For Akademie Schloss Solitude’s Call for Web Residencies No. 14, we invited artist and musician Johanna Hedva as curator. Moving away from all-encompassing dystopian future scenarios, »Post-Doom« explores how the perception of a lost present is inscribed in and reproduced in our everyday experiential spaces. As a seductive counterpart to this seemingly hopeless approaching terminal sate (or standstill), Hedva calls for us to rethink beginnings, new multiple entry points, and experiences that reveal the longing for a whole, unmediated potential of our present and future.
Open the Artworks
Johanna Hedva (b. 1984) is a Korean-American writer, artist, musician, and astrologer, who was raised in Los Angeles by a family of witches, and now lives in Los Angeles and Berlin. Hedva’s practice cooks magic, necromancy, and divination together with mystical states of fury and ecstasy. There is always the body – its radical permeability, dependency, and consociation – but the task is how to eclipse it, how to nebulize it, and how to cope when this inevitably fails. Ultimately, Hedva’s work, no matter the genre, is different kinds of writing, whether it’s words on a page, screaming in a room, or dragging a hand through water.https://johannahedva.com
Hedva is the author of the novel On Hell (2018), which was named one of Dennis Cooper’s favorites of 2018. Their new book, Minerva the Miscarriage of the Brain, documents a decade of work in the form of essays, poems, and performances, and was published in September 2020 by Sming Sming and Wolfman Books. Their first solo exhibition, God Is an Asphyxiating Black Sauce, opened in summer 2020 at Klosterruine Berlin. Their work has been shown at The Institute of Contemporary Arts in London, Institute of Cultural Inquiry in Berlin, Performance Space New York, the LA Architecture and Design Museum, and the Museum of Contemporary Art on the Moon.
Hedva has written about the political and mystical capacities of Nine Inch Nails, Sunn O))), and Lightning Bolt; the legacy of Susan Sontag; ancient Greek tragedies; and the revolutionary potential of illness. Their writing has appeared in Triple Canopy, Frieze, The White Review, Art Practical, Ignota, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016 in Mask, has been translated into six languages, and their activism toward accessibility, as outlined in their »Disability Access Rider,« has been influential across a wide range of fields. Hedva received their BA in design from UCLA’s School of Arts and Architecture, and their MFA in art and MA in aesthetics and politics from California Institute of the Arts. They have been a resident at Amplify Berlin, mentored by Pan Daijing, and a fellow with at land’s edge, in Los Angeles, mentored by Fred Moten.
Their EP The Sun and the Moon was released in March 2019; two of its tracks were played on the moon. Their LP, Black Moon Lilith in Pisces in the 4th House, a doom-metal guitar and voice performance influenced by Korean shamanist ritual, will be released in January 2021 on crystalline morphologies and Sming Sming.
A divinatory twitter bot which posts every three hours. It is an online exhibition, based on the oracular poetry, that the Digital Witchcraft bot created over the past few months. This bot is coded in a grammar-generative language called Tracery and uses concepts from a corpus of the artist's dreams and exercises of automatic writing. It is an artistic instrument of posthuman literature, in which the unconscious meets the computational realm.
Danae Tapia is a Chile-born working-class feminist writer, multimedia artist, and technologist. She is a lecturer of Hacking and Autonomous Practices at the Willem de Kooning Academy in Rotterdam/The Netherlands. She is the founder of The Digital Witchcraft Institute. This venture was Danae’s project for her fellowship with the Mozilla Foundation, which started as an artistic-research experience dedicated to collect and showcase advanced nonconforming approaches to the use of tech.
Doomsday Cartography maps a Feral City, a place where military strategies of counter-insurgency and urban isolation are unable to maintain their grip on social life and customs. Through a language of mapping that documents the place-bound consequences of algorithmic and military speculation, the city's inhabitants reflect on how they navigate the doomsday scenarios anticipated by the military strategists of yesterday.
Peter Polack is a designer and PhD candidate at the Department of Information Studies at the University of California (UCLA), Los Angeles/USA. His work and research address how technical systems are designed to inform our perception, and the role of art-making in illustrating what technology makes perceptible. This focus is informed by his background in game design and data visualization, and by his work with the Stop LAPD Spying Coalition, a grassroots organization that analyzes the social impacts of police surveillance systems.
#mapping #surveillance #futurecity #feral #zombies
In Umm-al-Raml, Sand narratives, I cast the raml (geomancy) as a method of navigation, with the question of "where are the female prophets?" This question is coming from thinking about the possibility of female prophecy in Islamic societies that political and spiritual realms are inextricably intertwined. Shirin Fahimi will interpret the divination collaboratively with her mother. This project is available as an Instagram augmented reality effect at @umm.al.raml account, and I will update the AR effects regularly until all the 16 doors of the divination are presented.
#umm-al-raml #mother-of-sand #geomancy #Augmentedreality #divination #prophecy
As an Iranian-Canadian artist, Shirin Fahimi explores the impact of the occult sciences and mysticism in empowering the female presence in the political and spiritual domains. Her study is informed by the mysticism literature and magic from Islamic culture in Iranian society. Since 2016, she has developed her practice into a body of works, primarily video installations and performance, presented at critically recognized art institutions such as Savvy Contemporary, Counter Pulse, and The Rubin Museum of Art.
An interactive story.
#cosmichorror #cosmiclove #varmentcare #computergames
'Clip-clopping down the rocky trail of biological speculation, comes the "The Endless Hallucinatory Love of the Riders at The Long Point of Death", a story about hiding your head from the sun, or from Saturn, or burrowing into the carcass of a cobra like the joyful American carrion beetle, a maggot in the mind of the universe. If you ain't gonna get it on, take your dead ass home (Yeehaw).’
Uma Breakdown is a disabled artist/writer/researcher working around horror studies, feminist literature, and queer RPGs. This year they finished a PhD about The Evil Dead, care, trans* écriture féminine, disaster, and play. In 2020, they presented a plant horror RPG at Kim? Contemporary Art Centre, Riga/Latvia; a video game about sleeping on the ground next to animals for FACT, Liverpool/UK; and a short story about SSRIs and Artaud for Ma Bibliothèque. They are currently researching criminality as love/writing in Jean Genet and Hélène Cixous.
Earlier this year, in a state of grief combined with a downswing of my mental pendulum, I tried to write a short story. It followed two riders who continually criss-crossed the North American continent via horse and wagon, surveilled by their reconnaissance drone, after some unspoken apocalyptic event. My riders had a role. The role hidden in the patriarchal, colonial violence of »The Cowboy,« a role of love, palliative, and end-of-life care for animals and humans alike (think of Chloé Zhao’s The Rider and Valeska Grisebach’s Western).
My riders would travel to where they were summoned, and stay with those approaching death and later carry the bodies back to a site where once long ago a »Body Farm« existed. Here, scavenging creatures still remember, and that previous form of research has folded into a new kind of knowledge-making that would have been recognized by Melanie Klein or Eve Kosofsky Sedgwick as »the reparative.« In depression, we enter a void to make new tools through repetition in darkness. Doom as production: the riders are endlessly called out.
This story fragment is my starting point for a series of diagrammatic digital drawings, each with a parallel speech-audio elements that divines a story these same drawings. Each is an unstable constellation concerned with horror rebuilt as love. Each drawing is repeated/remade in new versions, and so is the audio. There are repeated attempts at showing/telling the love/grief stories, which shift in sympathy to the telling.