencing "Daisy Bell (Bicycle Built for Two)" (1982), the earliest song sung using computer speech synthesis by the IBM 7090 ("second-generation computer") in 1961. It is now widely related to the trope of malfunctioning AI regressing to its first memory (the first song it was taught), a similar sentiment to the connection drawn from AI generating false claims and fabricated data to hallucination (“wandering of the mind”).“The performance creates a strong atmosphere: gloomy, mysterious, and suspended. The empty black box looks like a hostile home, inhabited by figures who appear almost like digital zombies, coming either from a macabre future or from a past that does not want to rest. Post-humans or more-than-humans? Their costumes and images combine many references: long sleeves that might evoke kimonos, bright wigs of VOCALOID singers that recall anime aesthetics, and blackened teeth that open another set of cultural and visual associations. Even when all references are not fully readable, [—] the figures work well as unstable image-bodies, caught between traditions, projections, and dystopic futures.”— Ana Vujanović, PhD,&nbsp;Inter-University Centre for Dance Berlin &amp; School for New Dance Development This black-box dance-theater trilogy emerged after three years of personal advising/mentorship of 유하 (Yooha) for all semesters of study and coursework at School for New Dance Development (2022-2026). The first performance’s initiation and rehearsal in 2025 were supported in Berlin by Erasmus+, Academy of Theatre and Dance, &amp; Theaterhaus Berlin and a residency/showing occurred at&nbsp;DANSEatelier (special thanks to Snorre Elvin) with additional support from&nbsp;Dansehallerne (Copenhagen). The second and third works were respectively co-produced by Frascati and Flemish Cultural Center de Brakke Grond&nbsp;(documentation images © Gergely László Ofner and special thanks to Ariadne Sergoulopoulou, Jonny Mehrez, &amp; Maarten Bijnen). Choreographic guidance for Do VOCALOIDs dream...? was supported in Berlin by Melissa Minseong Seo.&nbsp;imiji パフューム 메이킹 is restaged for SNDO graduation works at Uferstudios / HZT (Berlin University of the Arts) with support from Maxim Gorki Theater and re-premiered in East Asia at WAKABACHO WHARF for&nbsp;YPAM Fringe (Yokohama) in 2027. <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/1978df6892c35ab1d1fb508317e00cae5fc45e5dd1f18dc8397ce8c4691a93ee/Untitled3.jpg" data-mid="243546089" border="0" src="https://freight.cargo.site/w/1000/i/1978df6892c35ab1d1fb508317e00cae5fc45e5dd1f18dc8397ce8c4691a93ee/Untitled3.jpg" /><img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/11f4e1450e937d615d0e97e86846d8aa6625f37254b4f273d7a382b5cc4991b8/Untitled7.jpeg" data-mid="243546092" border="0" 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src="https://freight.cargo.site/w/1000/i/8352575dab731bc98de4e68b8e16a4e272f4f31ee8643022204cc7f6a943d5d4/YoohaCheon_performance_SNDO4_deBrakkeGrond_11062026_GergelyOfner_web_33.jpg" /><img width="2160" height="1622" width_o="2160" height_o="1622" data-src="https://freight.cargo.site/t/original/i/fa555c83298bf9ffe36a9177259eed30f7fc5b6cf01e206ba16d600b163aab3f/YoohaCheon_performance_SNDO4_deBrakkeGrond_11062026_GergelyOfner_web_34.jpg" data-mid="250673365" border="0" src="https://freight.cargo.site/w/1000/i/fa555c83298bf9ffe36a9177259eed30f7fc5b6cf01e206ba16d600b163aab3f/YoohaCheon_performance_SNDO4_deBrakkeGrond_11062026_GergelyOfner_web_34.jpg" />»Desktop https://zanderporter.com/unbetitelter-Tanz Mon, 30 Jun 2025 17:32:16 +0000 Zander Porter https://zanderporter.com/unbetitelter-Tanz unbetitelter Tanz (or spectral relationality in psychosomatic crisis), 2025︎︎︎sound&nbsp;Julie Zhu tech&nbsp;Daniel Bisig framed aluminum vs. dance studio portable mirrors, (no-input) mixing board, outdoor construction vs. photo-studio standing LED lights<img width="2100" height="1182" width_o="2100" height_o="1182" data-src="https://freight.cargo.site/t/original/i/53b54afd7826168d5461a8daceb88ee66d6812ee92b04ab1c218de19c853ba5d/LeonardoDjerassi-glitch.jpg" data-mid="235228459" border="0" src="https://freight.cargo.site/w/1000/i/53b54afd7826168d5461a8daceb88ee66d6812ee92b04ab1c218de19c853ba5d/LeonardoDjerassi-glitch.jpg" /> In unbetitelter Tanz (or spectral relationality in psychosomatic crisis), Zander Porter and Julie Zhu fuse movement and sound through multi-modal, machine-learning mappings. Zander performs the network activity backlog of a post-internet cyborg (“a” body), while Julie navigates the movement-synchronized beatings and shrieks from no-input feedback. Resonances of both artificial and autistic intelligence generate questions of intelligibility and source for the exported solo. The performance manifests a literal and psychic mirror-matrix for the corporeality of the machine in a constant state of learning and unlearning “dance-expressions,” considered alongside historical inquiry into connections between Ausdruckstanz and the Holocaust as well as butoh and the atomic bombings of Hiroshima and Nagasaki.“unbetitelter Tanz is a live duet between body and instrument created with composer Julie Zhu. Zander Porter’s gestures are tracked and mapped via motion-tracking and lightweight machine learning to modulate Julie’s no-input mixer, a feedback instrument that ‘plays itself.’ This live video performance is a system of learning and unlearning. Movement shapes sound, sound reshapes movement, and the mapping evolves in its turn. Sitting between artificial and ‘autistic’ intelligences the work shows agency and perception split across human and machine.”—&nbsp;Clarisse Verbeek (University of Antwerp) &amp; Arthur Saint-Remy (St Lucas School of Arts Antwerp) The performance was initiated in residency at Djerassi Resident Artists Program in Woodside (California) in 2024, supported additionally by Leonardo/ISAST with Arizona State University in context of Leonardo@Djerassi 2024 (with accompanying profile published in Leonardo for MIT Press) and&nbsp;Megan Nicely (residency guest). Technical-technological components, improvisations, and experimentations with motion capture + sound and gesture recognition + motion continuation occurred while Zander and Julie were together in residency in 2025 at the Institute for Computer Music and Sound Technology (accompanied by Daniel Bisig) at the Zurich University of the Arts. A corresponding performance-test “pre-premiered” in the Immersive Arts Space with documentation shown in a VR exhibition with Bounding Box (Antwerp) and for the 12th SPA conference Vanishing Acts: AI, Performative Knowledge &amp; Sustainable Memory at University of Malta (Valletta). <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/83dbfa2033a8b2c95a8285fcb4ef863b1995b879f066ccec181da5af6fdf1ace/Untitled.jpg" data-mid="235231442" border="0" src="https://freight.cargo.site/w/1000/i/83dbfa2033a8b2c95a8285fcb4ef863b1995b879f066ccec181da5af6fdf1ace/Untitled.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/716e4769ed096b93919899d23e2ba809c8d54d79bcb15b52d722194ba4cf6a0a/IMG_0401.jpeg" data-mid="240248227" border="0" src="https://freight.cargo.site/w/1000/i/716e4769ed096b93919899d23e2ba809c8d54d79bcb15b52d722194ba4cf6a0a/IMG_0401.jpeg" /> <img width="864" height="864" width_o="864" height_o="864" data-src="https://freight.cargo.site/t/original/i/cf09ae78ac45f434bae248799b62f5ee8e7ad5fe68abf10103c4dfc4a6886a3b/IMG_7090.jpg" data-mid="235231438" border="0" src="https://freight.cargo.site/w/864/i/cf09ae78ac45f434bae248799b62f5ee8e7ad5fe68abf10103c4dfc4a6886a3b/IMG_7090.