is a collection of digital artworks that can be purchased on s(edition) as authenticated digital artworks or as NFT’s.
Spirit World is a series of video loops that consider that what we call nature and that what we call technology. In this series of observing practices we are engaging with a variety of interrelations: how do we see technology, how do we see nature, how does nature see technology, how does nature see us, how do we see nature through technology, how has technology become natural to the ways we are seeing, what do nature and technology have in common, what do we want from technology, what does technology want from nature, why do we look at a semi-conductor wafer in the rippling water of a creek and are reminded of the moon?
Our approach towards observing is to pay attention to seeing in terms of images, while being perceptive towards the invisible in terms of imagination.
On the occasion of the launch, we did an Interview with Vladislav Alimpiev on June 16, 2023
Flickering Exposure, 01:35, loop, HD Video, Edition of 50, each $50
Snow Globe, 01:28, loop, HD Video, Edition of 50, each $50
Lily Pad, 10:10, loop, HD Video, Edition of 50, each $70
Phone Island, 01:33, loop, HD Video, Edition of 50, each $50
Stabilized Eruption, 02:51, loop, HD Video, Edition of 50, each $50
Water Jewel, 01:52, loop, HD Video, Edition of 50, each $50
Yellow Moon, 02:53, loop, HD Video, Edition of 50, each $50
Vladislav Alimpiev: Could you tell us a bit about the series you are launching on Sedition, Spirit World? What ideas did you intend to explore in this work?
Hajoe: Spirit World is part of our current body of work we call Our Non-Understanding of Everything, where we look at forms of energy that coexist within bodies of gaseous, fluid, and solid matter and how they influence each other. Trees grow their roots into the soil; our smart devices grow data into our subconscious. Jack o’Lantern mushrooms glow at night to attract insects; protesters in Hong Kong used flashlights on their phones to protest the political situation of their city.
Franziska: Spirit World is also informed by our encountering the Buddhist and Taoist traditions of the Hungry Ghost Festivals in Taipei and Hong Kong when people placed food offerings in front of their houses or shops to feed the hungry ghosts, who come and roam the earth in the month of August when the gates to the afterlife are opened. It’s a celebration to honor the ancestors by providing them with food and also entertainment, which means there will be performances of traditional Chinese operas or puppet plays that humans and puppets perform for the spirits. What fascinates us about this kind of performance is how it opens up the possibilities of two simple questions: What is a stage? and Who sees the performance? By initiating physical interactions between elements from the natural world and human-developed technologies, we are trying to widen our understanding of performance and increase the number of answers to these two very simple questions.