Attempting to put into action the articulation of Iranian design researcher, Mahmoud Keshavarz, that passport forgery can be viewed as a ‘critical practice of making which momentarily interrupts the matching accord of body, citizenship and freedom of movement’, the project ‘Shanzhai Passports’ not only attempts to place questions of race and empire at the centre of the surveillance discourse, but also how this continues to perpetuate the construction of illegalised bodies from the ’third world’ and illegal counterfeit products made in Asia.
A multi-functional preview and presentation booth for WORM Pirate Bay. Up to three visitors can crawl into the soft and womb-like cocoons to watch films, listen to music, read books, and even sleep – while spectators can watch visitors preview the archive through the glass from the other side. DISPLAY also serves as a small fluffy exhibition space showcasing various media and art objects from WORM Pirate Bay.
An interactive poster printed in 3 different types of invisible inks each with different activation methods. Steganography is the art and science of hiding messages in plain sight and invisible inks are one of the longest traditions of steganography spanning 2000 years of history. Visitors of the show were invited to activate the poster, uncovering/discovering secret writing and it's tactical and strategical use throughout history.
Prediction TV is a television station where the visitors of MAMA have the opportunity to become news reporters for weather and economic predictions. This project is an extension of a research on the role of prediction and the mechanism of self-fulfilling prophecy in modern society. The program of Prediction TV focuses on predicting two chaotic systems: the weather and the economy. The first channel reverses common sense understanding of the causal relationship between mood and weather.
Mood Radar is a personal weather forecasting system based on your mood presence. On the opening night, visitors received a personal reading in a semi-autonomous space resembling both weather station and gypsy caravan that was parked outside of TENT on the Witte de Withstraat. Inside the Mood Radar lab-caravan a divining rod specially designed using a para-rational approach measured the body’s unconscious movements and bio-electric signals to draw up a map of the visitors mood.
As a part of the International Film Festival Rotterdam 2012, this interactive installation took place at WORM, Rotterdam. Streamed live via Skype from my mother’s living room in Sydney, Australia, she and I formed the TLANSATLANTIC OLACLE MUM act – a contemporary Chinese fortune-telling duo reminiscent of a circus show from the past.
Initiated by Alina Parigger and myself, Holy Crap was a participatory happening where discarded material was turned into divine altars. The space was open to the public and workshops were held for the
If a machine inevitability embodies its inventors' desires, my rhetorical question is can it free itself from its' masters reign? What would technology be without desire? Can you strip it away, and if so would that equal to liberation, autonomy or even self-consciousness?
Meditations on the Indranet follows the philosophical Buddhist metaphor 'Net of Indra' in which Indra's celestial Net is used as a model of our interconnected universe. This imperial net is made of all jewels. Each eye of the net is a jewelyou can think of them as nodes.
Daylife Uncensored springs from my thesis Dimensions of Censorship and further investigates the notion of media censorship. Drawing from Foucault's rejection of the duality of freedom/repression, this work aims to avoid taking the 'either/or' binary approach in this complex and controversial topic.
Exhibition design for 'Fields of [Inter]action', part of the exhibition ‘A better world, Another power’ in the Netherlands Architecture Institute (NAi) Rotterdam, at the Architecture Biennale Rotterdam. Fields of [Inter]action is an exhibition of 5 projects of artists Jeanne van Heeswijk and Dennis Kaspori.
Where No Flag Has Gone Before was a live blue-screen studio installation offered visitors of the exhibition the chance to reenact their own glorious moment of the first planting of the American flag on the surface of the moon. The end-product of the installation was a distilled extract of the whole experience, simultaneously serving as its documentation in video form.