WORKS

>sound works here<





/November 2019
/documenta study room
Sounds of „Cyberfeminism is not using Words without any Knowledge of Numbers“


/May 2019
/MERZ Gallery
V<(<-t),
“Time as seen from the machine”

Alfred Jarry in his text “How to construct a time machine” tell us that formula V<(<-t) marks the speed required for a time machine to travel, and the crucial need for gyroscope.
The exhibition space operates as a laboratory working on an experimental form of gyroscope. 

=>related publication here<=





October 2018
3rd Tbilisi Trienniale:

“Geometry of Electrification” exhibition as part of my on-going research on electricity as form of energy in the arts and every day life.

1-Drawings with electric cable-2x50meter rolls- on the wall. The Tbilisi radio tower, an electric bulb with star filament, information and power words.






2-Live radio transmission in the exhibition space, by use of own design of radio transmitter and 

- Visual translation of sound based Zaum-Georgian Futurist movement-
poem into light.
3-The visual machine occupies a central role in the space together with the books.

The books on the table gathers information both on electric energy in the arts in Georgia and the building of its infrastructure.

The mirrors in the machine displace, or alternate the visual stream from the video projector. The mirrors and the video stream are synchronized. The onl-looker can read, one side of the space, the Georgian implementation of electricity, while on the other side of the space texts related to artistic practice in Geogia using electricity during local Futurist movement Zaum. 


May 2018 / Publication of “Learning from Electric Energy in the arts, Knowledge happens together”.
90pages, edition of 50 copies.

This book examines this artistic social space of electricity, and asks for its under- lying assumptions and what it takes for an artistic knowledge production. My claim is that the arrival of electric energy in everyday life produced a new space for art practice.


2017 / “Geometry of a text”
KASKL gallery Berlin.

Kinetic sculpture related to essay contributed and published in Rabrab journal issue4.


2017 / “Geometry of a text”
KASKL gallery Berlin.
Model1 & Model2 prints with red leds,
related to essay published in Rabrab journal.



2017 / Artists Utopia
/ Istanbul art fair

Rabrab space.


THE STORY OF HOW CZAR NICOLAS II AND MAGICIAN PAPUS SECRETLY CONDUCTED A SPIRITIST SEANCE AIMED TO PREVENT THE REVOLUTION, AND FAILE.

Artists: Bruno Moreschi, Edvine Larssen, Gregoire Rousseau, Ilya Orlov, Jana Müller, Jyrki Siukonen, Matthew Cowan, Orens, Semyon Motolyanets, Vincent Roumagnac.

“100 Tzar copies” / EXROX work.

A repetitive gesture; open machine, press button, open machine, take paper and write number. A human movement applied by a machine, a subtle little shift is produced each time which transforms radically the original image. The machine operates the little shifts and the process can not be reversed. It is as impossible to recognize the final copy to the original as it is impossible to trace back how the original would look like beginning from final image.Little shifts operate as if almost nothing would change.  However, almost is not exhaustive; there is a side product, a lack or a left over, a specific form of contingency. Some of sort of noise produced by the tools used to operate the transformation. Audience can go through the process and witness the slow transformation from a Tzar image to abstraction in 100 steps.

I placed the original Orens card in my copy machine in studio, and made a copy. Then I made copy of copy and wrote 1 onto first one, then made copy of copy and wrote 2 onto it…. until 100; one per year since Orens prediction of Tzar fall.




Images of  1st, 10th, 20th,50th,80th and 99th. The original and 100 copies are stored in artist archive.


The machine is RICOH Aficio 1515PS, on A4 Antalis copy paper 80g/m2.





2017 / “Second Moment”
Kinetic sculpture
Found materials from abandoned factory and abandoned jail.

The timecard stand rotates continously, once closer the on-looker discovers and other space behind.

The two temporalities set the onlooker in the process of questioning what happened to these objects, starting from a distance as a kinetic sculpture to a closer, subjective situation embedded in a collective moment. 

The reason why the panels and cards are still left behind the panels is open. The work stopped in an untold story, however there must be a history of the struggle, and the objects recorded the given moment. Was it an arbitrary economic reason decided from above, or a collective embodied process taking form in a strike? Do we see a moment of subjectivized despair, or a courageous self-managed movement?









2016 / Modern Machine - three tables

/ Three kinetic sculptures on iron profile tables, electromechanics, vinyl texts on plexiglass.
/Photo taken at Kunstpavillon, Munich.


MODERN MACHINE/prin
Print on Matte paper

This work visualizes exhaustively a piece of software coded to define what we consider the shortest unit of time we can perceive; a second rythmed as metronome. The code is made for Arduino platform. The type of programing language used in the platform is called sequential language and resemble human verbal language as it uses words from english. However, this code has to be compiled to be used by the machine. The outcome of the compling process is the binary data code.

The binary data originating from the actual code are grouped in packed of 8-as it is the actual size used by Arduino processor- to form a grayscale value. The value ranges from 0 -black- up to 255-white-. This conversion from binary code to greyscale is achievved using a Processing code of mine.   

The print does not represent digital data, it is digital data. The hidden and functional structure of a programmed process takes visual form.

On-looker may take photography of image and convert it back to binary file to run this second unit clock.

Images are the orginal image produced by the code, then installed in Kunstpavilon in Munich.




LEAP
Ready made:
soviet transistors, resistors, Gauloises packet from Kosovo, Georgia, France and Germany, US potentiometers, vinyl text on plexiglass.
Photo taken at Kunstpavillon, Munich.
/ 2016





FRAMED STRUCTURE 
Kinetic Sculpture, wood, glass, acrylic, text, electronics, mechanics.
2016.
Exhibited in Oksasenkatu11 gallery in Helsinki, and Titanik gallery Turku.




BOXES part1
2015
3D print, Leds light, printed paper.
Concrete casting, Leds light, printed paper.

Exhibited in Oksasenkatu11 gallery in Helsinki, and Titanik gallery Turku.




2015 / BOXESpart2
Iron cast, sand, water and electromechanics.

Exhibited in Oksasenkatu11 gallery in Helsinki, and Titanik gallery Turku.






Generating, Filtering, Producing
2015
In collaboration with Jarkko Räsänen, printed on MATTE, 80cm x 150cm, stappled on the wall.





My hollow TV
Flat screen, electronics, Leds.
2016




SINGLE RULE
2012
Electronics, lights, tape, mediaplayer.

Installation exhibited in Podium gallery Oslo/Norway, and Tetris gallery in Pristina/Kosovo.




Sampling, Scaling, actualizing
In collaboration with Jarkko Räsänen, printed on MATTE, 80cm x 150cm, stappled on the wall.
2012

Actual Printed Circuit Board layouts, they all togther are functioning as the three phases from our material world to digital then back to our realm.
Sampling, Scaling then actualizing.

 




To your ears
Headphones, electric cable, tape, tape players.
2010

The on-looker has to switch ON the extension cord to activate the Ctape player. The electric cords merge with audio cable. Both cables carry electricity, one is only a signal the other is dangerous. 





Visual waves

2007
Electronics, VHS player.
Alkovi installation