Global Mode, 2015-2016

Bombarded by photons, I stand, unraveling the brain of a human in a rabbit’s belly. The photons concentrate in the apple on my forehead, and, pressing one foot firmly into the ground, I extend my body to occupy as much light-space as possible. As Calvino’s Baron in the Trees, I give myself rules, however irrational they might be, and then pursue them; see what interactions unfold.

When I play with the anima­­ls and make them sink, when I cease to know if I am there, or they are here, I—the performer—drown with them.

The performer’s presence is doubled and layered. As in polyphonic music, the planes of reality build on top of each other and interact in dissonance and mutual need. The elements of one game mixed with that of another: annoying us and forcing us to question each and every one of these rules while still playing and letting go judgment. But not justice.

I remember when we were all riding on a single photon.

In Global mode. Playground for Drowning Animals, cruelty and death are snapped off from everyday perception. Only the fantasy—the shiny fairy tales—could hold them. Semi-human, semi-cows, semi-deer, semi-horses, women, almost inexistent instances of life, these 3D animals are instances perhaps of an animal lost. Their role and suffering, rebellion or submission changes with each appearance, but they are one.

I am also an instance, imagining Apocalypse as lifting of the veil.

Prints

The prints “Global Mode>Playing with Flesh-Colored Geese” and “Global Mode>Narcissus and Drowning Animals” have added AR content, thanks to Artivive.