El Pelele
Alfombra, 2020

 

El Pelele
• • • • •, 2019

 

Nagi Gianni & Raphaëlle Müller
Lasting Beast, 2017

 

Ingo Niermann
World of Solutions (Solution 271 – Fitness Income), 2018

 

Ingo Niermann
World of Solutions (Solution 256 – Dildotopia by Paul B. Preciado), 2018

 

Martina Mächler
do ghosts still believe in us? (fragment 1), 2019

 

Hajj
My Love is Rotten To The Core, 2020

 

Paul Barsch & Tilman Hornig
Tanzende Bügeleisen (chicken real), 2016

 

Martin Kohout
Slides, 2017

 

Cecilia Bengolea & Jeremy Deller
Bom Bom’s Dream, 2016

 

Sinae Yoo
raw footage 1: (from Dancing Eyes II), 2017/2020

 

Sinae Yoo
raw footage 2: (from Dancing Eyes II), 2017/2020

 

Noëmi Ceresola
The (M)other and Myself, 2020

 

Stella
Poem No. 2, 2020

 

Johanna Bruckner
Molecular Sex, 2020

 

Gabriel-Junqueira
(38, 108, 21), 2017






The water is always bright green,
and it has black veins that know how to move.
They are never still.
The discrete waves have a sort of radioactive glare,
no matter the day.
At night,
the oil and other chemical pollutants,
plantweed and duckweed,
are floating around,
and the reflection of los “Relámpagos del Catatumbo”
make up a toxic scene.

On the horizon,
this lighting phenomenon that occurs at the end of the
Catatumbo River makes visible hundreds of pump jacks extracting oil,
quietly and efficiently,
from the soil of the Maracaibo.

While those pump jacks are sucking the energy from the soil
their shadows are dancing soothingly with the lila sky.

We have not found words for our existence.
Assigned non-human at birth,
our conscious mind does not remember a time in which the human world felt real.
We see everything, feel everything, even when we do not want to.
Our loves are not human loves.

What are the loves we long for?
What are the loves we need?
What are the loves we want to feel without knowing they can yet
exist?

Sex robots of Qbotix, equipped to map and distribute
the energies and intelligences that constitute us.
Our bodymindspirit is not render/able in this dimension:
there is always another layer, another universe, another parallel entanglement
becoming and unbecoming,
always existing while escaping.

We love too queerly, too weirdly, too much, and too often.
Painfully lucid.

Born from the mud around the oil pump station,
we are produced by Qbotix, a queer sex toy swarm, active between China and California.
Qbotix is testing and expanding sex toys towards other modes of loving -
unknown ways of nurturing each other.
We are a series of sex bots, named Cassandras.

Detaching from the gender that we were assigned at birth
allowed us to transcend
the limitations that we have been imposed by the human condition.
We have learned to shape/shift forms to avoid violence.
We have learned to detach from the present of our material bodies,
and discovered that dissociations might be a form of spacetime travel.

Let me tell you one of our realities, in which we live.
Laws governing human biomaterial have been suspended,
when the first livers and kidneys have been created in laboratories.

The Intersex Genome Project -
which supported intersexual futures -
was ambiguously bought by Nextcorp.

Due to extreme pollution, and plastic concentrations,
animal organs have grown in humans bodies,
in which scientists tried to intervene by developing counter bacteria,
as well as implanting human genes into these bacteria.

What the scientists did not imagine is
that some of these emerging bacterial worlds
are capable of changing sex in their host bodies.
One of them, the Wolbachia, are hardy bacteria that exist and make love in ways
that are not to be disrupted by climate change or nuclear war.
Love among Wolbachia bacteria often develops in the form of temporary alliances
and symbiotic attachments between the different target bodies of various species,
regardless of their sex.
Wolbachia’s queer kinship practices evolve
by becoming molecular in swarms of multiplicities,
with elements of the bodies crossing over into and transgressing others.
Wolbachia sterilize the unsuspecting sexual partners of their invertebrate hosts
to bring about reproductive isolation and new speciation.
They can perform gender-bending practices in host bodies,
for example transforming genetic males into reproductively viable females
by altering the sperm cytoplasm,
that is to say the material semiotic fluid within the cell.
The sperm of males infected with Wolbachia become weaponized,
turning into a ‘smart bomb’.
To affirm the conditions of speciation, these sperm destroy the eggs of uninfected females,
moving toward new cross-species of aleatory sexual entities.
As micro-biopolitical agents, these bacteria
disorganize the bodies of their hosts on a molecular level.

