NOT A HOLOGRAM IS REAL
These are the first words I wrote in a long-form multimedia iPhone note called NOT A HOLOGRAM in early December 2015:
All tinted windows in the gallery. Show the vertical neon piece in the main front space. A blank, black or white billboard on the roof. Clone videos, a wall piece, some vinyl text that is maybe a url to a site that upon loading just fills the screen with "you're relevant" or "IRRELEVANT" or a pile of broken cinder blocks or an aluminum pallet stacked with cast concrete cinder blocks — maybe even fake them and make them from textured foam. Images of burning cell phone towers and a succession of brutal, beautiful ads.
Two months later, after a series of profoundly complex studio sessions, the exhibition opened as a layered, messy, baroque, and sprawling body of work that rendered an experiential, hyperreal game-like environment. Derived from a plethora of diverse materials — the work fluidly considers the ongoing effects of living in the Anthropocene, late-capitalist ecology, artificial life, and posthuman contemporary existence as they relate to the moral aesthetics of survival in a burgeoning Neo-feudalist society.
Although nothing went as planned, the installation I generated captured what it will feel like to exist in the future we can most probably expect as the planet slides into a decades long apocalypse and would go on to become the inspiration for a virtual reality experience created with Grant Kirkpatrick and Fritz Rodriguez. In the end, as a completed cross-platform body of work, NOT A HOLOGRAM is a material driven meta-mindfuck and nothing more than a simulation of a simulation of the total simulation we collectively call reality.
NOT A HOLOGRAM was at GLASS BOX from February 4-26, 2016. Quotes taken from T. s. Flock's THE REVENGE OF THE REAL: DYLAN NEUWIRTH'S NOT A HOLOGRAM.