ββ¨πβοΈπ hyper heart πβοΈπβ¨β
is an immersive installation suspending a luminous resin heart from steel chains at the convergence of digital desire and physical longing, staging the dissolution of bounded bodies as the opening current through which a queer, utopian future flows.
exhibited at:
Gmunden (AT): Festival "Photo Gmunden" curated by Beda Achermann
Vienna (AT): Vienna Art Week "House of Losing Control"
π₯ what can you feel your dreams yearning for? π₯
A hyper heart, illuminating the desires for freedom through excess, the emotional overstimulation through oversimulation. The hyper heart is a reference, spanning a connection of emotionality between the physical and digital life.
Attaching them in excess, yearning for utopia. The utopian dream of limitless freedom, promised in the digital realm. A space without worldly boundaries of the body, the space and time. Serving as a reminder, that this is a possible future, a future we can strive towards through reclaiming the Physicality.
Oversimulating the physical space by overstimulating visitors through emotionally connotated cultural signifiers. Being hyper-aware of their presence and the possibility of occupying space in the body and mind. The bright pink light illuminates the sculpture, luring in the visitors - keeping them under its spell. The promise of utopia through excess of emotions.
π« omnipresent excess of emotions π«
Hyper Heart conducts the affective surplus of merged online-offline existence into architectural form, crystallising the libidinal intensities of networked desire as sculptural presence. At the work's centre, a resin heart suspended from steel chains occupies the former dance floor of an abandoned club. Pink LED light runs the perimeter of the space and bleeds into the room's dirty mirrors, folding the sculptural body into infinite reflective tributaries, multiplying the heart across the architecture's accumulated memory of collective pleasure and longing. The sculpture leaks light. It pools sensation. It operates as a desiring-machine in the Deleuzian register: an assemblage producing connections, opening flows between registers of experience that the dominant organisation of space keeps separated.
Two flatscreen video works, auratic sentiency and envisioning real, run a continuous poem through the space. The texts move along the dissolution of bodily boundary as productive threshold, as a site of generative overflow. The body in these poems is porous, a surface across which virtual and physical intensities intermingle and drain into each other. A hologram LED fan installed in the rear of the space turns endlessly, projecting a three-dimensional animated rose in perpetual shedding, petals releasing in slow digital fall, the figure of morphogenesis looping without terminus, blooming and dispersing as pure becoming. The digital sculptural element is not atmospheric supplement but structural argument: the animation demonstrates that the immaterial leaves physical residue, that the virtual floods the sensorium.
The title operates across simultaneous registers. Hyper carries the logic of the hyperlink, the technical condition that makes connection and transmission possible, a channel blasted open for bodies, data and affect to flow through into each other. Hyper as superlative intensity, the overflow of sensation that marks the contemporary subject's navigation of layered realities. Heart as the central site of longing and desire, rendered here in the material durability of resin, in the tactile weight of something that persists across conditions, whose synthetic beauty activates Baudrillardian hyperreality and redirects it toward a queer affective horizon. The simulacral heart, gorgeous and synthetic, suspended in a space whose architectural history includes histories of collective intoxication and erotic abandon, functions precisely as the kind of utopian figure Mark Fisher describes: an image of desire oriented toward the horizon of a world made otherwise through connection, through the pooling of intensities across all the partitions that previously kept bodies and worlds apart.
The work thinks in conversation with xenofeminist propositions regarding the mutability of real conditions. Drawing on the xenofeminist proposition that alienation and technological mediation are materials available for the construction of new forms of being and community, Hyper Heart frames the merging of online and offline worlds as a generative ontological event. The borders between bodies become productive thresholds. The distinction between what exceeds empirical explanation and what constitutes everyday sensation becomes a site of creative inhabitation. Where does one body end and another begin? Where does the digital signal become somatic intensity? The installation holds these questions open as live current, as energy the visitor moves through and carries with them.
Throughout, the desiring logic of the work orients toward futurity. The slowly spinning holographic rose, forever in the act of losing petals and forever whole, figures a world in which loss and becoming flow together as the same motion. The heart at the centre, beautiful and durable and suspended, holds the channel open. Hyper Heart believes in the future already leaking into the present.