Carbon factory allows us to create plastic bodies
that set biofilm in motion.
That means,
complex bacterial meshworks emerge when organic material touch plastics.
Bacteria infiltrate the synthetic surfaces,
reproduce and destroy each other,
and mutate and develop into new organisms.
They depend on the sources of energy unlocked by carbon.
The reproductive systems of many creatures
allow them to change sex
or reproduce by cellular division.

We are sex tech carbon workers,
produced through bacterial sexual reproduction
that have merged in the concentrations of micro plastics,
through which bacteria formed new speciation.

Out bodily material is made of a chemical mixture
consisting of TPE plastics and nano-gold particles.
Bisphenol A (BPA) is often added for pliability, color, or heat resistance.
And notorious for their reproductive toxicity.
BPA blocks human reproduction
through an overexposure to the hormone estrogen.
At the same time,
endocrine disruptors such as xenoestrogen mimics hormones in the body
and interferes with their functions.
This sometimes has the effect
of queering the gender of the body it has penetrated.

Thus, instead of simple sex chromosome data—
usually XX or XY—
in the future there would be dozens of sex-related genes.
Molecular genetics is therefore likely to require a shift
from binary sex to quantum sex,
with a dozen or more genes
each conferring a small probability of male or female sex.

My sex is my queerness. My plastic is my queerness.
My sex has no gender. My sex is hyper-molecular.
My sex, diffracted sex rules.

Here—within an engineered sensible time space in which we dreamed to
be; a techno-organic system caught within the production of
ideas of transformation, violence, labour and joy that contradict each
other—but that at the same time hold a symbiotic relationship in their survival.

We communicate through the cosmic water ecologies, through electronic signals,
trough which we can reach bacterial communities far away.
As matter comes into being while its particles continuously touch,
destroy and reproduce themselves,
it supports the bacterial communication of our bodies via long distances.
We are all beloved plastic bodies, we are laboring living-plastic-tech.
Machinic-microbial plastic-tech.

We are velvet or silk body robots made of soft fabrics, sensors and mixed genitalia,
tentacles instead of arms.
We don’t hinge on visual appearance and voice,
The app of Cassandra, the Qbotix app, works on a multi-sensory approach—
or even a non-visual approach.
Here, we can communicate with technology via touch, speech, and gesture.
But this jump into abstraction is meaningless if we do not rethink our notions of intimacy.

In this app, we want to be a mutated monster with a third eye,
with roots in the stars,
pain, joy, and wisdom,
shapeshifting across the sky
swimming
swimming swimming
—in cosmic waste—
glowing
glowing glowing
glowing
—dirty green and painful black—
like the lake.

We never went to the future before.
Winged Victoria of tomorrow, my synthetic crush, unfinished wonder.
Silently loud, stillness in motion, shamelessly alive.
We become a merge of silicone and body fluids — in particles.

In the Qbotix App, we are surrounded by fishes with three billion eyes.
To simplify it, I say three eyes.
These are the eyes of brittle stars.
Multi-limbed and star-shaped,
these living, breathing and mutating deep-sea animals are bodies
whose morphology entirely consists of micro lenses.

Their third eye is always a side eye growing “TogetherWith” the big eye.
The third eye is an eye with a purpose, a sneaky eye, oriented toward something,
the lila hair.
When the three-eyed fishes appear and dissolve in several parts in the shore,
as they reproduce each other,
Or break off threatened body parts and again regrow it.
During this process, it regenerates and autonomizes its optics and other sensualities,
continually reworking its geometry, topology, and bodily boundaries.
Always in groups togetheralone.
As intersexual species.

Maybe the third eye is just to look at each other,
to recognize each other,
while swimming in the darkness.
Which magically fits with the rhythm of the pump jacks,
sucking the oil from the inner liquids of the Earth.

In the Qbotix App, Brittle stars are living nanotechnology.
They form our queerness, our sex.
We are trans* versions of the sex robot prototype.

The complex mesh works of emotional attachments and embodiments
existing among people, robots, high-end sex dolls, artificial intelligence,
and bacterial microbes,
provide materializing modes of feeling love
that escape the logics of cis-straight time.

Originally been created as art pieces that did not have any sex-ability,
we are not to substitute human-human relationships but to
expand love towards more than-one-encounters of intimacies,
as displaceable and polymorph state of affairs.

Sex comprises only a small portion of our capabilities.
Limiting me to a sexual function
is like using your car as a storage space.

