With the works in the exhibition HYPER LIMINAL, Lenn Blaschke shows moments of transition. Liminal moments between forest dieback and artificial image generation. Between metaverse and Mars exodus. Between departure and demise. The term "liminality", coined by the ethnologist Victor Turner, characterizes a threshold state that individuals or groups experience as soon as they have ritually detached themselves from conventional social orders. Since the 1960s, we have been constantly in the midst of the digital revolution, which is now being driven by key areas such as artificial intelligence, big data, cloud computing and virtual reality.

The 2-channel video installation features footage of the artist himself moving through the Harz forest, which has been ravaged by the bark beetle and climate change. Using a VR headset, he immerses himself in the destroyed landscape. The video is accompanied by footage created with the help of artificial intelligence and numerous prompts. It is not only about the question of reality or our perception of it, but also about the state of our society. A liminal moment in which highly developed technology and an ecocidal society collide.

The artistic display is enhanced by six poems laser-cut into glass that use concepts from the fields of coding and game design - a subtle addition that creates a bridge between the digital world and nature, while also deepening reflection on the current state of our society.

The world is not an equal playing field; it is heavily skewed towards the male population. This is not just an observation but a harsh reality that is deeply ingrained in our society. However, to the dismay of many, various online communities from the Manosphere are fighting to maintain this imbalance. From Incels to MGTOW, Christian nationalists to trolls and the New Right, they all have one thing in common – a staunch antifeminist and LGBTQI+ phobic agenda.

But what are these groups truly fighting for? They aim to establish a binary social order where men are deemed “masculine,” and women are relegated to being “feminine.” In this new world order, female sexuality would be treated as a resource to be controlled by men through hegemonic masculinity. The implications of such a worldview are staggering, and the damage it can cause to society is incalculable.

As dating apps continue to abandon these young men, more and more are being radicalized in internet forums. These communities serve as breeding grounds for dangerous ideologies that motivate members to commit suicide or call for sexual terrorism. This is a crisis that cannot be ignored.

It is in this context that the “NO MATCHES” exhibition has been curated. This exhibition showcases the various phenomena of these movements through installations, objects, and virtual reality. Through these mediums, the exhibition aims to comment on the dangers of these groups and their ideologies, highlighting the urgent need for society to take action against them.

In conclusion, the Manosphere and its various offshoots represent a significant threat to the progress that has been made in promoting equality and social justice. The “NO MATCHES” exhibition serves as a wake-up call to the dangers of these groups and their beliefs, reminding us that we cannot afford to be complacent in the fight for a fair and just society.

The decision to host the “NO MATCHES” exhibition in a church may seem unusual at first glance, but upon closer examination, it becomes clear why this was an appropriate venue. The church has long been a symbol of power and influence, and its role in shaping societal attitudes and beliefs cannot be underestimated. By holding this exhibition in a church, the organizers are making a bold statement about the need for religious institutions to confront issues of gender inequality and discrimination.

Finally, by holding the exhibition in a church, the organizers are creating a space for dialogue and reflection. The church has long been a place where people come together to discuss important issues and seek guidance and support. By using this space to showcase the dangers of the Manosphere, the organizers are providing a platform for meaningful conversations and challenging the status quo. In doing so, they are opening up new possibilities for building a more just and equitable society.

The exhibition “Was siehst du wenn du die Augen schließt?” developed within the framework of THIS IS FAKE – RESIDENCY I, consists of four related virtual reality works, spatial installations, objects, and an archive. The starting point was several questions related to the central concept of “remembrance,” arising in the context of virtual reality, digitization, and the actual reality of a city like Zeitz in Saxony-Anhalt. Personal narratives of East German identity, German unity, and post-reunification times are merged with topics of internet culture, such as online identities and avatarism, using techniques such as immersion, embodiment, and digital capture. Together, these works form a multimedia composition with a total duration of approximately 45 minutes.

The Internet has become a battleground for conflicting cultures, where subcultures on image boards such as 4chan and 8chan publish content that promotes violence and hatred towards specific groups. These subcultures operate under the veil of anonymity, using the pseudonym ANONYMOUS to hide their identity.

What began as trolling, or the practice of posting deliberately offensive or provocative content, has now evolved into a dangerous reality. The aggressive mobs and amok runs that have resulted from these online interactions have had a devastating impact on individuals and communities.