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/003fef0deac90749a8452e3e71511e992f7bb5ce1fcf62770d4542a205088e79/IMG_0431.jpeg" data-mid="240248226" border="0" src="https://freight.cargo.site/w/1000/i/003fef0deac90749a8452e3e71511e992f7bb5ce1fcf62770d4542a205088e79/IMG_0431.jpeg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e08cdaf1c15ea202d8d2deedfe206efb2aa370685ba5f8d180bf43f5cf878d7b/Untitled5.jpg" data-mid="241871438" border="0" src="https://freight.cargo.site/w/1000/i/e08cdaf1c15ea202d8d2deedfe206efb2aa370685ba5f8d180bf43f5cf878d7b/Untitled5.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f17f5471a5171eb60ea095448a395f64c8ec7c53f2299b324e3ceb127a220701/ZP_1.png" data-mid="247046338" border="0" src="https://freight.cargo.site/w/1000/i/f17f5471a5171eb60ea095448a395f64c8ec7c53f2299b324e3ceb127a220701/ZP_1.png" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ef19264f7f0217b623907b1ff751690eae2bcea38d1c635a4fe02b4251df680b/ZP_3.png" data-mid="247046336" border="0" src="https://freight.cargo.site/w/1000/i/ef19264f7f0217b623907b1ff751690eae2bcea38d1c635a4fe02b4251df680b/ZP_3.png" />»Desktop https://zanderporter.com/3M0T1NG Mon, 07 Feb 2022 12:10:35 +0000 Zander Porter https://zanderporter.com/3M0T1NG 3M0T1NG{/n3tw0rk1ng}, 2023 ︎︎︎ performance&nbsp;Isis Andreatta, Juan Pablo Cámara,&nbsp;Ahmed El Gendy,&nbsp;Forough Fami, Lucas Lagomarsino, Alina Ruiz Folini,&nbsp;Raoni Muzho Saleh,&nbsp;Charlie Laban Trier,&nbsp;Simone Gisela Weber, &amp;&nbsp;Jakob Wittkowsky music Li Yilei costume Dynno Dada makeup Grizolda &amp;&nbsp;Hassandra tech&nbsp;Bram Snijders outside-eye&nbsp;Setareh Fatehi, Erin Manning, &amp;&nbsp;Elisa Zuppini&nbsp; Maclean MC-773 &amp; Maclean MC-825 straps, three Samsung Galaxy S9 smartphones, iPhone 14 Pro, iPhone 12 mini, iPhone X, four Optoma short-throw beamers, datapath, TP-Link router, XXL hanging gray projection mesh &nbsp; <img width="1323" height="1323" width_o="1323" height_o="1323" data-src="https://freight.cargo.site/t/original/i/40509eae4b199ad0d616de200e73bd0a2f21b47c8619c9a7004d65a77eb09fc9/3M0T1NG-research-image-2.JPG" data-mid="132700418" border="0" src="https://freight.cargo.site/w/1000/i/40509eae4b199ad0d616de200e73bd0a2f21b47c8619c9a7004d65a77eb09fc9/3M0T1NG-research-image-2.JPG" /> <img width="2145" height="2144" width_o="2145" height_o="2144" data-src="https://freight.cargo.site/t/original/i/d480dfac1afc1e7fe01188b789939f75a9faf1eea8b93311d2c69395300d9040/Jelly-Luise-3M0T1NG-portrait-combinedSmall.jpg" data-mid="163931121" border="0" src="https://freight.cargo.site/w/1000/i/d480dfac1afc1e7fe01188b789939f75a9faf1eea8b93311d2c69395300d9040/Jelly-Luise-3M0T1NG-portrait-combinedSmall.jpg" /> Which space-time emerges from recoding the “I” in individual_neoliberal? A technogenetic matrix has been choreographed to rehearse this inquiry. 3M0T1NG{/n3tw0rk1ng} (“emoting/networking”) works with a modular nexus of moving collaborators in a transindividual and ceremonial equation, constantly recomputing personal networking devices and dis-re-embodied emoticons in a multi-/intra-entity, emo-techno-spiritual soma. Intimations of eye-contact and image-selves disconnect essentialized “truths” from individualized feelings and expressions. Rendered are psychic dissociations from habituated emotionality, re-queering inter-relational communications and psychotherapies in “real” (hallucinatory) and “virtual” (sensational) time. “For technogenesis to occur, what must be sought is a way to foreground the effects of unknowability that are virtually present in all movement. The incipiency of movement’s emergence must be tapped. […] Sensing bodies in movement are open systems that reach-toward one another sensingly, becoming through these relational matrices. As these bodies individuate relationally, they evolve beyond their ontological status, becoming ontogenetic. Technogenesis is the dynamic becoming of the sensing body in movement.”— Erin Manning, Relationscapes A [2-player] performance-test, performed for Y: NORMAL BODIES at Divadlo X10 in Prague (documentation images © Marek Koliha) preceded a [4-player] 3M0T1NG [process] for Studio Showings 2022 at DAS – Amsterdam University of the Arts (documentation images © Thomas Lenden) in 2022. A solo [satellitic] 3M0T1NG occurred at the Integration and Testing Laboratory of INPE (curated by Fabiane M. Borges), Brazil’s space research and technology center. Support for research began with DAS Choreography and continued via the Saison Foundation (Tokyo), SACi-E / National Institute for Space Research (São José dos Campos), IDlab – Academie voor Theater en Dans (Amsterdam), and Fonds Darstellende Künste (Berlin). [6-player] 3M0T1NG{/n3tw0rk1ng} pre-premiered at Uferstudios in Berlin (documentation images © Alicja Hoppel /&nbsp;Jelly Luise, &amp; video ©&nbsp;Walter Bickmann via&nbsp;Tanzforum Berlin&nbsp;[RIP]), supported by NPN-STEPPING OUT (Munich). The work and research culminated with DAS Choreography 2023 - ‘A Choice Among Others,’ supported by the Aart Janszen Fonds (Amsterdam) [documentation images&nbsp;© Thomas Lenden], with corresponding MA thesis “Transindividual Equations/Matrices: Schizoid Therapeutics for a Post-neoliberal Cyber-worlding” published in volume eight of&nbsp;Performance Philosophy. Continued experimentations/invitations of the performance/research/documentation have included workshops with the Saison Foundation (Tokyo), School for New Dance Development (Amsterdam), ligeti zentrum (Hamburg), apparat/us (Seoul),&nbsp;ImPulsTanz / LACE Symposium (Vienna), and&nbsp;Dansehallerne (Copenhagen), as well as for VR exhibitions with Projet Litote (Montreal) and XOR Space (Tehran). “Turning then to our conceptual foil for this writing, Queer OS, writes Keeling (2014), ‘seeks to make queer into the logic of “an operating system of a larger order (McPherson, 2011 [citation added])” that unsettles the common senses that secure those presently hegemonic social relations that can be characterized by domination, exploitation, oppression, and other violences.’ Queer OS has three main strategies: problematizing logics of sense making, making visible that which is obscured, and disrupting relationships enabled through ‘lenticular logics.’&nbsp;3M0T1NG{/n3tw0rk1ng} also suggests an interesting idea about transparency as it might be understood through Queer OS. While the whole of the work was hyper visible, with bright lighting and large projections, the individual elements, the constructive components, were quite obscure. Much like many AI models, the operating logics were obscure to the audience. As the performance progresses, the videos begin to be warped through some video program making the images spin and swirl, fading in and out of the foreground of the projection. Similarly, while we can see the performers’ faces, we do not know what drives them to make the expressions they do. All we are left with are the effects on each other and us the audience, effects which are often strange to our expectations of what such expressions should elicit. Zander points out a lenticular logic relationship between transparency in the form of data and labor and individuality.” — Elioa Steffen,&nbsp;PREMiERE “What form have connections taken? What substance did they have? And in the future? 