Fabricated Freedom – Graphics

Project Promotional Campaign
Tech Details Broadsheet, DIN A6
Client Lawbf, Justin Wu
Production Mohammad Mehrabani-Yeganeh, Daniel Cupic
Executive Producer Harish Tulsi
Consultants Cecelia Stucker & Ambre Kelly
Location Wallplay (New York), Kantine am Berghain (Berlin)
Event Fabricated Freedom, LAWBF VI
Year 2015
More info

Synopsis

Debuting at New York’s Wallplay on 20 November 2015 and traveling to Kantine am Berghain in Berlin on the 29th, the piece was conceived by Berlin-based collective LAWBF and Canadian artist Justin Wu incorporating interactive sound by MOTE Studio’s Davide Luciani and Fabio Perletta and app development, design and digital consultation by Daniel Teoh. For the Berlin edition of Fabricated Freedom the content from the New York projections will be transformed into a hybrid club-installation concept with performances by Miles Whittaker of Demdike Stare, Ostgut Ton’s debut artist Kobosil, theatre musician and composer Friederike Bernhardt, and a video sculpture by Davide Luciani.

The title phrase was culled from Norman Klein’s The Vatican to Vegas: The History of Special Effect, where he examines the notion of “scripted spaces” – which Klein defines as click-through environments designed to encourage viewers’ perceived limitless options despite the space being engineered precisely for a specific mode of perception – as a continuation of Deleuze and Guattaris’ “desiring-production;” where they envisioned a space in which consumers intermingle branding efforts within their own psychic fantasies and create a sphere for social energy and exchange to funnel.

Inherent to Fabricated Freedom is smart phone technology. A twofold commentary on our increasingly dependent relationship to social media – how it dominates our interactions as well as the way we perceive and want to be perceived – is demonstrated across this two-room installation. Participants will enter the initial space utilizing a social media application inspired by Instagram and Snapchat to capture the seemingly ordinary individual they encounter in the nondescript space. Simultaneously, their feed will project to an autonomous audience in the secondary space accompanied by a soundtrack generated from an algorithm arranging the ambient acoustics of the first room. By displacing their audience, this performance highlights the tendency of social media in deterring users from experiencing the now and orienting our relationships to the present through the filter of documentation. Perhaps removing the pressures of creditability will encourage participant’s reflections outward.