I Spaghettified Myself for Pastime and Consent

• five-channel video installation
• 9’04”
• 2022

This project is situated within the post-truth era. Not in politics, not in the news world, but in the condition of the passive recipient; the viewer in lethargy, in front of a screen, of many surfaces of screens, creating a reality that has little to do with the felt or true self.

It is a compilation of writings on digital time and digital duration that accompany short counteractive vertical screen clips. Together, they perform a self-therapeutic monologue exposing a digital condition that was intensified by the pandemic, which I like to call “postponed until further notice,” or in this case, “living the illusion.” In other words, distance

and isolation are playing out against the self. It is a sidelined, currently experienced dimension of a forced, almost hysterical, exclusive dependence on and proximity between one’s self and the screen. Invisible fingers, tense motivational words and pixels point out to the self, demanding self-criticism, self-improvement, self-confidence, self-care, and self-control. Time seems to get only valorized by an open window and a direct confrontation with oneself. This idea generally makes me angry. That is to say, it is ultimately a play with emotions.

Thinking along with the “being pilled” condition, I translated my phone into a stage of (my own) immersion into the leap of time. It is a tried-out act against the elusiveness of non-happenings in the state of constant self-observation and monitoring. It is an exaggerated manifestation of stress projected onto the constitution of the relationship between (my)self and the screen. Of course, I am kidding — I don’t have a relationship with my screen.