3M0T1NG{/n3tw0rk1ng} demonstrates that whether or not it is emotion that is ‘put on,’ some such signals are necessary to able to think about how to understand and respond to each other, and thus to connect. This process is put into hyperdrive through the projection of the bodies' screens. The reflections compound and float free of their objects. The more the performers try to embody this virtual condition, the appearance of expressivity and emotion increases, but its meaning is less to be found. The performers, and performance, become their own emotional blocks. Yet, aware as the audience always is of bodies moving around and responding to each other on stage, emotions continue to take nascent shape in the space between those bodies and how they represent themselves (on the body or the screen). It is through this space that we have been encountering difference (including in ourselves), feeling something, and forming new connections—🧬.” — Michael Amico, PhD, Max Planck Institute for Human Development “In relation to this experience of alienation from oneself and one's own body, there is also the question of where the body is then, how the body manifests itself and what it means to embody and disembody, what is embodied and what is disembodied. In the piece, these questions are important in relation to the image of the body. Is it the image (of the other and of oneself in the other) that is embodied in the performers’ bodies? Or does the adoption of the image imply a process of disembodiment? Is the body what is proper and the image what is improper? Or vice versa? These questions may seem abstract, but I find them very interesting aesthetically and politically. Somehow, in the performativity of the bodies there’s an estrangement that makes me think of this emptiness Lacan mentions. As in the ticks or the symptoms of an illness, the body appears as a remainder that exceeds the image or that is not symbolizable in the image, generating a rupture of representation.” — Marta Crespo Campos, School for New Dance Development <img width="2100" height="2100" width_o="2100" height_o="2100" data-src="https://freight.cargo.site/t/original/i/d06e1564d0bfd707f72574dba516f9dc8334af86b16c166c3a96d615b0578163/vlcsnap-2022-08-29-15h33m08s513-copy.jpg" data-mid="152033010" border="0" src="https://freight.cargo.site/w/1000/i/d06e1564d0bfd707f72574dba516f9dc8334af86b16c166c3a96d615b0578163/vlcsnap-2022-08-29-15h33m08s513-copy.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/0b226c93cd91d3f00fbc0b8b421f307b577d2af99780e42e7f4782f69f2999e4/TML20230330_68630-edited.jpeg" data-mid="176763754" border="0" 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data-src="https://freight.cargo.site/t/original/i/aa5e6b0442737581abad28fb9f2c9bc56166f6da2057ad5caf76740030b187ea/Foto-Marek-Koliha-0383.jpg" data-mid="142992013" border="0" src="https://freight.cargo.site/w/1000/i/aa5e6b0442737581abad28fb9f2c9bc56166f6da2057ad5caf76740030b187ea/Foto-Marek-Koliha-0383.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/23c0bc2b3bdc34fe5130e053519b07dd4377ecf2734daefb6898594a6b3b4004/Foto-Marek-Koliha-0310.jpg" data-mid="142992011" border="0" src="https://freight.cargo.site/w/1000/i/23c0bc2b3bdc34fe5130e053519b07dd4377ecf2734daefb6898594a6b3b4004/Foto-Marek-Koliha-0310.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/ce51afbd367cab21649599f71da4be9bc36a0388cbbee208362814594c226fe1/Foto-Marek-Koliha-0336.jpg" data-mid="142992012" border="0" src="https://freight.cargo.site/w/1000/i/ce51afbd367cab21649599f71da4be9bc36a0388cbbee208362814594c226fe1/Foto-Marek-Koliha-0336.jpg" /> <img width="1842" height="1842" width_o="1842" height_o="1842" data-src="https://freight.cargo.site/t/original/i/183c35a8c870bd13a5ccbf37a76b8283a4daee4135a702a86b298aea3f51c930/Saison-Foundation-research-residency-group-poster.JPG" data-mid="136858200" border="0" src="https://freight.cargo.site/w/1000/i/183c35a8c870bd13a5ccbf37a76b8283a4daee4135a702a86b298aea3f51c930/Saison-Foundation-research-residency-group-poster.JPG" /> »Desktop https://zanderporter.com/Emoji-bot Wed, 18 Aug 2021 09:31:37 +0000 Zander Porter https://zanderporter.com/Emoji-bot 絵文字ボット: Emoji-bot, 2021 ︎︎︎ performance&nbsp;ketia, Harald Stojan, &amp; Annalise Van Even Invision &amp; Fitueyes stands, Samsung 55”, Hisense 50”, Sharp 80”, Zindoo 3D window-film, Rabbitgoo 3D window-film, duct tape, GameCube <img width="4496" height="2360" width_o="4496" height_o="2360" data-src="https://freight.cargo.site/t/original/i/5de225ca0aa62d5dc0568ba0d0d886bb9d83e9275a13f101a16d84dc1b2b17aa/fractal-facemash-EMOJI-bot-2.jpg" data-mid="116718810" border="0" src="https://freight.cargo.site/w/1000/i/5de225ca0aa62d5dc0568ba0d0d886bb9d83e9275a13f101a16d84dc1b2b17aa/fractal-facemash-EMOJI-bot-2.jpg" /> ( ◡‿◡ *) 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.“Emoji-bot by Zander Porter creates a simulation of liveness; three performers on three screens cycle through a choreographic score that syncs them in a ‘live’ digital temporality. The dramaturgy of the installation carries a theatricality that further blurs the boundaries between virtual and physical performance.”— Antonia Blocker, Modern Art Oxford ( ˘ 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:&nbsp;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 ©&nbsp;Alizée Quinche published on Contemporary Art Switzerland and KubaParis),&nbsp;Dust to Dust (three-person exhibition with Wolfgang Tillmans &amp; Tianzhuo Chen) at Zabludowicz Collection in London (documentation images © Andy Keate), and Mandala Performance Festival at BWA Wrocław, amongst exhibition of smaller extracts for more intimate contexts at&nbsp;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. <img width="5070" height="3380" width_o="5070" height_o="3380" data-src="https://freight.cargo.site/t/original/i/9dc40e8f059bd407f11393efbcfa34311ddc3901543ede5adddd4b6743aebbe3/Zander-Porter-Emoji-bot-4-_MG_3020.jpg" data-mid="116718040" border="0" src="https://freight.cargo.site/w/1000/i/9dc40e8f059bd407f11393efbcfa34311ddc3901543ede5adddd4b6743aebbe3/Zander-Porter-Emoji-bot-4-_MG_3020.jpg" /> <img width="5072" height="3381" width_o="5072" height_o="3381" data-src="https://freight.cargo.site/t/original/i/84c0d2575529ab1d0d94f8400abe3eb5c869d4cd90f9a97ba8defab56f6f92c0/Zander-Porter-Emoji-bot-4-_MG_2961.jpg" data-mid="116718033" border="0" src="https://freight.cargo.site/w/1000/i/84c0d2575529ab1d0d94f8400abe3eb5c869d4cd90f9a97ba8defab56f6f92c0/Zander-Porter-Emoji-bot-4-_MG_2961.jpg" /> <img width="4651" height="3101" width_o="4651" height_o="3101" data-src="https://freight.cargo.site/t/original/i/1d2d1a9fb91d81fb17ffddfb1435517f32c9c193b5b844c0399ca372f48e45cc/Zander-Porter-Emoji-bot-4-_MG_2996.jpg" data-mid="116718038" border="0" src="https://freight.cargo.site/w/1000/i/1d2d1a9fb91d81fb17ffddfb1435517f32c9c193b5b844c0399ca372f48e45cc/Zander-Porter-Emoji-bot-4-_MG_2996.jpg" /> <img width="3173" height="4759" width_o="3173" height_o="4759" data-src="https://freight.cargo.site/t/original/i/b855327dafe74ce2330154555099ecdcb81fcfab621b758a0a5b1f80dcdf29d3/Zander-Porter-Emoji-bot-4-_MG_2969.jpg" data-mid="116718034" border="0" src="https://freight.cargo.site/w/1000/i/b855327dafe74ce2330154555099ecdcb81fcfab621b758a0a5b1f80dcdf29d3/Zander-Porter-Emoji-bot-4-_MG_2969.jpg" /> <img width="5051" height="3367" width_o="5051" height_o="3367" data-src="https://freight.cargo.site/t/original/i/337890ff50f389e79cf002946775a71cd834ef76f3d3596e9af1e4a3d9d3b5a9/Zander-Porter-Emoji-bot-4-_MG_2985.jpg" data-mid="116718036" border="0" src="https://freight.cargo.site/w/1000/i/337890ff50f389e79cf002946775a71cd834ef76f3d3596e9af1e4a3d9d3b5a9/Zander-Porter-Emoji-bot-4-_MG_2985.jpg" /> <img