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dreammouse 2023 resin, dried blossom, metal chain, clay pebblestone replica
Installation view `All that we see or seem`, Kunstraum Bümpliz Nord
photo: Nina Rieben



2022  A short documentation about Slay, Pray, Display at duflon/racz blending together computer generated works  together with the manufactured magical tools of S. Aktekin.

2022  I started to know my lines quickly exploring Istanbul - geographically, but also as the remembering sentences that try to define oneself and one’s path, resulting in a series of 3 D prints that became a haptic journal throughout the residence at arthere Istanbul

the tongue as a portal 2022 tranlsucent 3D print, 12 x 17 

2022 Imposed avatar is an attempt to hack the image of oneself on the screen created by the military male gaze. It is a re-appropriation through the method of glitching.

2022  Inverted Bloom introduces you  to a mystic and/but cartoonish experience, released via Daralan Records

2020  Tracing family history and traditions of transformation with Int Document A - screened at Auswahl `20, Kunsthaus Aarau.


 filmstill Int Document A 2020

2020  Augmented Other/ing discusses cultural appropriation as a process of othering in the context of the postcolonial digital museum, published in Freiburger Zeitschrift für Geschlechterstudien.

2019  A manifesto to preserve the wish for a slower world; introducing winterschlaf.Institute for Rote Fabrikzeitung.

2015  A Portrait about the great artist Olivier Mosset By Jessie Fischer contains music from my early experiments with guitar-drones and feedback loops

2012  The lower the resolution of the image, the higher the emotional impact. Changer is composed of poor images taken with first generation digital cameras.






tempomortality 2024 A4 fake tattoo sheets with symbols of infinity and rebirth, series of 10 / Installation view ‘luna lunga, éspace libre, Biel/Bienne

























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











...
“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











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







fake feedback 2012 Clay Bust, Projector, Videoloop 4’20 mp4Installation view Kunsthaus Langenthal 2013