OCD Genesis
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Description by Marin Berović
Liminal Acid Hazards (Darko Vukić) presents a series of videos existing as standalones and (un)completed wholes that are a synthesis of a repository of moving images, characters and ideas. Narratives, emerging from notions of the symbolic, dissipate and most often lead us to dark and visceral spheres of intimacy, but also coldly and analytically assess general phenomena.
The work is mostly developed through a 2D image and pattern, eluding spatial depth. At times it takes us to the club, where one has to push through the rhythms of breakbeat, hear the figure and the sermon, find oneself in the erasure of the parameters of the real – touching the abstraction we came there for. At the other extreme, we descend into an unadulterated space of home and introspection, either with voiceover sighs over lascivious King Koope, superimposed over Yaoi romance, or via work as a camera recording and work in front of the camera, its everyday, just in high frequency.
Repetitions, stretches and a spiral recklessly winding CCW are tinkering with temporality; not allowing the linear flow of time to lead us to a complete catharsis or conclusions, similarly to the motives evoking the aesthetics, languages and nodal points of current and long-lost digital spaces. The screen and the surface of the projection can endure colour, distraught figures and hypertrophy. In his essay Meltdown, Nick Land predicts that “nothing human makes it out to the near-future”, but here we have the opportunity to experience the born pulsating foetus of that same work.
Perhaps it is in the liminal spaces, where the explicit doesn’t function as a shock but as a virtue and cordial honesty, that we can accept the extremes of the imaginary as moments of collectivity – that what is other to us, as well as other othernesses, is what is helping us melt into the amalgam of society as it is.
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