width="4831" height="3221" width_o="4831" height_o="3221" data-src="https://freight.cargo.site/t/original/i/d0c91bf34a7e7c07b5186226e793cf6a9954762e7d6cfa118d6d0fa4a46dd37e/Zander-Porter-Emoji-bot-5-_MG_2979.jpg" data-mid="116718044" border="0" src="https://freight.cargo.site/w/1000/i/d0c91bf34a7e7c07b5186226e793cf6a9954762e7d6cfa118d6d0fa4a46dd37e/Zander-Porter-Emoji-bot-5-_MG_2979.jpg" /> <img width="3378" height="5067" width_o="3378" height_o="5067" data-src="https://freight.cargo.site/t/original/i/c5dec2b27860a7c314b2f8135242e5ec635f2852f3902ffaa470197770e0c628/Zander-Porter-Emoji-bot-5-_MG_2982.jpg" data-mid="116718045" border="0" src="https://freight.cargo.site/w/1000/i/c5dec2b27860a7c314b2f8135242e5ec635f2852f3902ffaa470197770e0c628/Zander-Porter-Emoji-bot-5-_MG_2982.jpg" /> <img width="4844" height="3229" width_o="4844" height_o="3229" data-src="https://freight.cargo.site/t/original/i/023c925c5763c09849e086b73ca9f459b0dfdcd1c7320f27b134cc11afc92b46/Zander-Porter-Emoji-bot-5-_MG_3013.jpg" data-mid="116718047" border="0" src="https://freight.cargo.site/w/1000/i/023c925c5763c09849e086b73ca9f459b0dfdcd1c7320f27b134cc11afc92b46/Zander-Porter-Emoji-bot-5-_MG_3013.jpg" /> <img width="3331" height="4996" width_o="3331" height_o="4996" data-src="https://freight.cargo.site/t/original/i/b6256016c67d806c7a46ec4547318739e33a2824eb1956dd1e8c0b76712f1321/Zander-Porter-Emoji-bot-4-_MG_2970.jpg" data-mid="116718035" border="0" src="https://freight.cargo.site/w/1000/i/b6256016c67d806c7a46ec4547318739e33a2824eb1956dd1e8c0b76712f1321/Zander-Porter-Emoji-bot-4-_MG_2970.jpg" /> <img width="5125" height="3417" width_o="5125" height_o="3417" data-src="https://freight.cargo.site/t/original/i/ecf940ef296b09fbc3405b55cc2cd6c37c46d8b7c81bb8675620bdbe9513a90a/Zander-Porter-Emoji-bot-4-_MG_3022.jpg" data-mid="116718041" border="0" src="https://freight.cargo.site/w/1000/i/ecf940ef296b09fbc3405b55cc2cd6c37c46d8b7c81bb8675620bdbe9513a90a/Zander-Porter-Emoji-bot-4-_MG_3022.jpg" /> <img width="3389" height="5083" width_o="3389" height_o="5083" data-src="https://freight.cargo.site/t/original/i/404b62726ce30ab9e1aabdcd2e5144d418ffdc4d541fde15d272cc998c8d1619/Zander-Porter-Emoji-bot-5-_MG_2966.jpg" data-mid="116718043" border="0" src="https://freight.cargo.site/w/1000/i/404b62726ce30ab9e1aabdcd2e5144d418ffdc4d541fde15d272cc998c8d1619/Zander-Porter-Emoji-bot-5-_MG_2966.jpg" /> <img width="5110" height="3407" width_o="5110" height_o="3407" data-src="https://freight.cargo.site/t/original/i/a164f23c5f84da621cced5ea72b39171dde0eb131213a1ef9699d5abf1b5703c/Zander-Porter-Emoji-bot-4-_MG_3008.jpg" data-mid="116718039" border="0" src="https://freight.cargo.site/w/1000/i/a164f23c5f84da621cced5ea72b39171dde0eb131213a1ef9699d5abf1b5703c/Zander-Porter-Emoji-bot-4-_MG_3008.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6c85afccfc5c88d770675bac7c7d065c3bc3bac82cd15f25944343e0ea1340a8/glitching-code_Zander-Porter_Alizee-Quinche_JPEG-WEB_.jpg" data-mid="163931508" border="0" src="https://freight.cargo.site/w/1000/i/6c85afccfc5c88d770675bac7c7d065c3bc3bac82cd15f25944343e0ea1340a8/glitching-code_Zander-Porter_Alizee-Quinche_JPEG-WEB_.jpg" /><img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/23018b82b11faa76d412f63b76e3390558776bdd606e1a577c1ffffa2b06a983/glitching-code_Zander-Porter_Alizee-Quinche_JPEG-WEB_A.jpg" data-mid="163931524" border="0" src="https://freight.cargo.site/w/1000/i/23018b82b11faa76d412f63b76e3390558776bdd606e1a577c1ffffa2b06a983/glitching-code_Zander-Porter_Alizee-Quinche_JPEG-WEB_A.jpg" /> <img width="6684" height="4460" width_o="6684" height_o="4460" data-src="https://freight.cargo.site/t/original/i/014df98bee2b905bead0a497f870f150dd355fb606a88db8e28a1cc59dfb9274/preference-1.jpg" data-mid="185656289" border="0" src="https://freight.cargo.site/w/1000/i/014df98bee2b905bead0a497f870f150dd355fb606a88db8e28a1cc59dfb9274/preference-1.jpg" /><img width="5569" height="3717" width_o="5569" height_o="3717" data-src="https://freight.cargo.site/t/original/i/b195bc8475b43ef643176b57ac243f570c157f2897b84512528c105804821303/preference-2.jpg" data-mid="185656290" border="0" src="https://freight.cargo.site/w/1000/i/b195bc8475b43ef643176b57ac243f570c157f2897b84512528c105804821303/preference-2.jpg" /><img width="7149" height="4770" width_o="7149" height_o="4770" data-src="https://freight.cargo.site/t/original/i/18c3c05236e80a013bda039457953d2673aed3ea3bfe3cda33cc84475ab1b8a8/preference-3.jpg" data-mid="185656291" border="0" src="https://freight.cargo.site/w/1000/i/18c3c05236e80a013bda039457953d2673aed3ea3bfe3cda33cc84475ab1b8a8/preference-3.jpg" /> <img width="3275" height="4906" width_o="3275" height_o="4906" data-src="https://freight.cargo.site/t/original/i/06c29b65b0229d444feb564dcea7dd3830c9582861eb9bcb2fad017036e42d4a/preference-4.jpg" data-mid="185656634" border="0" src="https://freight.cargo.site/w/1000/i/06c29b65b0229d444feb564dcea7dd3830c9582861eb9bcb2fad017036e42d4a/preference-4.jpg" /> »Desktop https://zanderporter.com/the-Zero Mon, 29 Mar 2021 16:11:24 +0000 Zander Porter https://zanderporter.com/the-Zero los Zeros / the Zero, 2020 ︎︎︎︎︎ collaboration Juan Pablo Cámara YUNFUN RC Drone for Kids, plastic wall sheathing, Primark men’s sweaters, plaid uniform skirts, industrial chain link, four blood capsules <img width="4919" height="3279" width_o="4919" height_o="3279" data-src="https://freight.cargo.site/t/original/i/aa19ce311851a3cec1a586a470d22bb8eb3381ef3e644c6cf327ecccf5df3c34/Performance--40-edited.jpeg" data-mid="200052958" border="0" src="https://freight.cargo.site/w/1000/i/aa19ce311851a3cec1a586a470d22bb8eb3381ef3e644c6cf327ecccf5df3c34/Performance--40-edited.jpeg" /> <img width="4928" height="3264" width_o="4928" height_o="3264" data-src="https://freight.cargo.site/t/original/i/fb8da331e6055b99950d3f2ee551b10a8ffcdb76cddf0d623fb8ea6f84b4e846/lens-eyes-flares-with-holographic-circle-edited.jpg" data-mid="103656961" border="0" src="https://freight.cargo.site/w/1000/i/fb8da331e6055b99950d3f2ee551b10a8ffcdb76cddf0d623fb8ea6f84b4e846/lens-eyes-flares-with-holographic-circle-edited.jpg" />the Zero is a hypocenter: a zero-ground staging a never-before-seen metamorphosis. The rules of interaction are described by a computationally-encoded treemap. The treemap is a node-matrix of relationality where nodes are defined by states of embodiment both performers enter with telepathic, ultra-connected immediacy. Rehearsed through eye-to-eye-contact (and sometimes “hand-to-hand combat”), the Zero’s matrix permits accelerated transitions, unforeseen evolutions, and an erosion of identification.los Zeros es un hipocentro: una zona de cero que escenifica una metamorfosis nunca vista. Las reglas de la interacción se describen mediante un treemap (árbol-mapa) codificado computacionalmente. El árbol-mapa es una matriz de nodos relacionales en la que los nodos están definidos por estados de (re)encarnación en los que ambos intérpretes entran con una inmediatez telepática y ultra-conectada. Ensayada mediante el contacto visual (y a veces el "combate cuerpo a cuerpo"), la matriz de Zero permite transiciones aceleradas, evoluciones imprevistas y la erosión de la identificación. the Zero is Zander Porter and Juan Pablo Cámara’s memory algorithm. An emptied nest, it is a choreography welcoming a hoard of new figures, fictions, species, and meshes always sitting at the edges of representation – haunting and role-playing masculinity (through “masculinized” horrors and entities). los Zeros es el algoritmo