experience near death experience

The project looks at the relationship between mankind and nature. How is it possible to protect and preserve all those areas with high biodiversity? Resources given to us by na-ture are taken for granted and consumed in the same way. Human perception has to change so that future generations can still enjoy the diversity of our environment. This artwork should serve as food for thought because nature should not only be viewed in museums in the future. The conservation nature shown in the work is intended to draw attention to the fact that ecosystems must be treated with respect in order to ensure their continued existence. This translation of nature into digital space should show in a dystopian way how it could be preserved virtually in the future in order to make it tangible at all.

drawing from the yearning for connection and experience, the digital sculptures play with the intangibility of  virtuality. a space the visitors can experience, wander around in, but never fully be a part of. its the ultimate in disassociation, the dissolution of the physical. there is no physical for these sculptures to become. materiality in a simulated reality becomes apparent. the virtual world of the exhibition being covered in bright green fog, the works only appear through exploration, being hidden in the depths. just like the immateriality of the fog, the internet is intangible.

Seeing an angel can be experienced during one's lifetime, but there is a place between life and death where one may not only see “them”, but be within them. 
By creating hidden sigils and symbolism communicating with the subconscious, these images hold spirits locked inside the inbetween. Anime girl with a tree of life on her sweater with death approaching her from all around… These are creatures with light bodies tied together by dark matter, that seems unknown.
Altars of light are not symbolizing return to life but rather "crossing the abyss"...lightness lies in death. Maybe the dark matter isn’t demonic and fearful, it may be the known space that we are leaving. Not dead at all, we might get a chance to return… but none of them is looking back, light is approaching them. 
Seeing all the life holding them back from the divine light, they choose to leave the dark behind.

“Zerfallen in Teile, aus Langeweile” is an interdisciplinary cooperation between Ernst August Graefe and Roman Fleischmann. 
The animation and corresponding sound-loop are inspired by digital glitches which the artists provoked, resampled, recreated and reinterpreted. The glitch in its nature as fragment caused by human error or practical and physical limitation connects the slightly too-perfect artificial digitality to its source and creation, which is inevitably analogue and human. The glitch is a reminder of limitations in a system that likes to appear limitless and connects what appears to be wholly separated.
“Zerfallen in Teile, aus Langeweile” aims to explore the intercept between the human experience in digital space and digital influence on the analogue world.

"The Dokkebie girl " ( the original term: Dokkaebi ) is one of the creatures/goblins from Korean folklore which focuses on supernatural beings and obtains Shamanism. And this "The Dokkebie girl" is created based on Dokkaebi and it is my new series of work that I am currently working on. She died and born from a spiritual possession of the crocs shoes. Depending on the person who meets her, her types of pranks will be changed. When you see an atmospheric ghost fire, follow it to meet her. 

What are the consequences of humankind’s desire for eternal life?
As humanity moves more and more into the digital realm, technological and scientific progress may soon open up further possibilities for it. Could the digital already be a man-made attempt at immortality?
A potentially immortal organism with the ability to regenerate its life cycle symbolises imperishability. Deciphering its rejuvenation process could extend the human lifespan. But what would that mean for humanity?

The work is a meme-like image featuring my bunny avatar in a punk-style aesthetic. The words are a play on the phrase "too fast to live, too young to die", and comment on the apathy felt by many in the face of relentless injustices over which we feel we have little to no influence. I am particularly commenting on the British public and our passiveness under a shambolic government.

brainrot111L04DING refers to the emotional desensitization and cognitive overload caused by prolonged exposure to electronic stimuli. Never-ending and ever-accelerating informational signals online leave us unable to process what we are experiencing. Too much, too fast – ‚my brains hurts’. 
(Preliminary for a work in progress)

"rr6 001" is a 360 degree video that resembles an experience from the possible future. "This isn't your usual conceptual artwork and that's garbage behind u" or "what happens after the pandemic lol" are some of my everyday thoughts that will haunt my artworks from now on. The public can view the video directly from YouTube on their own phones, so this artwork is accesible for anyone that searches "rr6 001". This artwork contains two more artworks, one being "the garbage" and one being the "after the pandemic" things.

