Nowadays you are not affiliated with a single home anymore:
Berlin, London, Paris, New York, Barcelona, Ibiza, Munich—maybe we´re finally at a point where the strangeness of the times is not matched by one city but different cities at the same time. Paris was built on imaginative fictions, and they continue to be the city´s major export—an increasing flow of images.
This project serves as a case study to explore the various languages of contemporary image creation and distribution. We access the world through a massive material bank. You can find almost everything you are interested in. Everything spreads out in front of you—you just need one second. Things are always encountering each other and encountering you. Every day you are seeing nonstop; every day there are a myriad of images being dumped into your awareness. But things themselves have no significance; their values only appear in your cognition. Therefore, fascination through phenomena is endless, but the reason for this fascination is relatively constant—and it is only yours. The flow of images and information influences the way we make art, and more specifically, influences the way we see. The various categories, media and histories become materials to use. The network of references the city unleashes defies any coherent visual or interpretive cartography, and it is pleasantly impossible to know which of them are on purpose, which are dumb luck and which are simply your own reading.
The history of art making has always ben about technology, about the unveiling of thoughts and concepts and ideas into some sort of physicality or experience. Culture, as a social consensus, has become absolute, and is therefore becoming absolutely irrelevant, transforming Paris and creating an empty projection surface. Here we may take a lesson from late capitalist business practices in which virtually anything, from trash to home mortgages to entire cities, may be monetized. One is aligned to the image of Paris as well as other streams of images as a form of currency. Assigning a meaning is merely another way of setting a city´s or an artwork´s price in the currency of knowledge, transforming it into a certain kind of commodity for real estate or collectors to buy and for museums to sell to their audiences. This explains why contemporary art is marginalizing the production of content in favour of producing new formats for existing images. Cities like Paris are banks—image banks. All anybody wants is more. Like an insatiable appetite.