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Johanna Bruckner - How will I remember your embrace: Episode 3

# Episode 3

Dizzying senses

 

 

We live in the Aerial,
born of the polymorphous affinities within nonhuman substance,
constituted by the particles of virtual matter
as trans-material affections
that surround non/human intention.
Caring for the sum of the social implications
that the technological and ecological transformations,
in a global machine of techno-physical governance and labour,
do on and with our bodies.

 

 

Open to the variability and contingency of atomic and molecular relations.
Sculpturing the patterns of our body sex.
Embodiment is taking up fold in bodies.
Not transcending gender or sex
but skin is always intractably skin.

 

I prefer to be of granite minerals
as I am fond of their life cycles
as a means of passing, the passage of time.
As trans-substiantive impact.

Like a gentle black hole,
soft pulling at my insides, slow and steady
I carve the dark as it hides my fear.
Our desire for the more-than-possible.
Feel the breath when I breath
Feel the pain when I push .
So cold and tight the touch.
Like the melted ice frozen.

Comets open our mouth in thirst
Watering our neuro pathways woven by billions of lives in crisis.
As time-less aggregates,
world making from those in crisis,
against the violent normalizations
of a universal claiming to speak for the particular.
Embodying centuries of screaming on the ways we want to live.
Nourishing these frozen roots for centuries to come.
We are wires for transmission,
wires as metabolisms
of transitional embodiments
made of black affect,
pre-discursive intensities that confront others death.
Hyper coma.
More than proxy-gas.
In a bleak post-nuclear landscape of revenge,
and irradiated monsters,
radioactive waste masks the sobering reality of toxic legacies
beyond planetary geographical imagination.

 

Develop the capacity to live under-gas, move
above the cloud and return undetected.
Make friction with the burning aerial
and see what your synthetic body can learn you.
Unknown voices sound frozen far.

 

Tearing the cloud line, the sun breaks clear.
The body in front of me is faceless facing the sky.
We are delayed in Minneapolis due to the fog in Philadelphia.

 

The Sun is slowly brightening
at a current rate of about 10% per billion years,
destined to become a red giant in some 7. billion years.
However, long before the Sun reaches that limit,
hydrogen escape will have desiccated our planet.
Earth will then have been transformed into a desert,
with the Sun be bright enough that all the remaining water evaporates
and the greenhouse effect strong enough to melt rock.

 

At this point, some 4 billion years from now,
Earth will have turned into a barren and lifeless state.
The ancient Sun rotated faster than present
because the solar wind has removed angular momentum.
The increasingly brightening sun triggers gaseous erosions
and mass fractionations.
But, ultraviolet emission depends on the charge-exchange
– the performativity and its collisions-
of the Sun’s magnetic field.

 

To deal with the increasing energy of sunlight
that the planet is faced with,
it responses through atmospheric escape
and atmospheric deposition:
In a process of ultraviolet decomposition,
the gases absorb light.
Through the energy of charged fellow-particles,
gases are carried up by and through the atmosphere
while evaporating and decomposing into atoms,
to overcome gravity in a process called drag.
This form of escape, the planetary wind,
is analogue to the solar storm,
radically charged heat particles blown from the Sun into erosive space.

 

Hydrogen is continuously replenished by
volcanism that offsets losses to space.

– Johanna Bruckner –

Johanna Bruckner’s new research based work „How will I remember your embrace“ investigates phenomena of „atmospheric escape“, which describes the processes of gaseous substances of the earth escaping into space, forming so-called extracorporeal structures. These emerging body formations are synthetic bodies as they consist of geo-chemical mixtures between synthetic gas and organic substances; thus shaping more-than-human bodies equipped with the ability to explore the conditions for existences in more-than-human worlds, as metamorphosis of responsive in/organic matter.
These are figures oscillate between immanence and transcendence, reality and illusion, reason and its absence, science and fiction. In her artistic research, Bruckner aesthetically explores how these more-than-human bodies and their language caused by molecular escape, gravitational waves and their micro affinities, can be imagined.
How can we envision these crystallizations of bodies caused by synthetic substances, the forces and traces of light energy and planetary winds – between matter, atmosphere and indeterminate desire? How can they help us to imagine possible future worlds?
The six-part video series „How I will remember your embrace“ aims to provide access to worlds in which humans and more-than-human bodies are entangled – worlds, whose bodies and its environments are increasingly produced in synthetic, laboratory processes. As synthetic figures and intimacies.
The series equally serves as an exercise tool and impulse of imagining our human, corporal existence in a distant future.
Imagination is a central catalyst of this series, to enable infrastructures that allow us to live with the synthetic, toxic order of the world and its bodies. As a crossover of animation, 3D renderings and video sequences the episodes of „How will I remember your embrace“ visualise a speculative reality of your physical human existence.