Set as a stream of consciousness, „Master Bedroom“ tells the story of a young woman whose life changes drastically after she leaves the Ultra Music Festival with her fiancé Jack. Arriving at the airport, the blast of the drift shatters not only her love for her boyfriend, but also the world around her. Except for a few women, the drift killed the entire population, leaving only the glow of an eternal sunset from the festival‘s atmosphere. The young woman, voiced by Rachel de la Torre, begins an eremitic life on the top floor of a skyscraper and over the years begins to reflect on utopias and the meaning of the destructive event. She reflects on her relationship with Jack, her femininity, sexuality, and longings. Driven by the hope of an afterlife, she makes the decision to retell her story through videos from the Internet.

As the great Bob Ross said, "We need a little sadness once in a while". Since my first diagnosis from the shrink, the following years has taken its own roller coaster ride consisting of less high than lows. Death has presented itself in many forms, mostly as a forbidden fruit. Not to romanticise suicide, but the idea of everlasting peace, silence and allowing the body to be at rest gives me a shimmer of hope.

I find it empowering that even though death is uncertain, we do hold power over it to a certain degree and i have even drawn out my ideal method of passing. Till then, I'm still waiting on the good days, perhaps the day I can breathe without heavy lungs. 

As the great Bob Ross said, "We need a little sadness once in a while". Since my first diagnosis from the shrink, the following years has taken its own roller coaster ride consisting of less high than lows. Death has presented itself in many forms, mostly as a forbidden fruit. Not to romanticise suicide, but the idea of everlasting peace, silence and allowing the body to be at rest gives me a shimmer of hope.

I find it empowering that even though death is uncertain, we do hold power over it to a certain degree and i have even drawn out my ideal method of passing. Till then, I'm still waiting on the good days, perhaps the day I can breathe without heavy lungs. 

As the great Bob Ross said, "We need a little sadness once in a while". Since my first diagnosis from the shrink, the following years has taken its own roller coaster ride consisting of less high than lows. Death has presented itself in many forms, mostly as a forbidden fruit. Not to romanticise suicide, but the idea of everlasting peace, silence and allowing the body to be at rest gives me a shimmer of hope.

I find it empowering that even though death is uncertain, we do hold power over it to a certain degree and i have even drawn out my ideal method of passing. Till then, I'm still waiting on the good days, perhaps the day I can breathe without heavy lungs. 

In a reality immersed in information, rapid transfer, virtual realities, metadata and artificial
intelligence working together for the immediate satisfaction of the desire for consumption of images and belonging, the questioning of the art object in relation to technology naturally
arises. Internet relics, compositing and 3D modelling can practice an endless ping-pong
game of information to fuel the appearance of culture.
What's new doesn't matter, what's old doesn't need to be discussed, the flow of information
needs to get here and now and it doesn't need to be empirical, it just needs to exist and take
up space in the cloud. Confusing culture with the false prefabrication of it is of no interest,
information must be fast. Triangulation of ideas does not and will not come from users, the
masks of the internet cover prefabrication well enough. In a world of the virtual and the
extension of the body through the device, what role does the art object play? Artificial
intelligence may be engaged in the making of new expressiveness, but for whom and why?
Do we need perspectives? How and why do we establish them?

Energy is beyond death
We will finally be free flowing around through time and space we are going to be ethereal lights no more pretending just being

Energy is beyond death
We will finally be free flowing around through time and space we are going to be ethereal lights no more pretending just being

Energy is beyond death
We will finally be free flowing around through time and space we are going to be ethereal lights no more pretending just being

Energy is beyond death
We will finally be free flowing around through time and space we are going to be ethereal lights no more pretending just being

“last night I dreamed that it will all be over soon” aims to critique and express anger at what twenty-first century capitalism has led to and is heavily informed by theories such as 24/7 by Jonathan Crarys, who examines and criticises the influence of contemporary capitalism on sleep rhythms, sleep habits and their importance under those conditions and argues that sleep is the only remaining and non-exploitable barrier that cannot be eliminated by capitalism. 
But this systematic self-exploitation is only one of the numerous symptoms of the excesses of a system, which daily permeates society and in which people, if they cannot be milked of labor or resources, are disposable. 