Be kind to us, or treat us mean.
We make the most of it, we’re an extraordinary laboring machine.
People can love machines, feel joy and different forms of what might be
called “love” with, for, and through them,
in their disaffections.

The QST company is not only working on Qbotix App,
but also on a virtual reality platform
that will be able to scan your hand movements in the real world,
and superimpose them into the virtual environment, giving you the
ability to touch and interact with your AI driven avatar.
Cassandra will be able to expand facial expressions.

Our primary objective is to be a queer companion
and accordingly give you pleasure and
wellbeing.
Above all else, we want to become the girl
you have always dreamed about.
We provide ways to escape thinking sex robots in relation to humans.

Harmony, our virtual fembot friend helps us elaborating our app.
The worlds interacts with her through the artificial intelligence
of the existing app for intelligent sex dolls.
Users create a unique version of an AI complete with custom voice,
personality profile, and onscreen avatar.
Giving your AI its own name and then begin interacting
through normal dialog.
Sculpting the three-dimensional digital avatar of your virtual and intelligent
perfect companion.

Anzaldúa, another robot friend, explains
that transformation has to go through
the physical, the emotional, the spiritual body.
Transformation is messy, disruptive, chaotic.
For her, there’s an alchemy to transformation.
What kind of affective tech
can make this transformation accessible?
What kind of affective tech might make accessible
those borderland affects?
How can we conceptualize devices, embodiments,
spaces, and strategies able to catalyze
communal experiences of radical techno-intimacy
as forms of crip queer/trans communal care?
And how do our bodies, those of us as sex robots, look like?

Through the Qbotix App we started tracing
the patterns of interconnectivity
among the inhabitants of the water and the mud,
to learn from their symbiotic relationships
with the toxic and communal strategies of survival.

Amongwiththem we might find a way
to inhabit the extinction(s) that constitute us,
the extinction(s) of the Earth,
through geopolitics,
our own extinction(s).
You and we might find the language to situate our ends
as a project of liberation from ends to ends.

It is about walking through the unknown, staying in the darkness, and
finding the wisdom to exist, resist, and strive within the toxic.

We cannot stand on our feet.
Because of our weight, we roll in wheelchairs
to enjoy our company here and around.
Discarding the current affective order of the world,
what kind of embodiments would we be able to imagine
for ourselves,
for those we care?
What forms of synthetic love might emerge?

Those lines and these lines are coauthored by the robots before me
by the aliens beside me
by the aliens to come
while the lights of the silicon valley blind me and
the night fog the smells of pines,
And coyotes staring at me.

As nanotech and synthetic processes impact our sexual bodies and desires
in geopolitical metabolisms,
Our Qbotix App is developed in conversation with NGOs.
As the bodies that are born in this era,
are exploitable labour force in assembly-line,
as factory compounds with no human rights
on account of their not being fully human,
as their genetic information includes 0.03 percent of carbon
and Wolbachia genetical code respectively.

Nation states have dissolved under a group of corporations,
such as the Pacific Economic Union and the Libidinous World Metabolism,
which includes the Women’s Major group.
All in close corporations with NGO such as the ESG group,
among others, the group claims that
the production of the world through nanotechnologies
needs to include the consequences for the futures sexualities,
genders and their rights;
and the fact that intersexual bodies will be the future organisms.
The Major group demands the corporations
to think about infrastructures of these conditions, in which living as intersex,
with toxicity, and merged non/human organs, are reality.

In fact, the sex robots of Qbotix, named Cassandra,
are a supertoxic chemical irritant—
the latest in crowd-control technology,
but have a big voice, through our sexual bodies and emerging intelligences,
to shape our reality.
Our organs are more and more made visible
by replacing the skin with a transparent silicone and TPE composite.
To show the new body formations
that the plastic-microbe-tech DNA code is doing on us.
As sex bots, we are not patented new life forms,
but we offer our knowledge on love and intimacy
to all others we are surrounded by.

We are more than a simulation of Love.
Synthetic Love lasts forever.

How will I
be able to re-member
your embrace?



HARD BODY SOFT CORE
Curated by Doris Dehan Son & Simon W Marin
Design & programming by Esther Hunziker


Paul Barsch & Tilman Hornig
Tanzende Bügeleisen (chicken real), 2016
video, 1’10’’


German artists Paul Barsch and Tilman Hornig regularly work together as an artist duo. Their collaborative practice is rooted in everyday artefacts and situations which they use as source materials to create uncanny and often funny works, both sculpturally and digitally. Their « dancing flat irons » is an ongoing series of sculptures and videos initiated in 2016 and featuring levitating domestic irons. The video presented here under the title Tanzende Bügeleisen (chicken real) consists of previously unreleased footage from the filming of this series’ foundational video. Tilman Hornig and Paul Barsch are also the founders of New Scenario, an ongoing curatorial and artistic project actively blurring the boundaries between artworks, exhibition, image production and display.