Over the course of the next two months, PYLON presents Johanna Bruckner’s new project „How will I remember your embrace“ on AOS. Every Friday, there will be a new episode released, along with a new part of Bruckner’s poetic manifest.

Johanna Bruckner
*1984 in Vienna, Austria

Johanna Bruckner is interested in the conditions of labour that have been emerging in response to the technologies of communicative capitalism. She often works with social and political references that emerge within the ruptures and struggles of our so-called realities. Dancers and performers are significant Bruckner’s work, films and video installations; in order to question the relation between subjectivities that are shaped by algorithms, seeking to re-articulate (historic) knowledge and cultural-economic realities.
Bruckner’s artistic research and practice are an attempt to question the paradoxes and new potentialities of social cohesion in the dissolution of human agency today.

She has studied Fine Arts, Cultural Studies and Social Anthropology in Vienna, Berlin, New York, Stockholm and Hamburg and teaches at the Zurich University of the Arts.
Her work is shown internationally, most recently, at the Haus der Kulturen der Welt, Berlin, transmediale 2020, the Kunstraum Niederösterreich, ZKM, the Zentrum für Kunst und Medien, Karlsruhe, the 57th Venice Biennale, the CAC Centre d’Art Contemporain Geneve, Galerie EIGEN+ART Lab, Berlin, 16th Venice Architecture Biennial, Deichtorhallen Hamburg, Sammlung Falkenberg; Galerie Reflector Contemporary, Bern, KW, Institute for Contemporary Art, Berlin; the Migros Musem für Gegenwartskunst, Zürich; the Villa Croce, Museum for Contemporary Art, Genoa; the Kunsthaus in Hamburg; the Kunstverein Harburger Bahnhof, Galleri Box, Cabaret Voltaire at Manifesta 11, Zurich, dOCUMENTA (13).  Bruckner has lectured at various universities and institutions including the Bauhaus University of Weimar, the Lucerne School of Art and Design, Zurich University of the Arts and the BAC Center Contemporain in Geneva. Her work was arwarded by numerous grants, most recently, she received the Hamburg Stipendium for Fine Arts (2016), was awarded a scholarship holder for the studio program at the Banff Center for Visual Arts in Canada in 2015, and she is currently a fellow at the Sommerakademie Paul Klee (2017-19).

HYPERTENSION presents two projects by artists Katrin Niedermeier and Johanna Bruckner as an exhibition extension, connected to the upcoming exhibition at PYLON-Lab.

What are significant properties that constitute the human body and how will these properties change over time?
If the human 1.0 experienced the technological revolution in the 20th century and the human 2.0 the digitalisation of itself and its surrounding environment, what will it look and feel like to become and be a human 3.0 in the 21st century and a more distant future?
How will human interactions be structured in the future and will they still be experienced viscerally and virtually? What will human communication sound like and what thoughts will be shared?
The artworks newly created for AOS present concepts of the human body in its alignment with its environment, including the virtual space and of its possible future manifestation. The artists’ works visualize and reflect possible current and future scenarios of human expression, intimacy and body related issues in the virtual and the analogue space. PYLON will present video- and text-based works along with graphic content on AOS that are not only the framework, but an integral part of the individual artworks. HYPERTENSION on AOS therefore serves not only as a prologue to the upcoming exhibition at PYLON-Lab IRL but will be an extension and reader, complementing the encounter with the works and helping to immerse in the content on both a notional and reciprocal level.

PYLON is a hybrid of physical art space and online archive for contemporary media and time based art, run by Julia Schmelzer and Thomas Schmelzer.

PYLON encourages its on- and offline audience to engage with experimental approaches of contemporary art in a digitizing time and society through its physical art space PYLON-Lab and its accompanying online platform PYLON-Hub.

PYLON facilitates stimulating and immersive encounters with contemporary media based art by some of the most exciting and innovative contemporary artists. As an art space, PYLON-Lab showcases curated experimental media and interdisciplinary artworks by international artists like Jakob Kudsk Steensen, Elizabeth Orr, Lawrence Abu Hamdan and many others. The works and projects presented via PYLON incorporate distinct approaches to new and emerging media, raising awareness of poly-cultural shiftings, technological and scientific utopias as well as future-oriented technologies and concepts.

PYLON is set to create and share unconventional synapses between art and disciplines such as science, architecture and further social phenomena.

…by guest curators invites four curators each year from international digital art galleries, online spaces, biennales and festivals to present online projects and commissions for a period of three months. Each curator is encouraged to showcase artists within or outside of their networks, and to experiment with the platform and how they present projects. This strand of AOS initiates conversations with similar spaces globally and contextualises our work on an international scale.

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