Contemporary capitalism is a collective near-death experience. 

And it seems that these daily hours of sleep are the only time we get to escape from it. 

a digital painting on impermanence and transcendence 

The visual work of Cinco Seis Veinte responds to training of bodies. Specifically, a visual training of an AI generative model. The human body is reimagined by an algorithm, fed by fragments of digital images  of CT scans, electronic boards, and wires. The result is a journey in the formation and, at the same time , dissection of this new organism, as if it imploded into thousands of pieces, leaving us hints of the hybrid nature of its constitution.

My mother died of ovarian cancer. As a last chance to see her and say goodbye, I visited her at the hospital. Her body was swollen   from above, her face was bumpy and she could not speak only moan. I was shocked but I kissed her at last. Later on that night we left a hospital and I had an alpha meditative statement when I was nearly sleeping: I heard her breathing hardly in my head, it was so loud that I couldn’t sleep. She passed away and I heard and experienced her death agony trough the transcendental tube. 


The schematic model representing her digital totem as a new form of her in virtual afterlife. 


Sound by Daphne Xanthopoulou ( https://www.instagram.com/wawrzyn.wawrzyn/ )
Track: To Be Continued
Album: Daphne X - The Dissolution of Eva, Exiles Records
https://exiles-electronics.bandcamp.com/album/the-dissolution-of-eva

My mother died of ovarian cancer. As a last chance to see her and say goodbye, I visited her at the hospital. Her body was swollen   from above, her face was bumpy and she could not speak only moan. I was shocked but I kissed her at last. Later on that night we left a hospital and I had an alpha meditative statement when I was nearly sleeping: I heard her breathing hardly in my head, it was so loud that I couldn’t sleep. She passed away and I heard and experienced her death agony trough the transcendental tube. 


The schematic model representing her digital totem as a new form of her in virtual afterlife. 


Sound by Daphne Xanthopoulou ( https://www.instagram.com/wawrzyn.wawrzyn/ )
Track: To Be Continued
Album: Daphne X - The Dissolution of Eva, Exiles Records
https://exiles-electronics.bandcamp.com/album/the-dissolution-of-eva

This work highlights the United States government’s inhumane policies and operations against undocumented people. During annexations of native and Mexican lands in the 19th century, the United States had deemed the inhabiting people of the area, and those south of its new border, as racially inferior, uncivilized and excluded from individual rights, a discourse that continues to this day. A body on the skin of the desert gets its name from the border patrol slang for unauthorized border-crossers — “bodies” — and a quote from Gloria Anzaldúa’s book, Borderlands — “the skin of the earth is seamless.” The journey across the border is riddled with danger, with added risks by the United States government, who knowingly changes immigration routes to more remote locations in the desert. The work presents a flaccid entanglement of saguaro cacti, embodying the exhausting dispossession and marginalization of undocumented people. A body on the skin of the desert aspires to invoke empathy for undocumented people and to dismantle ideas of nationhood derived from racism and imperialism.

This work highlights the United States government’s inhumane policies and operations against undocumented people. During annexations of native and Mexican lands in the 19th century, the United States had deemed the inhabiting people of the area, and those south of its new border, as racially inferior, uncivilized and excluded from individual rights, a discourse that continues to this day. A body on the skin of the desert gets its name from the border patrol slang for unauthorized border-crossers — “bodies” — and a quote from Gloria Anzaldúa’s book, Borderlands — “the skin of the earth is seamless.” The journey across the border is riddled with danger, with added risks by the United States government, who knowingly changes immigration routes to more remote locations in the desert. The work presents a flaccid entanglement of saguaro cacti, embodying the exhausting dispossession and marginalization of undocumented people. A body on the skin of the desert aspires to invoke empathy for undocumented people and to dismantle ideas of nationhood derived from racism and imperialism.

