Johanna Bruckner

Bruckner understands net pornography in terms of its affectively interwoven corporeality, formed between sensation, technology and labour within the internet. The principal element in her new multimedia installation is the net porn data that dissipates, becomes lost, and fails because it is outside the spectrum of the usable. Aggregating these „non-existent“ data into corporealities of transition, Bruckner’s collage, in which she collaborates with performer and choreographer Kihako Narisawa, envisions the potential of digital failure as a refusal to submit to contemporary „dataveillance“ society. These bodies propose the conditions for a trans-corporeal experiences and their infrastructures as they are no longer inserted into the production process as mechanical human engines forced to move to the rhythm of the machine, the internet. Rather, they are born of assemblage of data crumbs, cybernetic rupture, as material-social assemblages, which embody prosthetic forms of cyber struggles, Dark Room sci-fi, and the social bonds of extra-terrestrial bodies.

Hypermorphisms - objects of silicon, clay

I investigate this non-existent data in its vibrating aggregates of waste in invisible transition. At the same time, objects of sexual pleasure are chemically linked to the very plastics that, in their molecular texture, make sexual indifferences possible. Through the perpetual bending of and movement among and between human, animal, technology, sex, and atmosphere, queer new worlds are inadvertently being birthed from the human quest for alien, synthetic pleasures. Understood as a post-digital substance that continuously fuses connections of digital and virtual, these objets are a corporeality beyond its human limits, as an abstract mass in dissolution.