Omsk would like to offer an rgp based online as part of the web residency program below is a conceptual text about play, pattern and hack.
A subjective rationale for LARP and RGP as a Life Pattern Hacker.
A live action role-playing game (LARP) is a form of role playing game (rgp) where the participants physically act out their characters’ actions and social patterns.
Real Game Play (RGP) *mutation of rgp see above, is a combination of Larp and your own identity/lived experience – think of it like a meta structure of you and the character given to you to act out.
Why re-appropriate Life as a Hack?
We re-appropriate Life out of fascination. What lies beyond the standard state of perception? commonly based on cognitive emotions and experience is something RGP could tap into.
For example, if you listen to the same track over and over and over for 18 hours straight, like CA Conrad did with Bobby Vinton’s Blue Velvet, you start to notice the hauntology of the active cell, which in this case is the track. CA declared he literally had to pull the socket out of the wall to know the electric was off and the track could no longer be played, he became so attuned to the track – the track became the architecture of his perception of space.
Re-appropriating life allows the human mind to be disrupted and brought into a state of the uncanny enabling it to hack its common nodes of perception and taught identity. For example, the uncanny could be likened to the leach and the blood it feasts on to unconscious excess. We don’t die from the leech sucking our blood, but we do enter another mode of existence, we become a life force for another being. This state is both actively restricting and co-habiting with the leach. We could call this the moment of Meta-living with another being, in the case of Larp, your character.
Could this be a political resistance or re-mapping?
The points, focuses, knots, blockages of the body are always inflamed, but in certain moments in life, they rupture or release in radical serenity.
We are all workers today, because nobody really works in the western world. We play our roles the guru, the cop, the young girl, the hipster, the teacher etc etc. We could say we have bred a new culture for the entertainment of work. It has reached such a level of abstraction over the last decades that we have entered another plane in our socio-economic-lifestyles – one that is equally as uncanny and fantastical as the games we could play for an alternative future.
I believe the greater the parties invisibility the more it opposes. The greater the visibility the more it becomes part of the integrated machine.
Is this a theory?
One can see clearly enough that the play is neither theory, nor its negation but simply something else. Theory has a simple role to make itself understood. Fiction does not but fiction is the apparatus needed before the theory can be set out.
Omsk Social Club Feat PUNK IS DADA Lives and works in Berlin.
Omsk studied at The Glasgow School of Art in 2008 and went on to attend the European Graduate School Summer Institute in 2015/16. She has just finished the Gleis 70 residency program in Zurich, Switzerland January-April 2017 to which Prohelvitca awarded her the international artist stipend for. In May she performed a Live rgp at the opening ceremony for Middlesbrough Art weekend at the Modern Institute or Art, UK and she will go on to have a solo exhibition at Gold and Beton, Cologne in June entitled Deep Intimacy.
She has exhibited across Europe in various institutions, galleries and offsites such as Migros Museum für Gegenwartskunst, Zürich, Bergen Kunsthalle, Gold and Beton Cologne, »Vomit Apocalypse« for Glasgow International and Kunsthalle Zürich. Last October (2016) she attended The Eternal Internet Brother/Sisterhood residency in Sri Lanka curated by Angelo Plessas and was awarded the 8th ARTWARD Junior Prize in Munich.
Her theoretical essays and creative texts have been commissioned for Status Effect curated by Andrew Varano, Websafe2k16, Oncurating.org – »Alienation and Estrangement Issue« edited by Dorothee Richter. She was also recently included in the book Polar Reflex for the exhibition »The Internet is Present« edited by Reese Riley. She coined and works heavily with the concept of Cosmic Depression – The theory of depression caused by digital utopia (Paradise without Ecology).
Her practice spans from visual to theoretical production often using the model of gaming. Working with a cross disciplinary practice and over many avatars or pseudo-names, she is constantly observing and questioning the concept of Self, Individualism and the community both in off and online scenarios. Pioneering the spectacle Ying Colosseum in Berlin (2015-2016), She is heavily influenced by her peers and their voices as collective anonymous mass often incorporating them into her Meta Larps, one may liken her to a new form of relational aesthetic practice.
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