Levent Pınarcı

Levent Pinarci


temporary immortality, 2024
fake tattoo sheets with symbolf of infinity and rebirth, A4, series of 10

opening ‘luna lunga’, éspace libre, bienne

(time becomes meaningless in this context)2023
a series of gifs sourced in the rhetoric of the cryonic discourse

dreammouse, 2023
resin, dried blossom, metal chain, clay pebblestone replica

photo: Nina Rieben

untitled, (autosignatur), 2023  
cyanotype from digital imgage, 20 x 29 cm

Final Form: When Its Not Your Time To Die, 2024, MP4, 09’ 05“, stereo

The opening scene in a YouTube video clip uploaded by KryoRus, entitled ‘When It’s Not Your Time to Die’, symbolically portrays the act of flying as a metaphor for life. When the pilot loses a wing in mid-air, a post-production blur effect is used to convey the pilot’s skill in manoeuvring the aircraft with only one wing and ultimately landing unharmed. This landing serves as a metaphor for the overarching goal of the cryonics community: to transcend the boundaries of life and death, to exist in its final form - a body for infinity - through the exploration and invention of new technologies. As cryopreservation emerges as a viable option for privileged individuals of considerable wealth and remains a fictional narrative for the common person, the practice is illuminated as a technosomatic symptom of class.

lines, 2020
translucent 3D Printed stationery, 20x 29 x 0.2 cm

the tongue as a portal, 2020
3 D print, 15 x 19 cm

“Did you ever interact with screens while dreaming? Like scrolling, writing, looking at pictures or videos online? Does the way we look at the surface of monitors and displays interrupt the rapid eye movement that is often associated with the experience of dreams?

Each time we interact with computer screens in our dreams, the way we look 'into' the display - a fixed point in space - disrupts the steady movements of the eyes during dream experiences and leads to immediate waking.”
“Slay, Pray, Display”, duflon/racz, 2022

back piece (12V), 2022
digital print on wood, ca 50 x 50 cm
ddownload folder (myshelf) 2022
digital print on wood, ca 140 x 115 cm

mposed avatar 2021
HACKOSEXUAL - hackosexuality is the erotic attraction by being hacked by others or hack value of another person. 

TRANSFORMULATION, diminutive of transformation. Performs its own unconformity, underlined with a red wave by the computer, unrecognizable to the software and therefore identified as an error, incapable of bringing to effect the call to intervene and modify; recode and re-define.

OVERLINING. As you type, Word displays a wavy line under suspect text as follows: A red line indicates a possible misspelling. A green line indicates a possible grammatical error. An overline signalizes a linguistic in(ter)vention to interpret and use words in a personalized way, choose the color of an overline and use it to comment on the process of deconstructing a word, sentence or a whole chapter - overlines will indicate that there is no misspelling or error but a critical, speculative linguistic approach that makes space for inter lingual and cultural expression. 

Int Document A 2020
Installation view Auswahl ‘22 Kunsthaus Aarau / photo: René Rötheli

Augmented Other:ing 2020
MP4, 16’05, stereo

Cultural appropriation as a process of othering in the context of the postcolonial digital museum: Based on a case study of the 3D video mapping show Illuminariium, I use Reverse Charachter Moodboards and Video Assemblages to argue that cultural appropriation is made intangible by digital technology such as CGI/projection mapping, by constituting the digital itself as ‘the other’ that is desired and marvelled at. this multimodal artistic research analysis is captured in the following video, which contains text excerpts from the article Amsler,Claudia/ Pinarci,Levent (in peer-review, 2021). The Augmented Other. In: Freiburger Zeitschrift für Geschlechterstudien.

near birth experience 2015
b/w print A4