de memoria de Zander Porter y Juan Pablo Cámara. Un nido vacío, es una coreografía que implosiona creando una lluvia de nuevas figuras, ficciones y especies que siempre se encuentran en los bordes de la representación, acechando y representando la masculinidad (a través de horrores y entidades "masculinizadas") the Zero premiered for Vorspiel / transmediale &amp; CTM 2020. (Documentation images © Refik Sancar &amp; Kristi Giambattista [SomoS].) the Zero was invited to be developed further in residency at Trauma Bar und Kino and the project’s treemap (below), with text accompanying, was published in This Container by *rile (Brussels). The performance re-emerged as los Zeros at Pulpería Mutuálica (Buenos Aires) in 2023. <img width="2200" height="1707" width_o="2200" height_o="1707" data-src="https://freight.cargo.site/t/original/i/9518f5a227ec09fa12c0f812f3e139fcc9fff2b2ded85ae60fffa0c91109ac54/ZP-JPC-The-Zero---TreeMap-dragged.jpg" data-mid="104095081" border="0" src="https://freight.cargo.site/w/1000/i/9518f5a227ec09fa12c0f812f3e139fcc9fff2b2ded85ae60fffa0c91109ac54/ZP-JPC-The-Zero---TreeMap-dragged.jpg" /> <img width="7295" height="4885" width_o="7295" height_o="4885" data-src="https://freight.cargo.site/t/original/i/d6803957660438274d3e66da94dbec534782567e6469433ef05000e41c3adde0/_KMG4385-with-milk.jpg" data-mid="103638494" border="0" src="https://freight.cargo.site/w/1000/i/d6803957660438274d3e66da94dbec534782567e6469433ef05000e41c3adde0/_KMG4385-with-milk.jpg" /><img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/e164738ec67539b8ce86aa4976b3198de3a3fdee43f56d8cb48ef12ed276c5ad/_KMG4340-with-milk.jpg" data-mid="103638495" border="0" src="https://freight.cargo.site/w/1000/i/e164738ec67539b8ce86aa4976b3198de3a3fdee43f56d8cb48ef12ed276c5ad/_KMG4340-with-milk.jpg" /><img width="5184" height="2920" width_o="5184" height_o="2920" data-src="https://freight.cargo.site/t/original/i/257482e1e6e9d4d9485c2bf715dc4d95f6e407156a3743a08c9fbe6e87147c50/P1380852-with-milk.jpg" data-mid="103638503" border="0" src="https://freight.cargo.site/w/1000/i/257482e1e6e9d4d9485c2bf715dc4d95f6e407156a3743a08c9fbe6e87147c50/P1380852-with-milk.jpg" /><img width="5184" height="2920" width_o="5184" height_o="2920" data-src="https://freight.cargo.site/t/original/i/310926f078ced30a68ad3baecc037fd79b337a91ea6bfd3db6519d71dbe73f83/P1380842-with-milk.jpg" data-mid="103638504" border="0" src="https://freight.cargo.site/w/1000/i/310926f078ced30a68ad3baecc037fd79b337a91ea6bfd3db6519d71dbe73f83/P1380842-with-milk.jpg" /><img width="5184" height="2920" width_o="5184" height_o="2920" data-src="https://freight.cargo.site/t/original/i/2011502877e06bf3ef79ec48c73e37830e12048d2645e9e7bdc132d7c20ecc4c/P1380893-with-milk.jpg" data-mid="103638505" border="0" src="https://freight.cargo.site/w/1000/i/2011502877e06bf3ef79ec48c73e37830e12048d2645e9e7bdc132d7c20ecc4c/P1380893-with-milk.jpg" /><img width="2766" height="1534" width_o="2766" height_o="1534" data-src="https://freight.cargo.site/t/original/i/2ad24b314d96e71b73af0f3818474901e3ec5583b7af178635f8a46d78d257ad/P1380754-cut-with-milk.jpg" data-mid="103638506" border="0" src="https://freight.cargo.site/w/1000/i/2ad24b314d96e71b73af0f3818474901e3ec5583b7af178635f8a46d78d257ad/P1380754-cut-with-milk.jpg" /> <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/1df5583e13250a1ee5c648443664e3c15101144fd4dae5170a9074497fd1b80a/Performance--16-edited.jpeg" data-mid="200052959" border="0" src="https://freight.cargo.site/w/1000/i/1df5583e13250a1ee5c648443664e3c15101144fd4dae5170a9074497fd1b80a/Performance--16-edited.jpeg" /><img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/b6b23fe7d000c0b68bd869518e2e4448e40eb94ffc2c01a29d0c9bc57b3a0daa/Performance--15-edited.jpeg" data-mid="200052960" border="0" src="https://freight.cargo.site/w/1000/i/b6b23fe7d000c0b68bd869518e2e4448e40eb94ffc2c01a29d0c9bc57b3a0daa/Performance--15-edited.jpeg" /><img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/6802efdd8aa208c39cfd73aed3072de9f2a9e7cb5d6ae2f2ac34191292fb8408/Performance--08-edited.jpeg" data-mid="200052961" border="0" src="https://freight.cargo.site/w/1000/i/6802efdd8aa208c39cfd73aed3072de9f2a9e7cb5d6ae2f2ac34191292fb8408/Performance--08-edited.jpeg" /><img width="3840" height="5760" width_o="3840" height_o="5760" data-src="https://freight.cargo.site/t/original/i/81a18c9532f1f5ab5d7bad08b8b344bf80ea4a90817ea0e7c758b0f08c9bcc06/Performance--04-edited.jpeg" data-mid="200052962" border="0" src="https://freight.cargo.site/w/1000/i/81a18c9532f1f5ab5d7bad08b8b344bf80ea4a90817ea0e7c758b0f08c9bcc06/Performance--04-edited.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/f4b4e29a303f8598eae0a6d50b68d472395c725d5b65241cb1a1f153d9d4dee7/the-Zero-map--Trauma-Bar-und-Kino.jpg" data-mid="104095069" border="0" src="https://freight.cargo.site/w/1000/i/f4b4e29a303f8598eae0a6d50b68d472395c725d5b65241cb1a1f153d9d4dee7/the-Zero-map--Trauma-Bar-und-Kino.jpg" /> »Desktop https://zanderporter.com/Alien-Intimacy Mon, 29 Mar 2021 19:29:14 +0000 Zander Porter https://zanderporter.com/Alien-Intimacy Alien Intimacy, 2019 ︎︎︎ collaboration James Batchelor Supracolor metallic, two green yoga mats, yellow iPhone, Nintendo 3DS, game engine-rendered outer-space <img width="2200" height="1397" width_o="2200" height_o="1397" data-src="https://freight.cargo.site/t/original/i/a3ddcc98b161a952472aabfde27d56b7f9c03350ca073b8f6ce2c03e5716d28a/alien-intimacy-screen--main-promotional-image--image-credit-Zander-Porter.jpg" data-mid="103662030" border="0" src="https://freight.cargo.site/w/1000/i/a3ddcc98b161a952472aabfde27d56b7f9c03350ca073b8f6ce2c03e5716d28a/alien-intimacy-screen--main-promotional-image--image-credit-Zander-Porter.jpg" />Zander Porter and James Batchelor, in duet fashion, perform an interrelation in Alien Intimacy. The performance speculates on the movement of an interpersonally constructed alien sensibility where the visible and the invisible or the physically embodied and the virtually disembodied intertwine. The distance between human and alien (or body/self and object/other) expands and contracts as the performers locate themselves in a nearby, inter-netted spacetime when “alien” recalls and navigates away from imageries more essentialized, such as the cinematic extraterrestrial. A speculative choreography proposes new landscapes from console gaming scenography and low-res NASA images. Remembered as a microscopic gravitational force and a magnetic repulsion over the illusory notion of a direct contact, “touch” is macroscopically proportioned in Alien Intimacy, giving over to new senses of (non)touch-touch, the “almost-touchable,” or a “space-in-between.”The performance premiered as part of Art, Not Apart at the National Film and Sound Archive of Australia (Canberra).(Documentation images © Martin Ollman&nbsp;[NFSA], Nick Hynan [Fierce Festival,&nbsp;Birmingham], Charlotte de Bekker [DeZIM-Institut, Berlin], and Darja Lukjanenko [Studio ALTA, Prague].) Alien Intimacy was researched further in residency in 2020 at Cité internationale des arts (Paris) and re-premiered in video form for Dancehouse at Melbourne Fringe 2020 (with additional support from Broadtree Foundation and bbk berlin), where it was awarded the Up! People’s Choice Award. Additional performances or screenings have occurred at 289E (Ho Chi Minh City),&nbsp;Bangkok Dance Academy (Bangkok), Internationales Digitalkunst Festival (Stuttgart), LCB Depot (Leicester), and others.