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ONLINE: Works of the exhibition »Our Loves Are Not Only Human«
Johanna Bruckner »TECHNO-SEX Bots: Molecular Sex, Synthetic Love and Quantum Bodies«, Umber Majeed »In the Name of Hypersurface of the Present«, Gary Zhezi Zhang & Agnes Cameron »Permacultural Network«, Tiare Ribeaux »Bioplastics Cookbook for Ritual Healing«
17. March 2020

»Our Loves Are Not Only Human« is AVAILABLE ONLINE

Due to the current spread of the coronavirus in Germany, we had to and wanted to end the exhibition »Our Loves Are Not Only Human«, which had been on display at Projektraum Römerstraße 2A in Stuttgart since February 20, 2020. The exhibition »Our Loves Are Not Only Human« is dedicated to selected digital projects that have been produced over the past two years in the context of the Web Residencies by Solitude & ZKM. For the first time since the program has been established, various works by »Web Residents« will be transferred from their online presence to an offline exhibition. Fitting the current situation, the works on display are concerned with the theme of collective care and responsibility. They demonstrate the necessity of developing alternative narratives and modes of action.

If you missed the exhibition, you can also view the online works from home. Further below you will find all links to the individual projects, interviews with the artists and background information on the works.

The participating artists Johanna Bruckner, Gary Zhexi Zhang & Agnes Cameron, Umber Majeed and Tiare Ribeaux enact a speculative future in which both human and non-human worlds are taken into account. The projects shown in the exhibition boost awareness of collaborative and more inclusive experiences, and stimulate the building of new relationships. Observers are invited to employ the power of the imagination in order to question current political power relations and structures.

Web Resident »Engineering Care«
Johanna Bruckner

»TECHNO-SEX Bots: Molecular Sex, Synthetic Love and Quantum Bodies«
2020, 4K video, 18 min.

The future is often portrayed as a breakdown of the human condition. In contrast, Johanna Bruckner sees the hybridization of the human and the non-human as the seed of an indeterminacy and general transgression of being. Her video installation creates a world of entanglement between human, animal, technology, sex, and atmosphere, a world marked by molecularization and networking. The fluid main characters, fictional sex bots, present plastic as a chemical substance for manipulating biological life. In their performances as brittle stars (a sea creature) or as nanotechnical beings, they distort not only the act of love, but also the sex. By means of technical prostheses, Bruckner changes the perceptual references and patterns by which subjects understand the world, thus simultaneously expanding the limits of the perceptual apparatus.

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Web Resident »Refiguring the Feminist Future«
Umber Majeed

»In the Name of Hypersurface of the Present«
2018, works on paper and multi-chapter animation

»In the Name of Hypersurface of the Present« is an animation and speculative fiction on the feminist historicization of Pakistan as the first »Muslim nuclear state« through state and familial archives. The script is written through the canon of patriarchal state structure via a fictional, populist, contemporary Urdu poet; subversively implicating the bodies of citizens, specifically women, as the containers to perpetuate state sanctioned notions of love, science, and nature. The narrative inverts this »In the Name of God« rhetoric initially used to push the Pakistani nuclear project. The research materials are an extension of an animation series, »The Atomically Explosive Love.«

This narrative proposes a phallic green cone as a stand-in figure to replace Chaghi Monument Hill, a recently destroyed state monument. The video functions as an instruction manual both conceptually and structurally for citizens displaced from the »Chaghi Monument Hill«, a site used for male-dominated celebrations of »Youm e Takbeer«, a national holiday that commemorated the nuclear tests done in the 1990s. The fiction and choreography expel how the phallic green cone/green light is inherent and can be activated through the cones in the eye and ear, reproductive cones (within plant life), cones in digital space (modes of projection), and within theoretical physics to reconfigure the measurement of time-space. Green light functions as a mode of spirituality perpetuated and disseminated by Pakistani nationalism, Islamic Orientalism, populist green screen interfaces, and light therapy.

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Web Residents »Rigged Systems«
Gary Zhezi Zhang & Agnes Cameron

»Permacultural Network«
2019 – ongoing, web-based simulation, reader, research material

»Permaculture Network« is an ecological simulation which imagines an ecosystem as conversations between non-human beings. It takes a combination of live weather data, traditional folklore, and an agro-ecological survey to create a shifting generative landscape of Sakiya, an institution for art and agriculture in Palestine. Drawing from Donna Haraway’s notion of partial perspectives and situation knowledge, interspecies dialogues form between plants, animals, natural features, and geological substrates on the site, represented by ASCII characters.

As the networks of conversation develop, bonds of affinity begin to form between plants in permaculture guild relationships. At times flourishing in symbiosis, at times troubled by herds of goats and other grazers. An agent-based simulation model allows these intimate narratives of ecological care and correspondence to develop in complex and surprising ways.

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Web Resident »Planetary Glitch«
Tiare Ribeaux

»Bioplastics Cookbook for Ritual Healing«
2019–ongoing, web-based cookbook, bioplastics sculptures

The »Bioplastics Cookbook for Ritual Healing from Petrochemical Landscapes « refigures materials and methods for radically remaking the historically dominant petrochemically derived plastic materials that we use in our everyday lives. This online DIY recipe and storybook envisions tactics for reclaiming, rebuilding, and healing from the extractive and destructive processes of techno-capitalism by using renewable biological materials and open-sourcing these alternative processes, urging for a collective shift in our material relationships. The project is informed by the Additivist Cookbook by Morehshin Allahyari and Daniel Rourke, and Allahyari’s concept of »refiguring« as a decolonial practice.

This online book catalogues DIY protocols that can be done in homes or guerrilla kitchens to create bioplastics and materials from accessible and renewable ingredients such as agar-agar, starch, glycerin, natural pigments, and food waste. These recipes and their results are documented online as text, photography, and video. Additionally, the »Bioplastics Cookbook for Ritual Healing from Petrochemical Landscapes « interweaves stories and images about materials and mythologies, such as the entanglements of »plastiglomerate« and the Hawaiian volcano goddess Pele, and nonhuman species such as Larvaceans, who filter microplastics from our oceans.

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