Isn't the World just a Great Big Pyramid Scheme

 

 

Isn't the World Just a Great Big Pyramid Scheme ad interventions series, 2019 — ongoing. Media and dimensions variable. 

 

phone office, 2021, ad intervention collaboratory with Jasmina Al-Qaisi, at Ku’damm 42, Berlin, 52°30'07.5"N 13°19'16.9”E

‘The video text shows remains of a wasteland of perception where accelerated communication slows down: The phone watching and being watched is a “workplace” where the user is squeezed in dissidence to both productivity and consumption, translating the world.’

stills by Victoria Tomaschko
gossip, fleeting moments, and performances ehibition
choreographed (or: curated) by Anja Lückenkemper and Sandra Teitge

 

Insufficient Browsing, 2021. Video with sound, 6:26", commissioned by Unfinished and High Line Art. Display view, Backyard at Hudson Yards presented by the High Line and NYC Parks.

As part of the ongoing series Isn’t the World Just a Great Big Pyramid Scheme, Insufficient Browsing dwells on our degrees of embeddedness on earth’s digital double, and its continuous tension with our efforts to achieve equality. It addresses decentralised and unregulated ecologies of value creation surrounding data in the digital space. It ponders on the complexity of the personal data economy, the feedback loops involved in this economy; how our data reshapes the internet. Our increasingly networked world brings both harsher forms of domination, and possibilities for new struggles for liberation.

 

 

Assimilation, 2020. Video 00:36", city billboard, 4°38'24''N 74°4'12''W. Display view, exhibition 9:16, Colombia. Images: Juan Covelli

 

 

Assimilació, 2019. Display view,  La Virreina, Centre de la Imatge in Barcelona, for group show “Rather than más bien que en lloc de”

 

Marginalia #55, 2019. Visual intervention on Terremoto magazine's instagram and web as ad space. Marginalia is a section where 'agents of the artistic system are invited monthly to share a selection of images related to their practice or current interests'.

 

Gabriella Torres-Ferrer © 2024