{"id":7113,"date":"2025-11-16T15:02:49","date_gmt":"2025-11-16T14:02:49","guid":{"rendered":"https:\/\/edi-typ-24154.stage.sites.vh3-schrittweiter.de\/ausstellungen\/infrahauntologies\/"},"modified":"2025-12-09T10:27:21","modified_gmt":"2025-12-09T09:27:21","slug":"infrahauntologies","status":"publish","type":"exhibition","link":"https:\/\/edi-typ-24154.stage.sites.vh3-schrittweiter.de\/en\/exhibitions\/infrahauntologies\/","title":{"rendered":"Infrahauntologies"},"content":{"rendered":"

Curated by Bassam El Baroni<\/strong><\/p>\n

Infrahauntologies<\/em> is an international group exhibition foregrounding recent practices that engage with questions of infrastructure. The predominance of certain outlooks on the world versus others is partly due to their embeddedness in and diffusion through the systems, technologies, and infrastructures of the built environment. For this reason, a recent pushback against the popular idea that we are destined to live in some sort of eternal present\u2014with no recourse to shaping a different and more equitable future\u2014has looked to infrastructure as a medium of innovation that might suggest otherwise. In an attempt to counter the impasse of \u201cthe canceled future,\u201d art has immersed itself in formulating speculative models and propositional thinking around systems and infrastructures, and from this position attempts to address major challenges such as the rampant financialization of the economy and runaway climate change.<\/p>\n

A key question explored by several works in Infrahauntologies<\/em> is: How can financialization and computation be leveraged to generate fairer conditions and to reopen foreclosed possibilities? While some existing infrastructures are haunted by historical and political legacies, others may be haunted by an excess of speculation on the future\u2014the material traces and imprints of gambles that both did and did not pay off.<\/p>\n

Through the exhibited video and installation works, Infrahauntologies<\/em> highlights some recurring tendencies within the field of art related to working with infrastructural histories, counter-speculating on infrastructural futures, and embracing fiction as key to supervening upon hegemonic infrastructural nexuses. These overlapping tendencies can be identified as \u201cinfrastructural speculation\u201d and \u201cinfrastructural re-examination.\u201d In the first, artistic competencies are channeled toward transformative infrastructural scenarios, based on the imaginative rerouting of possibilities dormant in current technologies. In the second, artists revisit the legacies of ill-fated megaprojects, with the aim to identify their aspirations, models, and problems and to use these as pathways for learning from collapse.<\/p>\n

The info booklet on the exhibition with brief descriptions of all exhibited works can be downloaded free of charge as a PDF. The use is exclusively for private purposes, other uses must be coordinated with the Edith-Russ-Haus. Download here<\/a><\/em>.<\/p>\n

Intertidal<\/em> (2018) byA.S.T.<\/strong><\/em><\/em> is a multidisciplinary experience that uses speculative urbanism to envision what the city of Miami, Florida might look like as the seas continue to rise. It is a proposal that simultaneously inhabits three temporalities: dealing, imagining, and planning in the present based on a future that already contends with the lived effects of our mistakes from the past.<\/p>\n

Cybersyn\u2014a 1970s socialist networked economy experiment in Chile\u2014is revisited in a new video and sound installation by Bassam El Baroni and Constantinos Miltiades (with Georgios Cherouvim and Gerriet K. Sharma) <\/strong>titled Cybersyn 1973 \/ 2023<\/em> (2021), which engages the question: How can we reimagine the artifactual Cybersyn for our hyper-financialized times?<\/p>\n

Elsewhere, Bahar Noorizadeh<\/strong>\u2019s video essay After Scarcity<\/em> (2018), tracks Soviet cyberneticians\u2019 attempt to build a fully automated planned economy, revisiting the contingent histories of economic technology to enable access to the future.<\/p>\n

John Gerrard<\/strong>\u2019s Cuban School (Community 5th of October)<\/em> (2010) is a meticulous virtual portrait, in real time, of a school constructed in the Cuban countryside in the 1960s, currently a functional ruin.<\/p>\n

Everything Under Heaven<\/em> (2021) is a new video by Assem Hendawi <\/strong>set in Egypt\u2019s new administrative capital. This theory-fiction explores Egypt\u2019s infrastructural projects and their role in ideological formation.<\/p>\n

Jo\u00e3o Enxuto and Erica Love<\/strong>\u2019s video Institute for Southern Contemporary Art (ISCA)<\/em> (2016) presents an institutional prototype advancing a meaningful alternative to problems in contemporary art production and its political economy by rerouting capital from the art market to fund a path to working otherwise.<\/p>\n

Vermeir & Heiremans<\/strong>\u2019 A Modest Proposal (in a Black Box)<\/em> (2018) is a video installation that investigates how the financialization of public art collections, museum real estate, and symbolic capital could be used to generate a more equitable arts ecology.<\/p>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false},"class_list":["post-7113","exhibition","type-exhibition","status-publish","hentry"],"acf":{"gallery":[11661,11641,11638,11643,11660,11648,11657,11640,11653,11659,11654,11652,11645,11639,11656,11650,11647,11642,11655,11658,11637,11649,11644,11651,11646],"start_date":"20210708","end_date":"20211003","opening_start":null,"opening_end":null,"events":"","artists":[6241,6240,6239,6238,6237,6236,6235],"sponsors":[1819,1855],"publications":[6955],"videos":[{"url":"https:\/\/www.youtube-nocookie.com\/embed\/IWGYiCd4iZg?autohide=1&controls=1&enablejsapi=1&origin=https%3A%2F%2Fwww.hausmedienkunst.de","caption":"INFRAHAUNTOLOGIES Artist 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