“For the fourth and final conversation of Revis(ualis)ing Intersectionality, we will probe intimacy as an unfolding form of oppression and/or togetherness with the increased inclusion of digital technologies in our daily experiences. Digital technologies promote hypervisuality of our bodies which shapes our relations. Where we might mutually recognize a shared togetherness within the digital sphere, we might also discover a feeling of alienation, or even seduction. We are intimate with algorithms themselves too: with targeted ads, bots, or Alexa. We are the seductive objects that attract and train these algorithms. Some questions we [with Shaka McGlotten, Zander Porter, and James Batchelor] might ask are: How does the growing implementation of digital technologies in our daily lives, and the inescapability therein, shape our encounter(s) with intimacy? How does virtual or digital intimacy fabricate how the body, our bodies, are displayed visually? Does mutuality as a form of intimacy within the digital plasticize and build into something else, or does it refuse intimacy and force us to ask what intimacy actually is anymore?” — Tiara Roxanne, PhD, Revisualising Intersectionality “Alien Intimacy is an exploration of the ‘distance between the physical self and digital or alien other’ which employs a myriad of motifs and post-cinematic aesthetic conventions to engender and exemplify the ‘post-human sensorium’ that is created by the extension of the physical self into the digital self and the inherent and paradoxical distance between those two selves. Here, the artists employ the conventions of the post-cinematic to engender an exemplification and personification of the post-human sensorium. Alien Intimacy&nbsp;at once collapses space and time, with no clear narrative or set location, flitting between&nbsp;digitally rendered spaces and video footage, spliced, intercut, and juxtaposed by overlaid footage of the two artists writhing, posing, dancing, and kissing. The effect is disorienting and largely nonsensical, evoking a sense of the uncanny through a myriad of implied gestures and motifs, creating affect that feels loosely disjointed, as if there were an incongruence between what the body feels and what the eye perceives. [...] At once, Alien Intimacy riffs on the physical imitation of the digital self imitating the physical self. The piece recalls the strangeness of the uncanny valley, imbuing the physical with a sense of the digital and vice versa, creating a simulacrum wherein ‘empty signs refer to themselves&nbsp;and where meaning and value are absent.’ In short, Alien Intimacy both embodies and engenders the affect of a ‘post-human’ sensorium, therein embodying a critique of digital culture that emanates from and dwells within the very space it seeks to assess.” — Cody Rooney, PhD, Imagining Futures of Experimental Media <img width="1888" height="1062" width_o="1888" height_o="1062" data-src="https://freight.cargo.site/t/original/i/6c2c1ffa841500a117d790af316770162db80c6b671741df645e6c8a75a1aa09/alien-intimacy-screenshot-1.jpg" data-mid="103976895" border="0" src="https://freight.cargo.site/w/1000/i/6c2c1ffa841500a117d790af316770162db80c6b671741df645e6c8a75a1aa09/alien-intimacy-screenshot-1.jpg" /><img width="4720" height="3147" width_o="4720" height_o="3147" 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data-src="https://freight.cargo.site/t/original/i/d11991beecff285c43a091784614673063673029621f7f6d62fef99f205d69ae/alien-intimacy--Studio-ALTA-2--image-credit-Darja-Lukjanenko.jpg" data-mid="103662027" border="0" src="https://freight.cargo.site/w/1000/i/d11991beecff285c43a091784614673063673029621f7f6d62fef99f205d69ae/alien-intimacy--Studio-ALTA-2--image-credit-Darja-Lukjanenko.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/3c2977019c2b70a0c4a3d1c19fe317577cbbea30f7e1687ab32983c1b22b5003/IMG_6034.jpeg" data-mid="103663269" border="0" src="https://freight.cargo.site/w/1000/i/3c2977019c2b70a0c4a3d1c19fe317577cbbea30f7e1687ab32983c1b22b5003/IMG_6034.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a451f234f70db5bc506fb4bd2417e06d54f2682cfddbd1c6f156c6d1b7291ab3/IMG_6061.jpeg" data-mid="103663501" border="0" src="https://freight.cargo.site/w/1000/i/a451f234f70db5bc506fb4bd2417e06d54f2682cfddbd1c6f156c6d1b7291ab3/IMG_6061.jpeg" /> <img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/f5ddc500c93886ea738a6ca9e4d09272b534a33e8037a7fddbbd1275e9fa84e9/IMG_1047.jpeg" data-mid="103662704" border="0" src="https://freight.cargo.site/w/1000/i/f5ddc500c93886ea738a6ca9e4d09272b534a33e8037a7fddbbd1275e9fa84e9/IMG_1047.jpeg" /> <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/f0a1545a19cf4a9450d939a91ae80adcc3db287a7dfd4327e951ac4e8e4f88d5/select3.jpg" data-mid="103662896" border="0" src="https://freight.cargo.site/w/1000/i/f0a1545a19cf4a9450d939a91ae80adcc3db287a7dfd4327e951ac4e8e4f88d5/select3.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0b0ee657e871d657f843d0e74decc33037a11a892a278c6ff6ec9356885887e6/still1.jpg" data-mid="103662217" border="0" src="https://freight.cargo.site/w/1000/i/0b0ee657e871d657f843d0e74decc33037a11a892a278c6ff6ec9356885887e6/still1.jpg" /> »Desktop https://zanderporter.com/ADHD-Penetration Mon, 29 Mar 2021 19:55:27 +0000 Zander Porter https://zanderporter.com/ADHD-Penetration ADHD Penetration, 2018 󰀀︎︎︎ performance Andrey Bogush,&nbsp;Ewa Dziarnowska, Liina Magnea, Billy Morgan, &amp;&nbsp;Maciej Sado composition&nbsp;Elle Hong [umami goddess™]music&nbsp;KILBOURNEcostume Franziska Acksel VIXIA camcorder, silicone dildo, Oakley sunglasses, hair extensions, bald cap, ViDi action cam, self color-changing egg <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2bc4c6fca406b3c1b83e8586dd9c60d33f0ac71fb48715982445f2430c0edec5/ADHD-Penetration-video-screenshot-1.jpg" data-mid="103669077" border="0" src="https://freight.cargo.site/w/1000/i/2bc4c6fca406b3c1b83e8586dd9c60d33f0ac71fb48715982445f2430c0edec5/ADHD-Penetration-video-screenshot-1.jpg" /> <img width="5000" height="5000" width_o="5000" height_o="5000" data-src="https://freight.cargo.site/t/original/i/b6a21459029952cf65cb289bd688a3817b41ef2488ef5a5d960caeae029ea6af/ADHD-OPENING-THE-PILL.jpg" data-mid="163932063" border="0" src="https://freight.cargo.site/w/1000/i/b6a21459029952cf65cb289bd688a3817b41ef2488ef5a5d960caeae029ea6af/ADHD-OPENING-THE-PILL.jpg" />In ADHD Penetration, virtual selves step offscreen, emerging from the fog of a post-apocalyptic rave. Equipped with sunglasses to shield vision from darkness, bodies carry devices of capture, namely: the (dildo-)phallus and the camcorder. Penetrating “attention deficit hyperactivity disorder” as both a diagnosis and extrapolated condition of the 21st century elicits an act of coitus as well as a deconstruction of attention and velocity within the body. Offline and live-streaming to unseeable futures, the work empathizes for a world’s fresh flesh consumed by YouTube clip loops, Adderall, and a “selfie”-identity surveilled between architectures of the profile, the club, and (some) doggies(-style).The performance was premiered as part of Dirty Debüt’s third edition, “Snickers,” at Sophiensæle – with a short screen-interlude featuring Elliott Cennetoglu. (Documentation images © Dorothea Tuch&nbsp;&amp; Telémachos Alexiou [Sophiensæle], Paula Reissig [Performing Arts Festival Berlin], Isabel Machado Rios [Fuchsbau Festival,&nbsp;Hanover], and Samira Mosca [MUSEION, Bolzano]; non-participatory documentation video © Diethild Meier.) Documentation of the work, accompanied by/with a performed reaction-video featuring Harald Stojan, was live-streamed during the COVID-19 pandemic as part of Borderless for&nbsp;Reconnect Festival (Tehran) and Ejercicios de apertura for Perfolink (Santiago).