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In the Cosmos

Coming Together in Parts: Hijack the Future

until
Exhibition view Coming Together in Parts: Hijack the Future

Under the title “Coming Together in Parts,” a two-part film program presents works by artists exploring the interaction between bodies and technologies as well as alternative narratives of the future. The second chapter, “Hijack the Future,” features video works by Sophia AlMaria, Masha Godovannaya, and Yong Xiang Li. Their perspectives respond to and extend the themes of the exhibition “Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s”—across media, time, and content.

Info

Period

until

Location

Lower level

Curated by

Franziska Linhardt

“Hijack the Future,” takes us through various seemingly post-apocalyptic times in which non-human actors—a desert, a dog, and a vampire—each play a leading role. The cinematic narratives of Sophia Al-Maria, Masha Godovannaya and Yong Xiang Li thwart not only our notions of time, but also traditional stories and myths. They open up alternative and more-than-human perspectives on our togetherness and antagonism on this planet—between companionship, dependency and exploitation.

Sophia Al-Maria, The Future was Desert Part 1, 2016

In Sophia Al-Maria’s “The Future was Desert Part 1” (2016), the desert is both time machine and setting for a posthuman dystopia. Rapidly edited shots of delirious dreamscapes are accompanied by a robotic voice narrating a history of humans’ destruction of the Earth. The video traverses geological times, allowing both the planetary and human past and future to collapse. By these means, Al-Maria also addresses the tensions of the complex geopolitical situation in the Persian Gulf, where natural resources such as oil are considered to be crucial for the future.

Masha Godovannaya, Laika. The Last Flight, 2017

Masha Godovannaya’s “Laika. The Last Flight” (2017) is about a street dog called Laika, the first living being to be sent successfully into the Earth’s orbit. She was one of the many Soviet space dogs who paid with their lives in the service of space exploration. Montages and manipulations of found footage films from the 1950s, as well as a voice-over, a fictional letter from Laika herself, shift the heroic narrative of the first cosmonaut. They introduce the dog as both subject and actor, negotiating her perspective in an age of space travel defined by ambivalent ideologies and humans’ pursuit of power.

Yong Xiang Li, I’m Not in Love (How to Feed on Humans), 2020

Yong Xiang Li’s “I’m Not in Love (How to Feed on Humans)” (2020) is a combination of narrative film, romantic comedy, and music video. Through collaborative approaches and the freedom of DIY and low-budget production, it dusts off the negative lore of vampirism: Vampy—a 386-year-old vampire—strolls through the city in broad daylight. Instead of bloodthirsty transformation, his bite promises pleasure and long life. In Vampy’s symbiotic and polyamorous companionship with his three human lovers, the work questions the mechanisms of becoming monster and notions of love in a present characterized by hegemonies and dependencies.

Dunkler Raum mit Leinwand, auf der eine Videoarbeit läuft. Zu sehen sind Personen in roten Overalls, die mit erhobenen Armen auf Autowracks stehen.
Dunkler Raum mit Leinwand, auf der eine Videoarbeit läuft. Zu sehen sind zwei Personen bei einem Picknick auf einer Wiese, umgeben von bunten Gegenständen und einem transparenten Regenschirm.

Related exhibition

Exhibition

Exhibition Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s

until