10 channel video instalation

The title of this exhibition has an association with the original Greek meaning - a flood of words without point and connection, endless volubility. The root of the word logos, word, comes across in this context as the sign, the logo. Through simple software, the personal name and the surname of the artist, composed of 16 signs, is transformed into anagrams, from which, on the basis of the set letters, certain new meanings are generated in an endless sequence. The almost obsessive and mechanical repetition of the face is accompanied by the monotonous machine generated voice. In rhythmical sequences the words resound in their repetitive patterns with the hypnotic effect of a breakthrough into unconscious. When one figure is ended, another starts a new anagram, and so on ad infinitum: DEEP ANIMAL DANGER, A DEEP MARGINAL END, MADE DERANGE PLAN, A MIND ENLARGED APE, ANGEL DREAMED PAIN....

The simulation of the pronunciation of words with the mechanical voice gives an impression of the surreal; it seems as if the language is talking through the person, instead of the person is talking in language. Although everything takes place with the use of contemporary technologies, the verbal automatism recalls some of the artistic procedures of Dada or Surrealism. The language, resigned to machine- generated instructions, behaves in a way like Surrealist automatic writing or the Dadaist poetic games with words pulled at random out of a hat. Through a computer - generated virus that spreads out of control, language creates a semantic jumble, but the concepts created, the only context of which is the name and surname of the artist (from which they are derived) all the same bear witness to its infectious applicability. "The use of the name in a sense reflect the time in which we live, and in which we are increasingly coded. Codes have become some kind of virtual independent existence, sufficient unto themselves.", notes Magdalena, describing Logorrhoea.

The work Name is an Anagram (Kibla, Maribor, 2002.) which preceded the current project, which had associations of being immersed in typographic bath, created with its infinite penetration into the depths through reflections of anagrams in a mirror an optic illusion similar to hologram. The apersonal and cool approach to auto-representation is now just a first step to renewed penetration past the real, this time with the suggestion of immersion in a "sonic bath".

From the letters of the name about a half a million different concepts are created, such as angel, adrenaline, pedigree, pain, engine, drama, anal, rape.... on the one hand there is the figure that in the role of presenter without any emotions utters the anagrams, and its characterless mechanical face. On the other hand are the computer generated project that, inherently loaded with meanings as they are, provoke powerful emotional associations.

However little is may seem so at first glance, technology here is used for the creation of a communication channel, and for something much more radical the transformation of the artist into a means for the transmission of certain experience. The programme that produces the words operates autonomously, without human intervention. The random appearance of a language bereft of the imperative of communicativeness nevertheless retains its infectious nature, spreading rhythmically like a religious mantra through the virtualised subject of the artist.

William S. Burroughs claimed that communication can best be understood as an infection created by language itself ("Language is a virus") and a person in the communication process is no more than a conductor, a channel for the transmission if ideas. In this context, human existence is just a particle caught up in an inconstant and entangled totality. While contemporary thinkers claim that there is no "substantial" I, capable of predicting the field of social interactions, an idea corroborated, writes Žižek, by western Buddhist, with their insight that the I is nothing more than a conglomeration of elusive and heterogeneous events, our experience increasingly becomes an experience of isolated I immersed in its own hallucinatory sphere 1.

In this kind of space of isolation and abyssal, not only among the different subjects, but also of the subject itself in itself, the presence of language is some kind of common bath in which the I is refracted in a spectrum of different concepts. Creating the suggestion of immersion in a sonorous rhythmically articulated torrent of language, the artist brings to the surface the fact of robot automatism, which is not just product of artificial and technological virtualisation but is a component part of everyone's emotional and mental makeup. The time of technology we live in has only heightened the fact of robot activity to the extremes.

1. Slavoj Žižek, O vjerovanju/ Nemilosrdna ljubav, p.64 Algoritam, Zagreb 2005.

text by: Iva Radmila Janković MSU Zagreb

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