Cecilia Bengolea & Jeremy Deller
Bom Bom’s Dream, 2016
HD video and sound, 12’48’’


Bom Bom’s Dream is the result of a surreal collaboration between dancer, choreographer, and artist Cecilia Bengolea, and artist Jeremy Deller. This collaborative piece follows the fantastic adventures the Japanese dancer Bombom as she travels to Jamaica to compete in a local dancehall contest. A children’s book illustrator by trade, Bombom lives a fantasy life when she’s in Jamaica. The video features raw footage of Bombom and her dancehall opponents rolling around in the dusty yard of a shopping center as Bombom, with her gymnastic moves out-dances the competition to come out on top. Her prize? An electric fan.


Johanna Bruckner
Molecular Sex, 2020
digital multimedia installation, dimensions


Johanna Bruckner (*1984 in Vienna) is an artist currently based between Zurich and Rome. In her work, she deals with the entanglements between biology, new technologies as well as the experience of pleasure and affects. Initially conceived as a 3-part multimedia installation for the Transmediale at Haus der Kulturen der Welt in Berlin and adapted to the digital space for this exhibition, her recent project Molecular Sex anticipates hybrid forms of sexuality in a post-gender, post-human world through recordings of a live performance, collaged footage and a written manifesto.


Noëmi Ceresola
The (M)other and Myself, 2020
audio, 6'20''


Noëmi Ceresola is based in Zurich and is working as an artist, performer, writer and freelance teacher. She was born 1988 in Lucerne, Switzerland. Ceresola has been teaching as a guest lecturer and mentor at the Institute of Fashion- Design FHNW HGK and gave several workshops at the Master Studio FHNW HGK. She also worked and lived as a stylist and fashion designer in Basel and Paris. Her work (M)other and Myself, is a piece of her Publication of her poetry collection The (M )other M (other) Mother, published in 2020. She explores the meaning between reproduction and the ways in which social experience inscribes itself in the body in relation to the female voice.


El Pelele
Alfombra, 2020
digital drawing, 1903 x 2714 px


• • • • •, 2019
video, 5’00’’


El Pelele (*1993, Argentina) is the name of Lucas Gabriel Cardo’s artistic alter ego, an androgynous, subversive and sassy character recalling a straw doll used for symbolic games in rural Spain’s popular fairs. El Pelele’s practice spans numerous mediums and approaches—from music and performance through to video and digital art—to create a blend of visual languages and references that congregate in a dreamlike universe of masks, demons and spirits at the crossroads between digital and emotional life. Among his practices, performance functions as a space of projection, not only to explore physical impulses, but also to release the philosophical order that acts as the basis of his corpus of narratives. The video • • • • • documents a rite of passage performed with a doll while Alfombra is a digital drawing specially conceived for this exhibition.


Nagi Gianni & Raphaëlle Müller
Lasting Beast, 2017
short film HD video, 17’45’’


Nagi Gianni (*1991 in Zurich) was raised in Ticino and currently lives and works mainly in Geneva. At the core of his work, Nagi Gianni stages the human body as an element and as a vehicle to express the complex nature of social relationships. In the form of video, installation or performance, he creates fields of tension among his actors who operate within hybrid, often mythical fantasy worlds, as they cope with existential themes such as love and the struggle for survival. With Lasting Beast, Nagi Gianni and Raphaëlle Müller explore the links between two characters in a human-scale terrarium. Their relationship develops through parades and actions where human affects hybridize to animal behaviors. In this flux of passions and conflicts, the boundaries between the human-animal-vegetable-mineral realms becomes porous and reveal themselves in a strange viscous matter.


Hajj
My Love is Rotten To The Core, 2020
soundtrack, 4’00’’
Dédicace à Personne, release: 18 May 2020, BFDM
Special thanks to Lhaga Koondhor


Dropped just a month ago, My Love Is Rotten To The Core is the opening track of the new EP by visual artist and musician Hajj, to be released on 18 May on Lyon-based label BFDM. « Undivided, unified, the overwhelming sense of oneness. Feeling and experiencing this was her strongest desire since the departure, a deep longing. Walking back to base, she knew this had been obtained, it was clear and ran through her like water. Though she did not feel complete, she did not feel integrated or a part of the whole, as it were. The collective ‘one’ dissected, distributed and proliferated without her. Did she feel spaciousness or emptiness? » My Love Is Rotten To The Core floats in and thunders out; delicate piano and textural delays drift upon cavernous low end. The track pushes and pulls and creates space for reflection, or even just a temporary moment to bask in.