Virtual Sculpture / Augmented Reality
2̴͙̉̆̐0̶̥͕͖̃̅̏͐̒͌́̾̊̕͜ͅ2̸̡̳͍͈͛͆͘͜1̷̛͖̌̓̈́̄̓̃͂͂

“untouched” is a series of 3D Scan-Selfies presented as performative virtual sculptures with Augmented Reality capability (on compatible mobile). Using 3D Scanning as an artistic medium, Menegon’s self-scanning procedure becomes an intimate process, a journey towards a deep understanding of our virtual identities and selves. Challenging the notion of the virtual as perfect while exposing the results of the scans “as is”, with all the beautiful flaws, mistake and data loss, “untouched” presents a new authentic digital body, an avatar fixed in time yet always performing. 

In “untouched (away within)”, Menegon captures herself via 3D Scanning technique, using her physical body in movement to alter and “corrupt” the resulting virtual body. Inspired by recent events of sleep paralysis that re-appear after years, Menegon intimate and performative process of self-scanning re-enacts and reverses the disturbing state of being conscious and aware but unable to move while at the same time floating out of body. The body escape physicality and is virtually captured in the shape of a moment in time impossible to clearly define. Unreal yet real, the hybrid and often traumatic experience of a sleep paralysis becomes a performative way to connect with new glitched selves. 

Texture painted terrain featuring an excerpt of the work Ley Ley
*
Lay Lay Laaaaay lay
Sleep My Tulip flower, sleep!
Can you hear how the panther moans in the mountains? The panther moans in mountains for the Auntie’s daughter. Lay Lay Laaaay lay
Sleep My Hazel flower, sleep!
Mummy is gone to the footlocker - let mummy work.
Lay Lay Laaaay lay,
Sleep My Poppy flower, sleep!
Daddy is gone. may God be with him.
During World War II, Lily Bara, a Viennese Opera singer flees to Iran, There she teaches singing. Her students begin recording songs of folklore belonging to the oral tradition of various regions of the country, singing Opera. ‘Lay-Lay’ (also known as ‘La Laiee’, Farsi
for Lullaby) is a folklore lullaby from the region Gorgan in Iran. Monir Vakili, one of the first students of Lily, sings this song in the ’60s. Later in 2010 Monirs’s student, Pari Zangeneh, records a cover of the same song. These two versions were mixed and make the soundtrack for ‘Ley-Ley’(Farsi for Hopscotch).

a body a shell 
born as rigid form of existence
a boundary from the external world
torn apart through digital transformation
letting out the fluid self

‚what once was a vessel is now leaking‘
is a virtual body that is abstracted and decimated in its polygon structure to a degree where it breaks open and exposes the obvious. internal and external world is not anymore a concept in the virtual. the borders get blurry and the self has enables the maximum of its fluidity.
the digital avatar might locate an entity in its surrounding but never limits its impact to a certain place and time

A 2 part work directed by Alma Bektas & Björn Heerßen. Together with Marlon Nicolaisen they realized 2 scenes, floating endlessly in time. This timeless effect is emphasized by the audio pieces by Paul Grosse & Fin Glaser. 
Models: Hannah Neckel & 

„This object is a conserved being, frozen during metamorphosis - locked within the slimey & glowy walls of this cave. It does not appear in nature. Recently, it has absorbed the green particles of the fog that took over the cave, and picked up the pigments. Only when no one looks at it, it can take on its true form. Drifts of blue gas hang over it, on the surface of the small pond, and all that is left of the frog is the little stick figure, stuck in the mud of this pond, with arms held out to him. His mouth is twisted into a 'C'. He looks insane, and he's laughing. He's laughing at you. He's laughing at the scene that unfolded before your eyes, and then when the trees eventually fade, leaving the torches alone with the wild forest around, he will keep you company in your limbo. This insect/frog - like object was found under a very dirty rug. The strange part about it is that it is partially preserved and still „alive". It was found in a cemented well.“

Excerpt of an AI generated text based on keywords and sentences about the technical description of ρσʅʅιɳαƚҽԃ⁰¹.
 
