Life of my Ghost
2 channel video installation with a sound / 9 min in a loop. 2019
While new technologies are promising virtual, global micro-contacts and vague opportunities; While younger generations have fear for current and upcoming economic/environmental global catastrophes; While cities with most opportunities attracting young people are over gentrified and are expelling us from the centre. While social housing and work conditions even in the western world are becoming incompatible. With the increased feelings of depression, anxiety, non-belonging, loneliness, being constantly delayed and tired, a legitimate question lays in front of us: “Where is a safe place?”.
Many people, especially young artists or creatives are forced by the creative global world market to move around the world, have good mobility skills, and be present in many places at once since the most valuable thing nowadays is the physical presence (especially for an artist). One cannot be present in many places simultaneously, how can this be solved?
Nowadays people are spending lots of time looking at the digital world. Many are finding a refuge and a “safe place in the virtual. To elaborate on this in her video Ana is referencing Mark Fisher’s book ‘’Ghosts of my life’’. Video work ‘’Life of my ghost’’ is as well in dialogue with Fisher’s other research texts concerning the younger generations inclination towards Hedonism and mental health problems caused by the lack of power to change the circumstances; Mark Fisher calls this state: “Whateverness” This state may be in a non-place, in-between place – Where Bay dwells as well – on the threshold of material/immaterial eternity “In the clouds”.
CGI character Bay and the author’s image are animated on the video projection. They are having a dialogue referring to the above mentioned in a format of a poetry reading on the sound composition created by Cammack Lindsey.
Work process with the CGI character Bay is the artist’s ongoing project and research on the role of digital chimaeras in nowadays societies. Bay’s creation is inspired by the NASA-funded experiment in the 1960s where scientists tried to teach dolphins to speak. Scientists back then assumed that a creature without hands would have a complete spiritual/ holistic experience of the world, as they did not have hands – Humans sinister tool for the material perception and creation of the world. It was expected that speaking Dolphins having a complete nonmaterial world-view would make great psychiatrists.
Bay also has no hands. She – a completely vulnerable creature is roaming different places and digital clouds.”
Do Not Touch exhibition curated by Giulia Valenti and Paula Duri- nova. ACUD Gallery Berlin.2020
Post.Digital.Dreams Tbilisi. Curated by In-between conditions. 2019