“Until the End of the World” is an operatic culmination of Gannis’s two-year long project “The Selfie Drawings.” From the 52 drawings, 17 videos and 52 augmented realities works she produced for the project, this final long-form video is the artist’s method for weaving together, from a feminist perspective, multiple themes, such as selfhood, otherness, and emerging intelligence.
The work begins with a nod to both Leon Harmon and Ken Knowlton's “Computer Nude” (Studies in Perception I) from 1967, and to Wim Wender's 1991 film “Until the End of the World.” The Wender’s film still Gannis refers to is set outside, where a woman lies under a rocky cliff transfixed by a small handheld device. Gannis re-creates this rocky cliff and places it in a domestic setting with “reddish-pink wallpaper” — wallpaper that is “alive” — a reference to Charlotte Perkins Gilman early feminist text The Yellow Wallpaper. Gannis states that something appealed to her about rugged exteriority coupled with the signifiers of “feminine” domestic interiority.
All of the lyrics in the work are read by computer voices, “Super Freak” by Rick James was one of Gannis’s favorite songs as a little girl. Being a freak to the artist is like having a super power. The other lyrics spoken throughout the work are from “In the Year 2525,” a pop song from 1968 about our over-dependence on technology. It is quite apocalyptic, or as Gannis prefers to call it, “aPOPalyptic.”
“Until the End of the World” premiered at DAM Gallery, Berlin in November of 2017. The work connects and amplifies narrative components threaded throughout Gannis’s Selfie Drawings project theselfiedrawings.com/.