The work presented in this project is an excerpt from everyday happenings that are broken down into pieces of information and - available worldwide - detached from their real origins/sources. They are indiscriminately captured in the memory of the „knowledge machinery“ through "zero and one"- whether colorful cyber images or historical events - they are circulating through the a global information network. The information machinery knows no morality. The resulting state of comprehensive simulation (our world view is composed by the (pre-) selection of the producers of "knowledge") is no longer touched by the question "right or wrong“. Doubts about the blessings of the new achievements of our age can not prevent the fanning out of reality into simulative spaces;
The tempo is predetermined - higher, faster, farther - anything that does not fit into the grid of this machinery will no longer be present and perceptible. This raises the question of the relation between perception, reality and knowledge. Starting from this question, the "exhibition" tries to put a few information extractions in a new consensus. The processes are transmitted as information through the lines of the internet, put together in a browser and thus made available to the viewer. The Internet is here a means of artistic expression and at the same time an exhibition venue, public art, which has an international character due to the medium.
The gallery is no longer celebrated as an inevitable place of presentation of art, the viewer does not go to the work, but through the direct contact between the body and the machine, therefore through tactile communication, he calls the work to himself and looks at it on a monitor in his own space. It creates a completely new relation between the viewer and the art. Interaction with art becomes a social, liberal encounter. Every work that is available worldwide and accessible at any time has the same quality value as the original file. Thus, the question of authenticity or copy, original or reproduction is no longer relevant.
Shahin Charmi, 1998