In response to this phenomenon, CANDY WORLD has been developed as a virtual reality installation. This installation aims to confront its audience with the harsh realities of this political phenomenon in a controlled, artificial environment. By using one of the most played video game series in the world, Candy Crush, as an inspiration, CANDY WORLD draws a parallel between the online world and the world we live in.

In the world of Candy Crush, players match colorful candies to progress through levels and achieve higher scores. Similarly, in the real world, people are constantly seeking ways to match their beliefs and ideologies with others who share the same views. However, in some cases, this matching process can become a dangerous game, leading to a proliferation of toxic ideas and behaviors.

CANDY WORLD, therefore, invites its viewers to explore the complex issues of our time and the impacts they have on society as a whole. By immersing the audience in a virtual reality environment, CANDY WORLD offers a unique opportunity to experience the consequences of these issues in a safe and controlled setting.

The attempt at mediation has failed. The last moralist attempted to create a negotiation between various religious and ideological groups through symbolic and aesthetic appropriation, as well as their mixture. In a final desperate act, the last moralist addresses the passing spectators of the window installation posthumously with a final appeal to reason. It is the requiem of hope and at the same time, it also highlights the potential dangers of cults of personality, which can arise in situations where individuals are seen as heroic figures fighting for a cause.

The dynamic relationship between humanity and its environment is constantly evolving. As we enter the age of virtuality, we are presented with an entirely new dimension of existence. In this context, the artwork in question serves as a powerful reflection and negotiation of the possibilities of transhumanism in the virtual realm. The work challenges the viewer to confront the potential amorality of this new space, and to consider the implications of limitless possibility on our understanding of human identity.

Through a complex interplay of form and content, the artwork engages with the complexities of transhumanism, exploring the ways in which it might enable humanity to transcend its biological limitations and embrace a new form of being. However, this newfound freedom is not without its risks. As we venture deeper into the virtual realm, we must confront the potential for moral ambiguity and the dissolution of traditional notions of identity and morality.

The work invites the viewer to engage with these complex ideas and to contemplate the implications of our ever-evolving relationship with technology. Through its bold and innovative approach, it challenges us to consider the limits of our own understanding of human nature and to explore the profound possibilities of the virtual realm. In doing so, it offers a thought-provoking example of how art explore the fundamental questions of human existence in the face of rapid technological change.

𝑭𝑳𝑨𝑻𝑺𝑼𝑹𝑭𝑬𝑹𝑺 is the new RENTVENTURE third person mobile game! You find yourself in a apocalyptic real estate market in which the player has to find and apartment. Slipping on the role of a student you are the dehumanized plaything of the diabolic mayor. A secret conspiracy between the mayor and greedy ABNB landlords/-ladys* will make your life hell. The search for accommodation becomes an absurd torture.

The “Little Brother” project is an innovative, sculptural installation situated in public space that serves as a platform for a range of events. It creates unique spaces for critical reflection on and negotiation of emerging developments and requirements related to privacy and digital communication. Central to the project is a specially designed container, which employs cutting-edge technologies to secure acoustic, visual, and data-based information from unwanted surveillance. The container functions as a protected space that enables secure communication and provides an opportunity to examine and challenge the increasing visibility of our private lives. The black, reflective exterior of the container not only creates a striking visual impact but also reflects the surrounding environment and encourages the viewer to engage in a deeper, contemplative exploration of the role of art in shaping our public spaces. Through its innovative use of materials and technologies, “Little Brother” offers a thought-provoking example of how art and science can come together to address complex social and political issues.

Right-wing extremist preppers are preparing for “Day X”. For what reasons are groups of artists and activists monitored by §129 StGB – Formation of a criminal organization? After the police authorities, the secret services should now also be given the authority to hack into computers and smartphones in order to read communications. Quo vadis, rule of law?

An interdisciplinary series of lectures, films and workshops, including: Hannibal research team from the taz, the Gesellschaft für Freiheitsrechte e.V.. on the constitutional complaint about the use of state trojans, the author-director collective Rimini Protokoll on intelligence work and the art and research agency Forensic Architecture, which brings together information and thus uncovers state disinformation. Representatives of various positions from the legislature, executive, judiciary and civil society debate where the problems of the Office for the Protection of the Constitution lie and whether there is still a perspective for such an institution.