3HD 2021: GARDEN OF EDEN


There’s a biblical paradise at the root of Western convention and normative constructions. The myth of the binary starts with Adam and Eve—the illusory contradiction between pleasure and pain, knowledge and ignorance, ‘good’ and ‘evil’ defined by their expulsion from God’s playground. Creamcake’s “Garden of Eden” presents a curated selection of short films at Berlinische Galerie, as part of 3hd 2021: “Power Play”, suggesting an alternative to accepted reads on mainstream reality from a queer-feminist perspective. Running from October 6 to November 1, contributions orbit questions of identity formation, the body and its imprint politically, socially and culturally, and the expression of gender and sexuality. 

Cristine Brache’s “Sequence 02 1” shows marginal women’s bodies and their reproduction as objects in circulation, across found footage of fetish porn and recollections of the gendered advice from her migrant grandfather. In complicating and questioning economic, political and sexual power relations as both oppressed and empowered,  the artist questions the expectations of ‘otherness’ in the United States. Lu Yang’s “Delusional Crime and Punishment” invokes  notions of hell across religions. A 3D-scanned head mounted on a stock CGI body conjectures that if humankind was created by a God, our propensity to sin is preordained, and our road to perdition  inevitable. “In the Reflection of Ancient Tides” by Keioui Keijaun Thomas addresses blackness outside of a codependent, binary structure of existence. Through movement and matter, she deconstructs, and reconstructs notions of visibility, hyper-visibility, passing, trespassing; eroticized and marginalized representations of black bodies in relation to disposable labor, domestic service, and notions of ‘thing-ness’. The SPIT collaborative project explores the balance between play and consent, where the ambiguous soft spitting between the two strangers becomes a flirting game while Jacolby Satterwhite’s “Shrines” deconstructs hegemonic visual cultures from Christian iconography and Western art history and replaces them with a Black reigned world of pleasure. 

https://3hd-festival.com/

DELUSIONAL CRIME AND PUNISHMENT
Lu Yang


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Oct 06 2021--:--:--

DELUSIONAL CRIME AND PUNISHMENT
Lu Yang

The protagonist of “Delusional Crime and Punishment” (2016) is Lu Yang himself: His scanned head has been mounted on a stock CGI body. First, the figure is 3D printed and packaged with the label “Made by God”, then it is tortured and drawn into hell. The Shang-hai-based multimedia artist’s jarring, even morbid fantasies are fed by notions of mortality, androgyny, hysteria, existentialism and spiritual neurology. In exploring his fantasies through the mediums of animation, immersive video game installation, holography, live performances, virtual reality and computer programming, Lu Yang invokes symbols and mythologies regarding miscellaneous religious notions of the underworld. In doing so, “Delusional Crime and Punishment” arrives at the inevitable conclusion that if humankind was created by God, our propensity to sin was preordained, and this arrival in hell unavoidable.

Music by GAMEFACE

SEQUENCE 02 1
Cristine Brache


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Oct 06 2021--:--:--

SEQUENCE 02 1
Cristine Brache

New York-based artist and poet Cristine Brache shows marginal women’s bodies and their reproduction as objects in circulation. Her film „Sequence 02 1” (2017) is composed from found footage, as well as scenes from her personal archive. It focuses on representation in the digital realm with often small and sensitive insights.

Brache analyzes sayings on t-shirts echoing the language of obedience imposed on women, and especially women of colour. A video of insect fetish porn meets a conversation with the artist’s grandfather, stating his view of femininity. Consumerism and the patriarchal gaze haunt these images and ideologies, while Brache reflects on her own position within them. Giving intimate insight into her upbringing as the daughter of Cuban and Puerto Rican immigrants, communicating via video calls, “Sequence 02 1” complicates and questions economic, political and sexual power relations as being both oppressed and empowered. Brache’s at times discomfitingly captivating work expresses a tension between aspiring for access and visibility, and the means by which one achieves it.

IN THE REFLECTION OF ANCIENT TIDES
Keioui Keijaun Thomas


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Oct 06 2021--:--:--

IN THE REFLECTION OF ANCIENT TIDES
Keioui Keijaun Thomas

Keioui Keijaun Thomas addresses Blackness outside of a codependent, binary structure of existence. Through her performances, films and installations, she deconstructs, and reconstructs notions of visibility, hyper-visibility, passing, trespassing; eroticized and marginalized representations of Black bodies in relation to disposable labor, domestic service, and notions of ‘thing-ness’.

The “In the Reflection of Ancient Tides” (2018) visual poem takes the ocean as a metaphor for the ancestral history of the New York-based artist as a Black person in the United States. Coming from the tides of the water, the first scene is characterized by the bodily and psychological scars effected through forced enslavement. With this story of violence and trauma in the back, Thomas positions herself on top of two upside down shopping baskets—both showing an icon for women’s restrooms. Balancing her poses on these two poles, she finds her own voice of empowerment for the rights of Black, queer, trans and non-binary people living in thriving in the radicality of existing in our fullness and personhood.

SPIT
SPIT


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Oct 06 2021--:--:--

SPIT
SPIT

“Spit” (2020) explores the balance between play and consent. The video by the Berlin and Sweden-based collaboration, featuring Natasja Loutchko, Marta Orlando and Clémentine Roy, presents the act of ejecting saliva from one’s mouth as one of violence or humiliation. You can spit to show disrespect or disgust, but it can also be an exchange between lovers as a gesture of bonding and intimacy.

The film takes place visually suspended between earth and water. Its scenery is Gruenewald forest, the zone where mostly gay men explore the sexual act of cruising. Through an eroticised practice centered around spitting, this place is transformed into a new territory. The subjects claim and stretch the area with a wider meaning, their ambiguous ‘soft spitting’ between two strangers becomes a flirting game, longing for each other through this bodily fluid.

SHRINES
Jacolby Satterwhite


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Oct 06 2021--:--:--

SHRINES
Jacolby Satterwhite

In his interdisciplinary practice, New York-based artist Jacolby Satterwhite draws from queer theory, Afrofuturism, video games, pop culture and his personal family history. “Shrines”(2020) deconstructs hegemonic visual cultures from Christian iconography and Western art history, replacing them with a Black reigned world of pleasure.

In this world, a group of animated Black figures dressed in capes and monitors on their bellies supplant the figures in Caravaggio‘s baroque depiction of „Doubting Thomas”. Figures engaged in BDSM positions are flanked by pop icons like Madonna and Keith Flint, in a specific combination of analog film footage and computer-generated 3D animation. A continuously evolving play begins, accompanied by songs by the artist where he uses the recorded voice of his late mother Patricia Satterwhite chanting the words, “we are in hell, when we fail to exist”.