the_liar_paradox_prosthetic_vol_2

embassy





curated by
darko vukić





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As a continuation of the first edition, this version also tackles upon some quotes but in mash-playful manner. With a stand-out term and phenomenon of lying.

It is this fragility that makes deception so very easy up to a point, and so tempting. As such, a prosthesis is always in excess of the whole to which it is added, and necessarily requires an ideological basis in order for it to gain and retain its legitimacy and validity. It never comes into a conflict with reason, because things could indeed have been as the liar maintains they were. The prosthesis is thus always and only ever a tool or instrument subservient to the sovereign subject--the human subject in this case--that desires its existence and demands its usage and compliance. Ideologically, the prosthetic limb is just as excessive as the mobile communication device, or the internet, or a telescope, or a bicycle, or a jet aircraft, or language, or any other human prosthesis**. Lies are often much more plausible, more appealing to reason, than reality, since the liar has the great advantage of knowing beforehand what the audience wishes or expects to hear. He has prepared his story for public consumption with a careful eye to making it credible, whereas reality has the disconcerting habit of confronting us with the unexpected, for which we were not prepared*.

And happily ever after. Our life is prosthetic. We assume that through these variety of processes we can realize our desires which themselves are becoming prosthetic. We also assume other life through this prosthetizationof our current endeavors.





*Hannah Arendt, 'Lying in Politics' in Crises of the Republic, 1972.
**Matthew Poole, 'Specificities of Sitedness' in When Site Lost the Plot, Urbanomic, 2013.

GIVE ME A HUG IN A WHITE CUBE GALLERY



is a project that aims to question the predetermined physical space for artistic practices, it tries to overcome the distance between the artist, gallery and the viewer. Using this distance, through the internet, it brings close the artists and viewers. The gallery functions as an online platform provided for the artist and the viewer with a goal to provoke a discussion, reaction, feedback. As a part of the exhibition for The Wrong biennale, there will be organized a number of live streamed performances, which will be announced on our website and on the Prosthetic pavilion.

The White Cube Gallery was opened during the autumn semester of 2018. It was working in a cube shaped dorm room in Xi’An academy of Fine Arts, China. The idea was to overcome the burden of institutions using self-given power.


︎Tamara Spalajković
︎Mengqui Chen
 
︎link



ERROR MACHINE



 The Error Message was collected form thousands of computer error messages and trained by Artificial Intelligence algorithm. Error Message is a type of computer self-language. In Artificial Intelligence, we are trying to let the machines think by themselfs, but it is constructed on various mathematical structures. Through these complicated calculation, we accept the final answer without doubt. We lose some kinds of logical thinking in logical calculation. Would anyone verify the answer?


> Wei-Yu Chen

> link

NIESATT



observes the obsessions and addictions to the digitalized world of people nowadays, having lost their connection to nature and becoming victims of them selfs for ignoring environmental and political issues in favor of their own personal gain.

︎Juergen Trautwein

︎link