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β›“βœ¨πŸ’•β˜οΈπŸ’– ultra hyper paradise πŸ’–β˜οΈπŸ’•βœ¨β›“


ultra hyper paradise is an emotionally targeted installation featuring a centrally staged  πŸ’– hyper heart πŸ’–

exhibited at:
Vienna (AT): University of Applied Arts "Angewandte Festival 2021"  curated by Brigitte Kowanz

Vienna (AT): r00m69 "Somewhere Between There And Here" curated by Brooklyn J. Pakathi

Vienna (AT): Never at Home "Hyper_R"  curated by Clara & Vera Grillmayer
 


 πŸŒ₯ what can you feel your dreams yearning for? πŸŒ₯

a seducing installation featuring a centrally staged heart sculpture and a video poem explores the desire for a utopian future.

The auratic realness of the installation is seducing visitors to explore the space evoking an emotional xxxperience by utilising cultural signifiers of internet cultures and amplifying hyper femme influences. These sensual dream spaces help us to envision reality and possible futures, making a utopia imaginable again.
A utopian world of connection and community.
The ecstasy of utopia – a space more real than reality itself. More dreamy than dreams.
πŸ’« omnipresent excess of emotions πŸ’«




ultra hyper paradise (2021) is a transmedia installation centering a hyper heart sculpture as its generative core: a resin and 3D-printed object floating on a pool of illuminated fabric, encircled by flowers, attended above by an iPhone suspended on its own charging cable, looping a video poem. The spatial choreography of the work produces a productive tension of approach and withholding; the luminous presence of the sculpture prevents any frontal collapse into the screen, so that the digital and physical registers remain erotically proximate, perpetually almost-touching.
The installation draws its structural logic from Bloch's principle of the Novum: the not-yet-conscious made sensory, a utopian surplus that seeps forward through the present tense rather than waiting in a deferred future. Ultra hyper paradise constructs what Bloch called a Vor-Schein, an anticipatory illumination, a warm spring welling up through the cracks of the actual, making the longed-for world available as felt experience before it arrives as historical fact. The hyper femme aesthetic vocabulary, assembled from the affective commons of internet culture, functions precisely as this kind of forward-flowing excess: desire not as lack but as productive overflow, a current strong enough to carry new social forms in its drift.



This anticipatory charge enters into productive tension with Baudrillard's hyperreality. The installation does not oppose simulation to an authentic ground; it accelerates the logic of the simulacrum past the point of critique and into the territory of the more real than real. The resin heart, the LED pool, the looping video suspended just out of reach: these objects constitute a fourth-order simulation that has shed all pretense of representing a prior reality and instead generates its own dense, inhabitable presence. The ecstasy available here is the ecstasy Baudrillard locates in the fatal object, the thing that seduces precisely because it exceeds legibility, because it saturates rather than signifies. The installation overflows its own container. Emotionality exceeds its designated channels.
What this overflow carries is specifically queer. The work rehearses, in Blochian terms, the concrete utopia of free expression, connection, and community as a sensory given rather than a political aspiration. The body in the space floats, softens, loses the coordinates of its own outline. The video poem renders this phenomenologically: the lines of the body melt away, form suspends in luminous indeterminacy, the boundary between self and surround becomes a site of productive dissolution rather than loss. The internet figures here as a cultural reservoir from which queer desire flows outward, wetting the walls of physical space, seeping into the fabric, backlighting the flowers, charging the air with the texture of possible worlds.

The work refuses the melancholic relation to futurity, it performs the Blochian wager that utopia is already leaking into the present: available to whoever will hold still long enough to be saturated by it.