Fiction or future josh kline and anicka yi gagosian quarterly amsterdam 1666

Sam Orlofsky We’ve just come from seeing the Vija Celmins retrospective at the San Francisco Museum amsterdam on map of Modern Art, and I think it’s interesting to consider just how different both of your working methods are from hers. She’s committed to certain highly traditional mediums, and she has revisited select subjects repeatedly, over long periods of time. By contrast, you’re both associated with using experimental, nontraditional materials. I would classify you both as being closer to sculptors than, obviously, painters, but do either of you think of yourself as having a primary medium? If someone were to ask you what you do, is there a medium you start with in explaining your work?

Anicka Yi I think I would probably sincerely reply narrative. That’s the engine. Without narrative, it’s very hard for me to get excited about something, first and foremost amsterdams volkskoor—but also to conceive of threading it and seeing where it can go.

If you think about how something that doesn’t exist in the world might get birthed, to me narrative is that umbilical cord.

I feel an urgency with everything that I do, because I could either work in the State Department, or for, I don’t know, a solar panel company, or I can make art. We’re all trying to work around these issues. There’s only so much I can do as an artist, but if I can address some of the issues that need addressing with the urgency that they require, then I feel very much a part of the collective conversation.

Immigrant Caucus started from a science fiction narrative. I wanted to create a drug that would allow a human to be able to experience the perception of another species, like a coral reef or a pink dolphin. And so I went to my biologists, and they humored me for about two minutes, before saying, “You know that’s physically impossible, right?” Because in order for me to experience amsterdams weather what you’re experiencing right now, I’d have to remap my brain, my neural networks, and reshape my brain to yours, and we don’t know a lot about how the mind merges with the brain.

And so from amsterdam airport map there, that impossibility, that fiction, that’s where the art started getting hatched. I thought, Okay, well I can imply that there’s a drug through a scent-based work that’s transmitted through the molecules that you have to intake to experience it. And the idea was that if I combined the scent of an Asian American female and a carpenter ant, then as you inhaled this smell, in some way that would allow you to be endowed with this hybridized multispecies sensibility. So I worked with a forensic scientist, a perfumer, and an artist colleague of mine, Sean Raspet, to develop this scent.

JK I’m still working my way into narrative. I studied film, I’ve written screenplays for short videos that I’ve made on my own and with other people, but amsterdam kings day I don’t know if I’ve really cracked the narrative nut. Maybe I’ve become more of an art director for film—a kind of world builder—or somebody who creates the setting, which is why I make these installations.

Before 2014, I was making work that was about an extreme present— distilling out aspects of our time that are different from the past and different, perhaps, from the future amsterdam drinking age. I was trying to talk about the future through the present, talking about things like posthuman or nonhuman or transhuman states that are coming into being via certain kinds of precarious labor conditions. But I was doing it though this material and image-based vocabulary rooted in the present. In 2014, I had a realization that I could actually speak directly about the future and set my work there. So I conceived of a five-part cycle of installations, and each chapter would jump ten, twenty years into the future, to some hypothetical moment in the twenty-first century when certain key issues will peak or manifest and transform society for better or for worse. Issues that I think are nascent now but that will become definitive of the coming century.

The first chapter started at the onset of the Great port d amsterdam lyrics Recession, the end of the Bush Administration, Obama’s inauguration, the viral political movements that were inspired by the Arab Spring and Occupy Wall Street, Black Lives Matter . . . that world. And then each subsequent episode jumps ahead. The second chapter, Unemployment, which I made in 2016, was about this moment that’s predicted to happen in the 2030s or 2040s, when automation, artificial intelligence [AI], and software gut the middle class and remove most of the professional jobs that are the foundation for it in the industrialized world. Unemployment asks questions about what kind of impact those transformations will have. I think there are some very clear parallels with what led to World War I, the Great Depression, World War II—all these conditions that came, in some ways, out of labor issues and unemployment in countries like Germany and the US—and how these are mirrored by the conditions that are being created by technology amsterdam bar and hall, with little or no safety net in places like the United States.

As I was making Unemployment, the 2016 presidential campaign was underway, and there was a point in April 2016 when I read reports on new sociological studies that were able to identify latent authoritarian tendencies in a population. I was also seeing images of high school basketball games where you would have a team of relatively affluent white kids on one side and a Latino team on the other, and the first team’s fans would be dressed in Trump gear and American flags amsterdam guster, holding big cut-outs of Trump’s head and chanting, “Trump! Trump! Build the wall!” The images looked like something out of Germany in the 1930s—but in vivid color. I started thinking that Trump amsterdam recorder could actually win. I started to think that these labor and technological trends could have an even more aggressive and violent conclusion.

So I added another chapter to my cycle, out of which the works in Laws of Motion come. That project is called Civil War. For me, if you’re looking at the twenty-first century, I think there’s a good chance that the consequences of automation for labor will lead to authoritarian states and policies, wars, and political violence that are reminiscent of what happened in the 1930s, but in a hyper-technological context. It’s sort of like cause and effect: Unemployment shows the cause, and Civil War is the effect, looking at a country like America disintegrating based on these divisions of labor, inequality, and class that are primed and then ignited by technological automation.

AY I think I’m sort of the outlier in the show, because I’m coming from the perspective of the de-centered human, of challenging human exceptionalism, which is why I work with bacteria, why I work with organic matter. The works in this show amsterdam keukenhof are really laying down the foundation for a new paradigm in my work, which is about the transformation of the human. We have had a pretty good hack for four hundred years with the elitist fiction around what constitutes the human and the idea that we are an exception in nature. I really disagree with that, and so a lot of my project right now is to think about existence beyond the human, to think of humans as part of an ecosystem. Currently we all amsterdams news have trillions of bacteria in us, so can you say that you’re an individual? What constitutes the self when the self is comprised of a multitude of organisms?

And so I’m thinking about biological intelligence sharing, about the ecology of intelligence, and about the dismantling of evolution that we’ve been part amsterdam neighborhoods of the last couple of hundred years. At first I was worried about that dismantling, but this is also part of evolution. The rise of automation, for example—to me it’s part of a larger system; it’s not the end of evolution, because you can’t destroy nature; nature always wins. However, what’s interesting is that we’re now open to the idea that consciousness is decoupled from intelligence. Consciousness has been at the apex in terms of rights. Who has rights? Those who have consciousness. And yet with artificial intelligence we’re increasingly outsourcing our viability; this intelligence decoupled from consciousness is actually probably going to usurp us all.

JK When I make work, I’m thinking about two audiences: one is the audience of the present, and the other is an audience of the future. When you address the present, there’s the possibility of shaping where that present is going, of influencing people and suggesting possibilities. But there’s this other aspect of making a historical record like amsterdam houses nyc art, which is to talk with people in the near and far futures and to explain the times we live in, in ways that might be comprehensible to them. And to speak about these issues in a way that helps people in the future understand how people in the present made the choices that led to the world amsterdam s bahn that they live in.

It’s interesting that this exhibition includes work from Civil War, because it’s my analog project: I used traditional sculpting practices—casting, and compositing found objects—and almost no digital equipment. I shot the media component, a film called Another America Is Possible, in Super 16. So it was kind of a break from the technology that was shaping all of these things. I wanted to focus on the human impact and not the digital. But that’s just this chapter. With the subsequent projects I’ve envisioned, it’s going to be harder to use objects from the present to predict the far future, because they just won’t be there.