A is for AIDS

It was not only since Nan Goldin recently called for boycotting the Sacklers that queer art in the context of the AIDS crisis and HIV has been involved in models of cybernetics. Pharma industries, arms trade, speculative investments, they all revolve isomorphically around means of occupying physical, fleshy bodies. These regulatory scenes unfold alongside a knowledge of bodies into an understanding of technologically implied knowledge of self-regulation and external control. In doing so, the work draws on elements from American military cybernetics around Norbert Wiener, and raises the question of how AIDS and HIV, as a governor of non-conform bodies represent a systemic model of desire in general that can only ever be thought of as a black box waiting to explement potentiality, or what remains of it. Can you get AIDS by travelling inside someone’s body for a visual demonstration? Digitization promised discretion and infinite simultaneity. Through the disappearance of cybernetics from the peripheral field of our daily routines, we see how this logic has been highly successful in inscribing a ghostly, delirious mode of reproduction and restraint. Yet along these systemic, precognitive effects that occur in infinite, sometimes overlapping, but always regulated loops, systems are not only adaptive but also vulnerable. Not so much through ballistic missiles but by occupying what is fundamentally regarded as divergent from their very own discourse.

1-channel video installation, 2019
14′, Full-HD, 16:9 (vertical), stereo-sound, color
spandex, cotton, padding