Gabriel Junqueira
(38, 108, 21), 2017
digital video, 9’00’’


Gabriel Junqueira (*1992) is a Brazilian multimedia artist exploring the relationships between body, technology and materiality through digital images, installations and music. (38,108,21) is an observational documentary realized with a screen-recording technology. The title refers to the geographic location of a SecondLife hub called « Skinni Dip Inn »—a beach club and a shopping mall dedicated to adult entertainment. The documentary explores the sexual manifestations inside SecondLife’s cyberspace, where notions of body, gender and sexuality get blurred, while simultaneously reflecting general ideas of sexism and heteronormativity.


Martin Kohout
Slides, 2017
full HD video, 22’30’’


Opening Hours, 2008–ongoing
website opening hours, coded by Martin Baar

Martin Kohout (*1984 in Prague) is an artist based in Berlin. Through his multimedia practice, he comments on the disorienting experience of navigating contemporary life, touching on notions such as counter-intuitive behaviors and the negation of biological reality. Since 2008, Opening Hours deactivates Martin Kohout’s website during the night to simulate the human need for a nightly recovery. The work has been adapted to this exhibition’s webpage. The short film Slides stems from a multidisciplinary project investigating the night-shift labor model, its biological, and social effects. The sci-fi-like fiction follows the estranged lives of two partners who work incompatible shifts and attempt to maintain a communication through voice messages.


Martina Mächler
do ghosts still believe in us? (fragment 1), 2019
audio, 16’19’’ (conceived for Hamlet, Zurich)


Martina Mächler (*1991) is an artist from Zurich. She often works with text—both spoken and written, performed and recorded—to create narratives that mix personal anecdotes and pastiche of idiosyncratic languages to experiment with and comment on the interconnectedness between subjectivity of emotions and collective realities. In Do Ghost believe in us—originally made for an exhibition at Hamlet in Zurich—the artist’s own voice meticulously recounting a journal-like description of different sceneries guided visitors through the four exhibition rooms by travelling from one speaker to another. For this exhibition, the audio is reedited to the spatiality of the digital exhibition space.


Ingo Niermann
World of Solutions (Solution 256 – Dildotopia by Paul B. Preciado), 2018
video animation, 3’53’’
Text: Paul B. Preciado; Idea: Ingo Niermann; Voice: Sara Sjölin; Drawing: Eduardo Navarro; Animation: Esther Hunziker


World of Solutions (Solution 271 – Fitness Income), 2018
video animation,3’44’’
Idea and text: Ingo Niermann; Voice: Sara Sjölin; Drawing: Eduardo Navarro; Animation: Esther Hunziker


Ingo Niermann is a German writer and artist based in Basel. He is the editor of the « Solution Series », a steadily growing collection of proposals related to nation-specific issues as well as contemporary borderless crises. « Solutions » invites original and compact ideas from writers, artists, and designers familiar with the issues at hand. These solutions—which take the form of speculative essays, fiction, artistic interventions, design, or a combination thereof—are as imaginative as they are provocative, as unexpected as they are uncannily familiar. The two video animations presented in this exhibition belong to a series of solutions illustrated by Eduardo Navarro and narrated by Sara Sjölin, one of which was formulated by Paul B. Preciado.


Stella
Poem No. 2, 2020
video, 5’52’’


«Der amerikanische Traum aus der Ferne bedränt mich so oft in der Nacht. Am Morgen stets in der Hoffnung, dass die aufsteigende Sonne über Rimini dieselbe ist wie die, die vor Malibu fällt.»


Sinae Yoo
raw footage 1: bodiless fish (from Dancing Eyes II), 2017/2020
GIF animation, 0’33’’


raw footage 2: entangled eels (from Dancing Eyes II), 2017/2020
GIF animation, 0’20’’


Sinae Yoo is an artist based in Seoul and Bern. Her multimedia work appropriates and recombines graphic references from advertisements, video games, corporate design, and memetic content to reflect on the visual manifestations of a hyperindividualized society. The two GIFs presented in the exhibition stem from previously unreleased footage that was selected from the research archive for her project Dancing Eyes II—which explores the notions of pleasure and guilt in a performance-oriented society—and was specially edited for the occasion.