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Soni Sagan

Through the Gesamtkunstwerk ATAR Walk The Streets (2020-2030), also known as contemporary fire worship or bootleg Zoroastrianism, my artistic work and lived experience are ( )holeheartedly devoted to studying flows and exchange rates between aesthetics, metaphysics, and ideology in chronological collapse (as in: now that the future has been canceled). This post-prescriptive vision quest revolves around the creation of a speculative faith-based system without any followers (but full of influencers, all-in-none) as a vessel for questions of existential urgency. The work seeks to uncover where and how aesthetics, metaphysics, and ideology overlap to overcode that thing we call reality, creating the values, judgements and plot holes that make it up.

My spatial practice has been defined by delicately assembling trash and refuse, packaging materials, slogans, lost objects, signs, and wellness technology devices in megalomaniacal systems. Hoards
of cultural artifacts charged with symbolic potency. Garbage immortalized, crafted as entities, composed to sing lullabies to this tender loving death machine we call civilization. Within this work, solo performances of method acting-invocation have grown to involve artifacts-turned-agents; vitalizing and unsettling space with animate waste, petroleum-based ghosts, and incendiary affect.

At this marketplace of suffering known to you as the white cube,
I am now spending . . . time . . . populating the body of work,
ATAR Walk The Streets (formerly known as ATAR Walk With Me) with (P)artysans. An urban landscape monocultured and domesticated at the invisible hands of fast fashion, modern labor practices, and other Swedish innovations. Cut. Ancient craft, dirty jokes, and revelatory hangovers. Curtain.

My little Sisyphus syndrome, wasting time resurrecting something worth surviving the apocalypse for from the cold dead prophet incentives of Ingvar Kamprad and his disciples in the attention economy. United in precarity, this body is our stage and the people to come are its story. Love forever, against the worldTM.

Bildgalleri, rulla i sidled för att se bilder.
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shelf life (detail) (2023) Laser engraved cardboard salvaged from elevator renovation, velcro, candle wax of animal and petrochemical origin, expired vegetable fats, pigment, active charcoal, bronze chips, wick, 3D-printed PLA/PET, scrap metal, scrap acrylic sheet with vinyl text about living conditions in concentration camps during the holocaust and acrylic sheet sign from LM-Ericsson factory
Installation view from prophet incentives//attention economy, Galleri Mejan (2023)
how(l) to live like a love poet, in this economy (2023) Broken mirror, packing tape, ornamental privacy protection film, yarn, scrap lace, cutout from bread bag, packing blanket, salvaged cardboard, stitch markers, one-way privacy window film from destruction site, scrap acrylic bar, chain, found metal pipe, cable ties, tyvek, bamboo, two gifted organs, found pillow and wooden plinth, cardboard stool, exercise ball, plastic flower necklace from closing sale, matches, LED-fire, kissy missy-plushie, cushions crocheted and needle felted from salvaged wool, cigar boxes, chains and headpieces crocheted in loving memory ofchildren martyred during the Jina-revolution
the shadowband (2023) Salvaged wall hangers, spray paint, laser cut valchromat hangers, luggage bungee straps, yarn, chains, dog collar, boom spray, matches, retired climbing rope, paracord, binder rings, poorly aged fast fashion and laser engraved abandoned leather jackets | DesOriented Persian Carpet II – the Real tragedy of the commons (2022) Honeycomb cardboard sheets, plaster, pigment, spray paint, velcro, posters, textured paper, reflective paper, wallpaper, kraft paper, velvet acrylic sheets, felt, lace and 777 wool threads