“ADHD Penetration is, as one would say on Twitter, a Big Mood. As post-whatever as it might be, it is to me first and foremost moving in all its irony and post-irony. As signaled by the title and by a whole set of stylistic choices, these affective layers though are so impressive not least because they are always connected within their cultural framework. As in the outside world, for example, it’s not at all subtle how there’s always a video camera involved in the actions on stage. What will happen with this footage, what other audience is this for? And the pills the performers are swallowing evoke both Skittles or Adderall and their respective industries – either way, a significant high. Rather than being about the psychiatric-industrial complex, though, ADHD Penetration&nbsp;is playing with its feelings. And is also played by them. Is this a shift, is it a critique, reflection, reproduction? At the risk of being too cool for school, ADHD Penetration mobilizes an ambivalence in not knowing yet. Sianne Ngai, for whom cuteness is one of the aesthetic categories of the times we call our times, writes of it that it’s ‘not just an aestheticization but an eroticization of powerlessness, evoking tenderness for small things but also, sometimes, a desire to belittle or diminish them further.’ Eroticization of powerlessness in the face of how good it can feel – in the face of how bad it feels, too – is certainly a theme.” — Maxi Wallenhorst, PhD,&nbsp;Leuphana University Lüneburg <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/592dd6e7c502edfdf1ee5fff13a80c565e81ccca059076ac20ff9d6372c4ff0a/DD_Snickers_1335.jpg" data-mid="103668898" border="0" src="https://freight.cargo.site/w/1000/i/592dd6e7c502edfdf1ee5fff13a80c565e81ccca059076ac20ff9d6372c4ff0a/DD_Snickers_1335.jpg" /><img width="5210" height="3473" width_o="5210" height_o="3473" 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height="5073" width_o="3382" height_o="5073" data-src="https://freight.cargo.site/t/original/i/745b40832758ce71d889d764cf300bf9fb707287ae9e7d3fa096498c2dff923c/2022_11_19_Opening_the_Pill_33.jpg" data-mid="163932110" border="0" src="https://freight.cargo.site/w/1000/i/745b40832758ce71d889d764cf300bf9fb707287ae9e7d3fa096498c2dff923c/2022_11_19_Opening_the_Pill_33.jpg" /><img width="3840" height="5760" width_o="3840" height_o="5760" data-src="https://freight.cargo.site/t/original/i/f470128e1688a3cf590bf864e6ee0865384ae1b2be56401e3b612c63f50ba65f/2022_11_19_Opening_the_Pill_39.jpg" data-mid="163932108" border="0" src="https://freight.cargo.site/w/1000/i/f470128e1688a3cf590bf864e6ee0865384ae1b2be56401e3b612c63f50ba65f/2022_11_19_Opening_the_Pill_39.jpg" /><img width="3341" height="5012" width_o="3341" height_o="5012" data-src="https://freight.cargo.site/t/original/i/dcecba182f5b568c370fa5b5c4d32fc5f30c130ca6178f3ca0af9ece38556c5f/2022_11_19_Opening_the_Pill_40.jpg" data-mid="163932107" border="0" src="https://freight.cargo.site/w/1000/i/dcecba182f5b568c370fa5b5c4d32fc5f30c130ca6178f3ca0af9ece38556c5f/2022_11_19_Opening_the_Pill_40.jpg" /><img width="3385" height="5077" width_o="3385" height_o="5077" data-src="https://freight.cargo.site/t/original/i/10da541315f5ec99dd6b3f426e21366cbd28abaca576f9f39d6f3ff8995093cf/2022_11_19_Opening_the_Pill_42.jpg" data-mid="163932111" border="0" src="https://freight.cargo.site/w/1000/i/10da541315f5ec99dd6b3f426e21366cbd28abaca576f9f39d6f3ff8995093cf/2022_11_19_Opening_the_Pill_42.jpg" /> »Desktop https://zanderporter.com/Queer-Temporalities-Raving-Architectonics Tue, 30 Mar 2021 06:51:59 +0000 Zander Porter https://zanderporter.com/Queer-Temporalities-Raving-Architectonics Queer Temporalities / Raving Architectonics, 2018 ︎︎︎XenoEntities Networkworkshop-seminar-performance-assemblage <img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/d285d97d5247e3be3a4f762b964cd504d22c95202fd66af57d263cd67b1b6a20/unnamed-4.jpg" data-mid="103704143" border="0" src="https://freight.cargo.site/w/1000/i/d285d97d5247e3be3a4f762b964cd504d22c95202fd66af57d263cd67b1b6a20/unnamed-4.jpg" />“It is ostensibly funny how power plants and factories have assumed a function — the club — diametrically opposed to their original use: dissipating excess energy through physical and affective work without obvious utility, such as dancing, the chemically accelerated depletion of dopamine and serotonin stocks, and non-reproductive sex.” — Martti KallialaXEN presents/performs an expanded class incorporating sound, film, discussion, and alternative ways of being-together in a learning context. In Queer Temporalities: Raving Architectonics, XEN introduces, performs, and dissects the historical yet topical idea of “rave” as a site for emancipation and community-building, drawing links between this and queer temporality. The group discusses supporting excerpts from José Esteban Muñoz (“Take Ecstasy with Me”), Helen Hester (Xenofeminism), Martti Kalliala (“Club Ruins”), Ashkan Sepahvand (Everything I learned about technocapitalism, I learned at Berghain), and Paul B. Preciado (Pornotopia), digressing into how spaces, architecture, and environment can have utopian potential, and questioning the problematics of the (queer) utopia. Texts are introduced with the film Nous ne serons plus jamais seuls by Yann Gonzalez.The seminar-performance was originally constructed by Lou Drago, Pedro Marum, and Zander Porter for Future Memories at the University of Cologne’s Institute for Art and Art Theory (documentation video © Lea Dinger) and was reconfigured&nbsp;for Creating Empathy at Spektrum (Berlin) for transmediale 2019. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/218e35cbf9d93ea10e00e98d0cb60c4b0c7011433468c973bfa558653dc48822/Untitled2.jpg" data-mid="103704136" border="0" src="https://freight.cargo.site/w/1000/i/218e35cbf9d93ea10e00e98d0cb60c4b0c7011433468c973bfa558653dc48822/Untitled2.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3048db892349b118d147c2557320b2125ec50b18e8f3f635071ede96675c7e8a/Untitled6.jpg" data-mid="103704138" border="0" src="https://freight.cargo.site/w/1000/i/3048db892349b118d147c2557320b2125ec50b18e8f3f635071ede96675c7e8a/Untitled6.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/fba9c38d348475300fc671537ebf54621ecd4d339e8b144b8fd9dbd75ab94dc7/Untitled4.jpg" data-mid="103704139" border="0" src="https://freight.cargo.site/w/1000/i/fba9c38d348475300fc671537ebf54621ecd4d339e8b144b8fd9dbd75ab94dc7/Untitled4.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c57ae8b2c96ba0ee58201b840693a61d7a002ae8d84ea06dd7fdf80279c01d2b/Untitled3.jpg" data-mid="103704140" border="0" src="https://freight.cargo.site/w/1000/i/c57ae8b2c96ba0ee58201b840693a61d7a002ae8d84ea06dd7fdf80279c01d2b/Untitled3.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2de2c3b96d727eddbeb10b7c488ff145a69219f1c838dea7d8d7f12dc318ba88/Untitled1.jpg" data-mid="103704144" border="0" src="https://freight.cargo.site/w/1000/i/2de2c3b96d727eddbeb10b7c488ff145a69219f1c838dea7d8d7f12dc318ba88/Untitled1.