Anastasiia Belousova & Michael Saup | ru-de | in-fossil
POCHEN Biennale 2022 | “Die (neue) Vermessung der Welt” | “The (new) Measuring of the World”
29.09. bis 09.10.22

Supported by the Akademie der Künste, Berlin, with funding from the Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR programme.

“I who measured the heavens, will now measure the shadows of the earth.” Epitaph Johannes Kepler
Wirkbau Chemnitz, a listed former factory for knitting machines.

WELT is the cosmography for the transient human world. Fossil but infossil, volatile but infinite, the ephemeral promise of universal future. Beyond the data-based, measured, calculated and conquered, in the realm of the unnoticed, unmeasured, unstudied and sovereign lies the silent spark of future.

WELT at Pochen 2022, The new Measuring of the World | Music by FM Einheit, Michael Saup & Amanda Gregory | Camera by Peter Rossner | 2022

We reveal our experimentation contemplating the unseen archaeology of future, coding and decoding the cartography of the µniversal, thus preserving the geological and geonumerical memory and narrative of Earth’s human layer for future biological, bionumerical, superficial and artificial lifeforms, where virii are to be known a language from inner space.

“I who measured the shadows of the heavens, will now unmeasure the Earth.”

slides, photos by Mark Frost & Michael Saup

Danseji IV projection

Justin Kunimune, Félix Pharand-Deschênes, Kirk Bergstrom and Michael Saup – (R-90+16)

For centuries, cartographers have wrestled with the challenges of making accurate maps. They were limited by not only the mathematical impossibility of accurately portraying a curved surface on a plane, but also by their computational capacities. In Mercator’s day, creating a single conformal cylindrical map required performing a Riemann sum for every single latitude. Even today, some of the most mathematically complex map projections cling to simple geometric shapes. Modern cartographers work to minimize distortion and constrain it to the least important regions of the globe—usually the oceans—within the constraints of these basic formulas through a combination of trial-and-error, combining and varying existing projections, and optimization by advanced calculus.

And yet, this is the twenty-first century. The time has come to shake free of these arbitrary lines of latitude and longitude, to throw off these circles and hyperellipses and power functions, to deny control over our maps to these unchallenged assumptions that physical area is the most important quantity of a country, that Antarctica is unimportant and negligible, and that the International Dateline is the end of the world! The time has come for the Danseiji projections.

–Justin Kunimune

DUST, environmental VR, 2018

environmental vr, citizen science sensor networks, code

“For dust we are and to data we will return.”

DUST uses virtual reality to represent and investigate th invisible sphere of anthropogenic particulate matter. We give representation to the recent developments of open data and citizen science and chip away at popular incognizance of just how much dust and data will impact our private lives. It is estimated that one human life is prematurely lost every 18 minutes due to exposure to dust originating from the creation of data, the metric of modern mortality, the distribution of death by data.

Vast amounts of data are not comprehensive as the majority of people don’t know how to apply such data and either wouldn’t have the time or inclination to use it. Therefore we aim to establish an open platform for monitoring, experiencing and communicating environmental data as meaningful information. Many of us will produce, curate and consume such data in the very near future, promoting democratic benefits such as transparency, education and civic engagement.

“Another one bites the dust as another one dusts the bit”.

With Matevž Kolenc, Laibach, Composer

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.

Trinity Twins, 2022

film, radioactivity, geigercounter, code and projection

Trinity, the first human induced atmospheric nuclear explosion marks the day zero of the infossil epoch, the beginning of the transformation of Earth’s atmosphere into the atomsphere, the context in which humanity, through the application and aspired mastery of atomic processes, begins to create a new planetary environment through the transmutation of matter, machines, minds and money. In a cave hidden in Haigerloch, Germany, humanity created her first atomic cave painting, painted with radioisotopes on the canvas of time.

“Trinity Twins” documents such close encounters with this fleeting acquaintance with the primordial nuclear force. The omnipresent cosmic and anthropogenic flow of radiation, measured with a Geiger-Müller counting tube, rearranges cinematic elements in real time and transforms them into “cinematic isotopes”, releasing them from the constraints of linear narration introducing a quantum cinema of pure probability.

produced by Kinemathek Karlsruhe with #unescocityofmediaarts.
With the help of Holger Förterer and Marc Teuscher

sugarmatrix, 2018

industrial sugar cubes

A modern, segmented, fragmented low resolution Yin and Yang Matrix intended for profane communication


Anastasiia Belousova is an artist 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.

Michael Saup is an artist, instrumentalist, filmmaker and coder. He has acted as professor of digital media art at HfG/ZKM University in Germany and as the founding director of the Oasis Archive of the European Union. He is the co-founder of the Open Home Project, a humanitarian initiative to help people being affected by the Fukushima nuclear crisis in Japan. Michael Saup’s work focuses on the underlying forces of nature and society; an ongoing research into what he calls the “Archaeology of Future”. He currently lives and works in Berlin.

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

Supported by the Akademie der Künste, Berlin, with funding from the Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR programme.

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