The Remote Viewer

Meshhhhhhhh – Lara Hampe, 2021 The ruse thus materialises, obscuring the impact of paint at 200 miles per hour: where before a snapshot jumped out, a transfer now leans on fabric; and there, where the excitement was, is now a rock-solid translation from the digital. What is found is abstracted and alienated, individual bodies gain weight, grow circularly above and beyond their own limits. Opposites have found each other, one pretends to be the other. There is even talk of a stone that is actually plastic waste. Toxic affinities, dissimilar similarities. The thought arises that we are in the mesh. Immediately followed by the silent wish that it was a net. Is it us who are hiding from ourselves? Are we our own enemies? What is it they say about mimesis: “The plants can now no longer be distinguished from the animals (...) Insects hang like rose petals on a bush (...) And now the plants mix with the stones. Pebbles resemble brains, stalactites teats, iron flowers the ornaments of a carpet.” Unhinged friend-foe thinking. We say “we” because this space is haunted by a team spirit. In the game we become robbers and children, and what is making a place, is making objects differently. In a way, we think they are waiting for us.