Paula Gaetano Adi, 2020
15’
The video essay Robocaliptic Manifesto: techno-politics for liberation is an urgent call to endorse a robot ‘general strike’ that will overthrow the instrumental definition of both technology and humans, while disowning the ‘white man’ as the measure for the definition of humanity. The visual manifesto asserts the importance of unlearning the imperialisms performed by modern robotic and AI technologies that reinforce the racial and colonial logic that maintain social hierarchies and inequality, while upholding the techno-liberal project that promises revolutionary liberation from labour exploitation.
Fusing archival and found-footage material, animation, composite imagery and first-person voiceover, the film is divided into three acts: (I) Robots on Strike: Robocalypses Reenacted; (II) Robots Beyond Instrumentality: Humanity Reconquered, and (III) Robots in the Pluriverse: Animism Reloaded. All three acts touch on the central political challenges and aesthetic needs of our time –the decolonisation of the machine and an act of radical imagination that can reclaim pre-colonial ontologies, epistemologies and the technologies of non-destructive modes of life.
I remembered a game as I was waiting in the passenger lounge for the ferry to arrive just a few minutes ago. A game we used to play at home when I was young, in my country that is very far away from here, a relic from the distant past; I don’t even remember how we used to play it. The kind of game that makes me feel a thousand times lonelier than I already am among the crowd waiting to get on the ferry.
Pera Museum, in collaboration with Istanbul Foundation for Culture and Arts (İKSV), is one of the main venues for this year’s 15th Istanbul Biennial from 16 September to 12 November 2017.
Louis Isadore Kahn was born in 1901 to a Jewish family in Pärnu, Russia (today Estonia), far from Philadelphia where he spent his whole life, worked, fell in love, and breathed his last. Kahn family emigrated to America when he was five years old.
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