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/493a010f1e2727fb5e75ed132384d623958ac22bfa3431a5397b459515226212/IMG_0634.JPG" data-mid="105242795" border="0" src="https://freight.cargo.site/w/1000/i/493a010f1e2727fb5e75ed132384d623958ac22bfa3431a5397b459515226212/IMG_0634.JPG" /> »Desktop https://zanderporter.com/MountGrove-Modulation Tue, 30 Mar 2021 07:05:55 +0000 Zander Porter https://zanderporter.com/MountGrove-Modulation MountGrove Modulation, 2018 ︎︎︎narration&nbsp;Ashkan Sepahvand Samsung monitor, mount handles, black box foam seats <img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/d7ca8c351e46a90a5381527e1d63879dadd2b7942fd08669b96a4ed09a22f29a/installation-Vanderbilt-University--Nashville-1.jpg" data-mid="103704642" border="0" src="https://freight.cargo.site/w/1000/i/d7ca8c351e46a90a5381527e1d63879dadd2b7942fd08669b96a4ed09a22f29a/installation-Vanderbilt-University--Nashville-1.jpg" />MountGrove is a quantum, intra-psychic environment where post-worked and post-embodied imaginaries conflate as an atmospheric and affecting&nbsp;render. Our techno-devices are hollow, their presence ethereal, and their relevance amusing, ironic, or uplifting; literally, we are lifted up by them.&nbsp;Softly floating surveillance is our new ego-block. Water rises and poses no threat to our newfound hollow immortality.Excerpts from writings When the body seems destined to experimentation and Everything I know about technocapitalism, I learned at Berghain by Ashkan Sepahvand are vocalized into and as MountGrove. A distorted narration conjured by his human voice saturates a landscape described by interspecial / intersexual / interobjective networks.The video-essay was originally installed for (A) Dark Room Space, curated by Thomas Butler with Zander Porter, featuring Billy Bultheel / Adam Fearon / Max Göran / marum / Doireann O’Malley / Eoghan Ryan / Jacolby Satterwhite / sstmrt, with support from ROOM E-10 27, XenoEntities Network, &amp; Agora. The work has been further installed for online and offline exhibitions for&nbsp;Vanderbilt University (Nashville), Casino Notabile (Rabat), Porsche&nbsp;SCOPES + Julia Schoschek Collection (Berlin), User Preferences (London), and others. “The imaginary virtual landscape of Mountgrove Modulation acts as a sort of reservoir for the affect of pleasure, be it carnal, or aesthetic, all filtered through the caricaturization of the digital; at once highlighting the distance embedded within the post-human sensorium, between the affect of pleasure and the distorted and hyper-rendered, through the exaggerated hedonism of digital space, and the melancholy embedded within the paradox of this experience. While Alien Intimacy probed the nature of the ‘distance between the physical self and digital or alien other’ by manifesting physical bodies in digital spaces, and digital bodies in physical ones, Mountgrove Modulation does so more subtly, by demonstrating the distance between the various digital simulacra of pleasure and the corporeal affect they give rise to. Mountgrove Modulation can be situated within the larger oeuvre of artists probing digital culture and is most reminiscent of the work of fellow post-internet artist Jon Rafman, who similarly investigates concepts of the post-cinematic and the post-human sensorium.” — Cody Rooney, PhD, Imagining Futures of Experimental Media “(A) Dark Room Space is an immersive exhibition-nighttime-event focusing on queer spaces of sociability as potential sites of transformation. In a queer imaginary, the darkroom is a physical site of excess, whether sexual, performative or intoxicating. In contrast, the internet, with its networked nature, can offer myriad ‘off-physical’ counter-sites in the forms of P2P (peer-to-peer connection / file transfer), MMOG (massive multiplayer online game), camsex (Skype, Cam4), anonymous imageboard sites (4chan), and more. Excess immersion, excess subjectivity, and excess cruising have rendered both real and virtual sites of the queer-social intersectional. In major urban centers, condo gentrification effects change around future possibilities of online and offline forms of cruising and the (spontaneous) encounter. In times of excessive subjectivity, opacity in the darkroom offers conceptual respite from the predominant transparency/surveillance paradigm standardized by (cam-)surveillance technologies. Departing from the darkroom as a portmanteau largely significative of the gay male sex site, a dark room space may offer alternative utopics of identity-obfuscation where the social is not as readily determined by the ocularcentrism of sex. Appropriating tactics of dark room immersion as a point of interest for the genre of the art event, we wonder how a collection of works which engage with the body in social, sexual, sonic, corporate, public/private, and online/virtual situations can raise questions around digital and affective intersections of the phenomenological. In other words, allow us to imagine a temporary space-time in which a collective queer body may be constituted from iterations and combinations of digital and physical tethers.” — Thomas Butler &amp; Zander Porter <img width="4800" height="3204" width_o="4800" height_o="3204" data-src="https://freight.cargo.site/t/original/i/7f639a2a17feddbc586730ffb33832674b390b6c2fcf7dd96ba86b6921443cf2/installation-Agora--Berlin-2.jpg" data-mid="103704652" border="0" src="https://freight.cargo.site/w/1000/i/7f639a2a17feddbc586730ffb33832674b390b6c2fcf7dd96ba86b6921443cf2/installation-Agora--Berlin-2.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/fe2572edfc9c00892e0ff9e79a98eba900437638e6d24f57c4a5f76f3ca0ee96/MountGrove-modulation-7-still.jpg" data-mid="103704643" border="0" src="https://freight.cargo.site/w/1000/i/fe2572edfc9c00892e0ff9e79a98eba900437638e6d24f57c4a5f76f3ca0ee96/MountGrove-modulation-7-still.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5cbfed2899409f15f7709fbe5eb87f41ca34d76212be30e45242c7085d9265eb/MountGrove-modulation-6-still.jpg" data-mid="103704644" border="0" src="https://freight.cargo.site/w/1000/i/5cbfed2899409f15f7709fbe5eb87f41ca34d76212be30e45242c7085d9265eb/MountGrove-modulation-6-still.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c816b6474e95a1403eebbb287869ffaa0e5df06124bfd2da1bb4d990238e67e9/MountGrove-modulation-4-still.jpg" data-mid="103704645" border="0" src="https://freight.cargo.site/w/1000/i/c816b6474e95a1403eebbb287869ffaa0e5df06124bfd2da1bb4d990238e67e9/MountGrove-modulation-4-still.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/57e1d42363a718e6f922d1650041e2ee6acf37c26b44055944774143c9c1bac7/MountGrove-modulation-3-still.jpg" data-mid="103704646" border="0" src="https://freight.cargo.site/w/1000/i/57e1d42363a718e6f922d1650041e2ee6acf37c26b44055944774143c9c1bac7/MountGrove-modulation-3-still.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/38a277cb2efc8099d8242b3113bb86e74b3fbd94376696539acec62aef5e27eb/MountGrove-modulation-2-still.jpg" data-mid="103704647" border="0" src="https://freight.cargo.site/w/1000/i/38a277cb2efc8099d8242b3113bb86e74b3fbd94376696539acec62aef5e27eb/MountGrove-modulation-2-still.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d1955252cecde601229727f38b17a641f56d4341b377892ff9b1ce330d5896ba/MountGrove-modulation-1-still.jpg" data-mid="103704648" border="0" src="https://freight.cargo.site/w/1000/i/d1955252cecde601229727f38b17a641f56d4341b377892ff9b1ce330d5896ba/MountGrove-modulation-1-still.jpg" /><img width="7208" height="4811" width_o="7208" height_o="4811" data-src="https://freight.cargo.site/t/original/i/538a95941eb0c7508aabeb05185e48a3556e66f72bb76cb45aa1d257cdea669a/installation-Agora--Berlin-1.jpg" data-mid="103704651" border="0" src="https://freight.cargo.site/w/1000/i/538a95941eb0c7508aabeb05185e48a3556e66f72bb76cb45aa1d257cdea669a/installation-Agora--Berlin-1.jpg" /> »Desktop