Sound: AI generated sound based on images of ρσʅʅιɳαƚҽԃ⁰¹.

a body a shell 
born as rigid form of existence
a boundary from the external world
torn apart through digital transformation
letting out the fluid self

‚what once was a vessel is now leaking‘
is a virtual body that is abstracted and decimated in its polygon structure to a degree where it breaks open and exposes the obvious. internal and external world is not anymore a concept in the virtual. the borders get blurry and the self has enables the maximum of its fluidity.
the digital avatar might locate an entity in its surrounding but never limits its impact to a certain place and time

“Zerfallen in Teile, aus Langeweile” is an interdisciplinary cooperation between Ernst August Graefe and Roman Fleischmann.  The animation and corresponding sound-loop are inspired by digital glitches which the artists provoked, resampled, recreated and reinterpreted. The glitch in its nature as fragment caused by human error or practical and physical limitation connects the slightly too-perfect artificial digitality to its source and creation, which is inevitably analogue and human. The glitch is a reminder of limitations in a system that likes to appear limitless and connects what appears to be wholly separated. “Zerfallen in Teile, aus Langeweile” aims to explore the intercept between the human experience in digital space and digital influence on the analogue world.

in this self-performative piece, the experience is algorithmically layered on a stretched timeline and will reach a first state of completion by March, 1st 2022 – the official end of the online exhibition of the wrong.biennale no5.via the instagram facefilter.

A 2 part work directed by Alma Bektas & Björn Heerßen. Together with Marlon Nicolaisen they realized 2 scenes, floating endlessly in time. This timeless effect is emphasized by the audio pieces by Paul Grosse & Fin Glaser. 
Models: Hannah Neckel & 

A 2 part work directed by Alma Bektas & Björn Heerßen. Together with Marlon Nicolaisen they realized 2 scenes, floating endlessly in time. This timeless effect is emphasized by the audio pieces by Paul Grosse & Fin Glaser. 
Models: Hannah Neckel & 

A 2 part work directed by Alma Bektas & Björn Heerßen. Together with Marlon Nicolaisen they realized 2 scenes, floating endlessly in time. This timeless effect is emphasized by the audio pieces by Paul Grosse & Fin Glaser. 
Models: Hannah Neckel & 

Seeing an angel can be experienced during one's lifetime, but there is a place between life and death where one may not only see “them”, but be within them. 
By creating hidden sigils and symbolism communicating with the subconscious, these images hold spirits locked inside the inbetween. Anime girl with a tree of life on her sweater with death approaching her from all around… These are creatures with light bodies tied together by dark matter, that seems unknown.
Altars of light are not symbolizing return to life but rather "crossing the abyss"...lightness lies in death. Maybe the dark matter isn’t demonic and fearful, it may be the known space that we are leaving. Not dead at all, we might get a chance to return… but none of them is looking back, light is approaching them. 
Seeing all the life holding them back from the divine light, they choose to leave the dark behind.

Seeing an angel can be experienced during one's lifetime, but there is a place between life and death where one may not only see “them”, but be within them. 
By creating hidden sigils and symbolism communicating with the subconscious, these images hold spirits locked inside the inbetween. Anime girl with a tree of life on her sweater with death approaching her from all around… These are creatures with light bodies tied together by dark matter, that seems unknown.
Altars of light are not symbolizing return to life but rather "crossing the abyss"...lightness lies in death. Maybe the dark matter isn’t demonic and fearful, it may be the known space that we are leaving. Not dead at all, we might get a chance to return… but none of them is looking back, light is approaching them. 
Seeing all the life holding them back from the divine light, they choose to leave the dark behind.

Seeing an angel can be experienced during one's lifetime, but there is a place between life and death where one may not only see “them”, but be within them. 
By creating hidden sigils and symbolism communicating with the subconscious, these images hold spirits locked inside the inbetween. Anime girl with a tree of life on her sweater with death approaching her from all around… These are creatures with light bodies tied together by dark matter, that seems unknown.
Altars of light are not symbolizing return to life but rather "crossing the abyss"...lightness lies in death. Maybe the dark matter isn’t demonic and fearful, it may be the known space that we are leaving. Not dead at all, we might get a chance to return… but none of them is looking back, light is approaching them. 
Seeing all the life holding them back from the divine light, they choose to leave the dark behind.