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Villekallio PDF
Villekallio PDF
online/
August 2018
1
Ville Kallio (born in 1990, lives
and works in Helsinki) is an
interdisciplinary artist work-
ing in the media of 3D anima-
tion, sculpture, digital drawing,
and site specific installation.
Through his angst of living un-
der eternal capitalism, his work
explores violence, bio-technol-
ogy, and the future of warfare
through video-games like sim-
ulations and accelerated
2
realities.
https://www.unknow.online/
GOREPLEX
(detail at 01.30)
video
Ville Kallio, 2017 EM: Hi Ville! Magnus and I wanted to open
https://vimeo.com/207370161 this interview with some of your thoughts on making
GOREPLEX, can you tell us some more about this work?
3
MM: The first thing I noticed was values of Tech-
nospirituality and trans humanism as occultism, what is this
about for you?
4
blockchain (like 0xOmega).
https://www.unknow.online/
5
MM: I was just thinking about your comment on Mario and real
and fabricated being indistinguishable, In video game engines theres the con-
cept of a skybox which creates backgrounds to make a computer and video
games level look bigger than it really is. The sky, distant mountains, distant
buildings, and other unreachable objects are projected onto the cube`s faces
(using a technique called cube mapping, thus creating the illusion of distant
three-dimensional surroundings. When I was a kid playing Super Mario 64
on a N64 at my friends house we used to trick each other into believing that
you could swim to the island way, way out in the water, but of course in the
course of doing so you would inevitably hit an invisible wall, the swimming
animation would continue and you’d just sit there experiencing this weird
infinite meaningless task, egged on by pure faith, trying to reach this island
that technically was just an image, an assortment of pixels. A sort of caste
in the sky. Is playing Super Mario 64 in that sense a religious experience?
6
https://www.unknow.online/
7
VK: The collapsing of time into a
point is I guess just basic technocapi-
tal singularity, technological acceler-
ation becoming so intense that future
is flattened into the present. Despite
the extreme speed being stuck in the
middle of it is draining, sluggish.
It all coagulates into this oobleck-like
mass that suffocates you the more
you struggle. I guess the what I’m
looking for is finality beyond the
finality of capital, the release of
planetary death and institution of
communism in the realm of hell.
8
https://www.unknow.online/
for both solar and nuclear energy. When I say hell I https://vimeo.com/207370161
mean it in the sense that we’re essentially Lucifer be-
ing cast out of heaven for rebelling against daddy. The
rebellion in this case is the discovery of fossil fuels and
the following unleashing of ancient death into the at-
mosphere, the casting out being temporal rather than
spatial. Like the princes of hell we’ll just have to make
the most of our raw deal. If anyone is still alive in 500
years the most significant faction will be composed
of fully carcinised post-humans floating freely in the
vacuum of space and subsisting on cosmic radiation.
9
M: What is this fascination with gore? Theres something
about fleshy bodies in cyberspace and trying to brute force hu-
man meat bags into digital space. Are you casting a sort of spell
with this work?
10
https://www.unknow.online/
EM : I wanted to ask
you some questions about
your digital painting
practice. I guess the first
thing that comes to mind
with your digital painting
is the move to work with
digital materialities and
manufacturing processes
and how the metaphysics
of painting artifice chang-
es. The mineral properties
of the pigment, oils, waxes
and cloth are replaced by
rendered colour spaces,
pixels and the digital in-
terface constituted up by
numbers and data which
radically changes the
form of painting , its ar-
chiving and archeology. I
get a sense this change is
important to you and the
ethos of your practice so
I wanted to hear some of
your thoughts and ideas
about this transference.
11
https://www.unknow.online/
MM: Yeah, for sure. In a tablet painting the building up and layering of the painting
is often made through a video of a series of gestures and colour choices, instead of the
materiality there is a literal visual archive of the gestures and choices taken into account
Left while creating the painting. I also feel like one way digital and analogue painting differ
is in the amount of pure information or data they can hold, much like in the sense of
Ville Kallio, 2018 analog and digital sound for example in a digital painting you can zoom in to a certain
VIBRANT MATU-
RITY® 7+ ADULT extent until all you see is huge pixels, or if its vector-based, you see a bunch of lines. In
SHOW the material world you can zoom in until you see the molecules making up the paint-
ing, and behind that an immense, immaterial void. Is it the void that you find interest-
artists - Ville Kallio,
Bora Akinciturk ing and is it that void that you want to bring into the digital/internet/electronic world?
curated by Christina
Gigliotti
Right
12
https://www.unknow.online/
13
EM: Your sculptural and installation work seems like spillage from the simulated,
as if the gap between the digital is spewing into the physical in a very urgent and abject
Left way. Have you always worked with these two realms as intersecting? So many digital
artists work with the screen space in a fairly rudimentary way, only conceptualising it
Ville Kallio, 2018
VIBRANT MATURITY® 7+
within obvious reason say with plush seating arrangements or projected surfaces. In
ADULT SHOW your installations the sculptural is not simply a vessel but a mirror phase zone where
the same digital interrogrations are are applied to meatspace - it is doing the same
artists - Ville Kallio, Bora
Akinciturk
thing but in another realm. I see it as not really a proscenium but a part of two parts
curated by Christina Gigliotti that look at each other and themselves. This provoking the physics of space and time
both digital and analogue opens up what I sort of see as a void portal between existing
and not existing and I wondered how this came about, if it was natural progression for
your practice and what you are seeking by interrogating the two zones as self reflexive.
VK: I don’t think it’s just my work, but something that’s happening everywhere
and at an accelerating rate. Accessing the cyberspace may have been more like opening
some kind of portal at an earlier time, but now it feels more like an unlocked door that just
needs to be knocked a bit for it to fly open. The mush and gunk is always packed against
the door waiting cover you up. We’re all data plumbers waiting for the septic tank to blow
up in our faces now. My installation work and how it relates to this is I suppose all about
just applying the things I’ve learned while navigating the feces-flows of the internet into
the more traditionally spatial reality of the gallery space. It’s all very intuitive and means
to an end, like I don’t think I’m necessarily actively doing any kind of interrogation as
much as humans as a life form have finally adapted to solve the problems of spacetime.
Right
14
https://www.unknow.online/
15
Ville Kallio (1990) is an interdisciplinary artist working
in the media of 3D animation, sculpture, digital drawing,
and site specific installation. Through his angst of living
under eternal capitalism, his work explores violence,
bio-technology, and the future of warfare through vid-
eo-games like simulations and accelerated realities
www.villekallio.systems/
www.magnusmyrtveit.com
www.conchrotterdam.com
16
https://www.unknow.online/
https://www.unknow.online/
Ville Kallio