Aimy’s Melancholy
Tzusso arrow-yellow arrow-white

×

9—10/21

Aimy’s Melancholy exhibition view
Aimy’s Melancholy exhibition view
Aimy’s Melancholy exhibition view
Aimy’s Melancholy exhibition view
Aimy’s Melancholy exhibition view
Aimy’s Melancholy exhibition view
Aimy’s Melancholy exhibition view
Aimy’s Melancholy exhibition view

Pressrelease

”Aimy’s Melancholy” is a video installation and essay about the exclusively virtual life of Aimy, a k-pop singer and a notorious avatar who wants to reform its existence and take the first steps towards its training as an activist. Inspired by Donna Haraway and her “Cyborg Manifesto”, Aimy questions its digital existence and embarks on an adventure that aims to seek freedom. Starting from here, the answer to the question “what does it mean to have a virtual life?” determines the orientation of a political movement and an ideology that focuses on the destinies of lives lived by machines.

”The main trouble with cyborgs, of course, is that they are the illegitimate offspring of militarism and patriarchal capitalism, not to mention state socialism. But illegitimate offspring are often exceedingly unfaithful to their origins. Their fathers, after all, are inessential. (…)

Who cyborgs will be is a radical question; the answers are a matter of survival. (…) Cyborg unities are mon-strous and illegitimate; in our present political circumstances, we could

hardly hope for more potent myths for resistance and recoupling.”

TZUSOO (b.1992 in Seoul) lives and works in Berlin, and is well known for her extraordinary images and videos about virtuality. In her work, the artist experiments with shifting borders by virtually merging the reality and non-physical reality of objects. The main themes of her work are a deeper scrutiny of social minorities, the conditions of work in the digital gerneration, age/racial/gender discrimination. TZUSOO’s works combine a core sociopolitical interest with her own (lived) experience, creating a space for coexistence from multiple perspectives.

Project supported by: AFCN, Teatrul Național Marin Sorescu

Parteners: Revista ARTA