Beyond the river

Installation “Beyond the River,” presented at the "Immerse!" exhibition, examines the complexities of computational immersion. This international
showcase, curated by Corina Apostol and Lívia Nolasco-Rózsás, raises critical questions about the evolving nature of knowledge production and
spatial relationships in the face of emerging immersive and virtual interactions, which serve as mediators of space and presence. The dialogue centers
on maintaining a critical distance amidst the blurred lines of reality and virtuality, tangible and computer-generated entities that continuously
challenge our perception.
The installation combines diverse elements - clay sculptures of Sami warriors, a beloved textile object replicating a deer family tapestry, and a video
projection of an animation created through a machine learning model trained on Finno-Ugric symbols and early age art. The textile piece, being a
clichéd plush merchandise object, echoes a traditional gobelin. This serves as a metaphor for the perpetual copying and dissemination of ideas and
images in the digital age, much like the spread of internet memes and rumors.
Through this amalgamation, I invite viewers to reflect on the dynamic intersections and reciprocal influences between digital and physical worlds. The
tapestry and clay sculptures symbolize the natural world and traditional cultural practices, while the AI-rendered interpretation of traditional Finno-
Ugric symbols illustrates how the digital realm informs our understanding of these elements. The fusion of these components prompts thoughts on the
escalating overlap of digital and physical domains and the evolution of indigenous cultural practices in the digital era.
This artwork explores themes surrounding the fusion of the human and the digital, and the blurring boundaries between reality and virtuality.
Leveraging the concept of a 'river of blood' from Sami mythology, which symbolizes the separation of different worlds or realms, the piece proposes a
metaphor for the digital and physical dichotomy. This 'river of blood' symbolizes not just the delineating technologies and systems, but also the
disparities between cultural and political spheres.
Drawing parallels to the myth of Myandash, a figure in Sami mythology known for his ability to transform between human and deer forms and
attributed with teaching humans the art of hunting, the installation invites introspection. Just as Myandash, who resides in a lavvu made of deer bones
and skins, we too inhabit a world where the boundary between physical and digital progressively fades. I aim to provoke reflection on the ways
technology shapes our experiences and perceptions, and how it transforms traditional cultural practices in the digital age.