untitled iv / spiral of void, 2017
Giclée print Hahnemühle William Turner 310 g FineArt paper, museum quality non-yellowing mount. Frame: black matt aluminum slat P1, non-reflective gallery glass with UV protection Artglass UV WW 70%. Backboard: 3mm PH neutral. Edition 10
The semionaut often mixes the rigour and neutrality of post-conceptual art practices with something we might call an errorism of cyborg brainwaves. Partial erasure of operation diagrams, break-beat of decoded images, trust in noise, blind following of logics of text leading to meta-meanings and blanks are the main notions at operation. Nevertheless here the notion of psychedelic glitches comes to play both in itself, like a manifest and in relation to the work of a certain Soviet-time Estonian avant-garde underground artworks based on concrete poetry which have been mutated, scratched and thus make to live a second life.
Psychedelia as a critical cognitive technology oriented towards manipulating our pattern recognition into hallucinatory experience. From one side bringing back the human touch into anonymous data- flows and machine-like patterns by scratching them, these works pose a further philosophical question concerning normalcy – the problem really is if we can call the code of mechanistic pre-ordered world normal in itself or rather repressive. Instead, in the latter case, normal is the world where the control over Imaginary sphere slowly slips away and sets loose the lacanian Real. In melting away of letters into liquid signifiers and fractals the breakthrough of Real starts to relativise our rational mindset. The haunting ghosts are thus given the floor by data-bending the pre-existing rigid patterns until they start to tell their own story despite of the outcome of the more philosophical questions better to be let open in this case. The other option in manipulating the data-flows is to control the input filter, leaving us with the outcome of morbidly mechanistic images. Somewhat magic and mantralike repetitions of words, letters and punctuation marks lead to melting away of all the intrinsic narratives. The annihilation of dominant and hieratic relations is once again forming an estranged choir of the void.
Hanno Soans, text from the catalog.
A catalog comes with the purchase of the work.
The entire series can be seen: https://drive.google.com/file/d/1otSjIbrGVWAaq8oQUcf84bmQcEAQsXc0/view?usp=sharing