POCHEN Biennale 2022 – “Die (neue) Vermessung der Welt”
29.09. bis 09.10.22



Anastasiia Belousova & Michael Saup
ru-de | in-fossil 

“Ich habe die Himmel durchmessen,
jetzt durchmesse ich die Schatten der Erde.”
Grabinschrift Johannes Keplers

“I have measured the heavens,
now I measure the shadows of the earth.”
Johannes Kepler’s epitaph

Vermessen, entsprang ich den Schatten der Sonnen, dem Feuer des Abgrunds, und entfachte den Geist der Himmel.

Presumptuous, I sprang from the shadows of the suns, the fire of the abyss, and kindled the spirit of the heavens.

WORLD is a cosmography of hybrid artifacts for the perception of the transient world, an ephemeral promise of a mutable universal future. Simultaneously analog and digital, fossil and “infossil”, transient and infinite, a “bio-numerical” reassignment and retransfer of digital phenomena of technical logic to “bio-logical” nature.

Where nature gains the subtractive sovereignty of transience over the additive, human-induced digital process of aspired immortality. The triune myth of the binary singularity concerning the technically solvable dissolves. The value-creation finds an end, creation turns free, we may forget again.

The song begins again: the song for the end of this world transcribing the world for the end of this song.

WELT ist eine Kosmografie hybrider Artefakte für die Wahrnehmung der transienten Welt, ein flüchtiges Versprechen einer wandelbar universellen Zukunft. Gleichzeitig analog und digital, fossil und “infossil”, vergänglich und unendlich, eine “bio-numerische” Rückübereignung und Rückübertragung von digitalen Phänomenen der technischen Logik auf die “bio-logische” Natur.

Dadurch gewinnt die Natur erneut die subtraktive Souveränität der Vergänglichkeit über den additiven, vom Menschen induzierten digitalen Prozess der angestrebten Unsterblichkeit. Der dreifaltige Mythos der binären Singularität des technisch Lösbaren löst sich auf. Die Wert-Schöpfung findet ein Ende, die Schöpfung ist frei, wir dürfen vergessen.

Das Lied beginnt schon wieder: das Lied für das Ende dieser Welt, das die Welt für das Ende dieses Liedes umschreibt.

弾性 地 – Elastic Earth IV,
Justin Kunimune, Félix Pharand-Deschênes, Kirk Bergstrom and Michael Saup – (R-90+16)

Baking World, 2022
Installation, 29 cm x 42 cm
PVA glue, starch, baking soda, transfer print, flame

“Baking World” is a modern world map created specifically to survive nuclear war. The map contains currently widely available household ingredients replicating the legendary “Starlite” material, that is said to be able to insulate from extreme heat and withstand 75 nuclear explosions through the effectiveness of carbon foam. It was invented in the 1970s by Briton Maurice Ward and tested by NASA. It features a three dimensional impression of a Danseij-IV map, a “brand new” world projection by young American nuclear scientist Justin Kunimune.

“Baking World” reflects on the relationship between the Earth and fire, a powerful force of creation and disruption. In the context of long-term increase in the average temperature of the Earth’s climate system and the hypothetical possibility of a nuclear disaster, the need arose to do everything possible to preserve the world in advance – to form it from a material that can withstand very high temperatures.
Anastasiia Belousova (born 1992) is an artist currently living in Berlin. Her work is based on the intersection of technology and humans in everyday life. She seeks to question the interplay between physical and digital space and long-term futures. By exploring the agenda of global issues, she reflects on political and social themes. In doing so, she seeks to portray everyday experiences. In her artistic work, she uses both digital technology and analogue materials.

Between 2019 and 2021 she was a DAAD scholarship holder, a two-time scholarship recipient at the Salzburg Summer Academy, she won the award “Nature and Metamorphosis” Museum Schloss Fechenbach, Dieburg, Germany. In 2022, along with german artist Michael Saup, she is a holder of Adk Initial 2 scholarship, a participant of the Posthuman Research Artist Residency by Foreign Object and the Posthuman Lab, and she is part of the CODE 22 program by the School of Machines which will be presented at Ars Electronica in September 2022 in Linz, Austria. In 2022 she is also curates an online show in the Kunsthalle Darmstadt, where she was an “Artist in Virtual Residence” in 2021 and exhibited there afterwards.

The Internet is the largest coal-fired combustion engine in the world. Change it’s source of energy and you will encounter it’s real nature.

As long as we burn the fossil memory of the world,
no new form of terrestrial intelligence will emerge.

Gefördert durch die Akademie der Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen des Programms NEUSTART KULTUR.

Brigitta Bödenauer – Bernd Lintermann & Peter Weibel – Charlotte Eifler – Christina Kubisch – Disnovation org – Evan Roth – Ingo Günther – IP Group – Joana Moll – Johanna Reich – Niklas Roy & Kati Hyyppä – Nora El-Badri – Norimichi Hirakawa – Pawel Janicki – Rocco & seine Brüder – RYBN ORG – Simon Weckert – Sine Wave Orchestra – Špela Petrič – Laokoon – Orangotango – Anett Holzheid – Theresa Züger – Anja Strobel – und vielen mehr