the anthropocene is a proposed epoch that begins with an increase in the significance of human influence on the geology and the ecosystem of the planet earth. this series focuses on the anthropocene, emphasizing the important role of technology in that era. by dealing with different modes of recording information and technological artefacts from the close past and present, i want to create loose connections between different anthropocenic symptoms. the work is realised as a collection of found and discarded objects, obsolete technologies and tools, digital glitches in video and sattelite images. i am interested in the impurity in it’s every sense, impurity of pollution, impurity of image transmission, impurity of the way the work is presented, and finally the impurity in the relations between the elements of the installation that generates new meaning.
songs for the anthropocene #1
photos of the installation (documented at gallery miroslav kraljević, 2019)
the work was first presented at prozori gallery in zagreb, and was adapted to it’s specific context (library). from the text by gallery prozori curator irena bekić: ”by referring to some presupposed museum exhibit and referring directly to the actual function of a specific gallery / library space, tin dožić creates a dystopian shelf with artifacts that are the relics of still lasting time. it is, of course, obsolete technological devices with different record formats, from charts to satellite imagery, whose manipulations create new uses and visualizations of metaphors that can suggest future links or be traces of the past. it is precisely in spatial and temporal alignment, that is, the minimum amount of time between the status of a useful device and the status of garbage, that the dystopian tension of this installation becomes evident. it can, at the same time, present an exhibit of an archeological museum from the future, a bookcase of a future imaginary library, an epoch of a time after cataclysm or the scene of a modern waste landfill, creating the complex imaginary of our time. […] the segments of the installation, each represent a different technological system, and are rounded off into fictitious stories, that is, songs produced by transformations of actual topographies. by sampling sound, slowing down the film, moving or disintegrating the image, etc., the author creates records that are in the same time dystopian landscapes, geological strata and lab illustrations, but we also recognize them as fragments of our own history.”
the work was exhibited on a solo exhibition at gallery prozori (2018, zagreb), and at the golden watermelon exhibition at the media mediterranea festival (pula, 2018) where it was awarded the golden watermelon award.
songs for the anthropocene #2
songs for the anthropocene #2 was made as a sister work for songs for the anthropocene. this work is based on the reapropriation of obsolete technologies, and consists of kinetic objects made out of elements taken from obsolete personal computers and other objects found in the trash. all of these e-waste objects are resurrected as zombie media and brought into relation with digital samples of found sound. the sound of google translator narrates all of the materials used to create one personal computer. computer fans rotate and resonate computer cooling units. electricity flows and ressurects.
in this work i am interested in the way we define something as old. in comparison to geological time, all computers are new, but on a micro time scale there are plenty of obsolete and dead personal computers. i bring down these computers to their material, awaken them with mechanical movements thus placing an emphasis on their sound and resonance. wires and cables are spread around as the bare guts of the apparatus. mechanical parts of the installation are driven by a simple system for mechanical programming, we could consider it the most simple form of an algorithm. this algorithm works on an circular principle, thus giving an information if each element is on or off.
the work was exhibited at the sounding d.i.y. exhibition (2018, mkc split).
songs for the anthropocene #3
it is true that software cannot exercise its powers of lightness except through the weight of hardware.
italo calvino, six memos for the next millenium
this work was realised as a hybrid space between an installation and a laboratory, showing media experiments at various stages of their production. constant change and procesuality are set before the finalized “product” in the songs for the anthropocene series. this installation repeats some elements of the earlier steps from the series, introduces new elements, recycles itself, and seeks to explore the materiality and the relationship between technology and the environment.
the work was presented as a part of radoslav putar award 2019. finalist exhibition at mali salon mmsu, rijeka, croatia.
open studio at gmk
open studio was realised in miroslav kraljević gallery during march, 2019. it was conceived as an open platform for experimentation and further development of the songs for the anthropocene series. every week a different set up was presented to the public.
the final installation was based on the research of piezoelectricity of synthetical and natural crystals and research about mechanical sound produced by using electronic waste. on the final exhibition, artist i also presented a sketch of a work in progress based on x-rays.