You frequently reveal new areas by slashing through sheets of human skin with a blade made of bones.Displaying both realities at the same time isn’t just done for stylish effect there’s a practical purpose, too. On that note, in this otherworld you frequently reveal new areas by slashing through sheets of human skin with a blade made of bones, which also sounds like the opening lyric to the most metal song ever made. On both sides of the divide the environments are exceptionally well realised, but it’s the spirit world that is particularly eerie to explore, with unearthly tendrils sprouting from the floors, outstretched hands clawing at you like stalactites from the ceiling, and your general surroundings resembling a nightmarish landscape the likes of which isn’t normally seen anywhere outside of a heavy metal album cover. It’s an incredibly striking contrast on one side of the screen the flesh and bone Marianne will be moving along a dimly lit hotel corridor, on the other, her silver-haired spiritual form will be stalking through a hollowed-out hallway to Hell. At predetermined points along the main story path the screen will split to reveal the spirit world side by side with the material world, and you’ll suddenly be controlling two versions of Marianne at the same time. Of course, almost every room in The Medium is a dark room, and they only get darker. But elsewhere there are some satisfyingly hands-on methods you need to employ, and I particularly enjoyed the simple pleasure of arranging trays of photography chemicals and dunking the paper in the right sequence of solutions in order to develop a photo correctly in a dark room. LONG LIVE THE MATRIARCHAL MARS AS THE NEW COSMOS AND SPACE.Much of the clue gathering is admittedly fairly straightforward in a mechanical sense, using Marianne’s insight ability on discarded objects found in the world to reveal information about the fate of their owners, for example, or to highlight the ghostly footsteps that point the way forward. With *a disturbance traveling through a medium*, Marianne Vlaschits unties this hypothetical knot and creates a world that synthesizes these possibilities into an affirmative feminist reality. Space seemed to offer itself through science and a then restricted economy to be the new matriarchal society. It became clear as being the most intelligent living organism on the planet we must transcend our own timely demise via the Earth’s core infrastructure and resources. After space travel became a necessity rather than only a hobby intended for evolutionary progression, the innovative idea of having a second home soon became the meaning of life for most humans on earth. The Cosmos has always held a sexist bias towards women as far as innovative recreational living outside earth in the past decade. Eventually NASA concluded that women surpass the abilities of men in the space race through their size and physical aptitude. Look Magazine ran the cover story that controversially asked “Should a Girl Be First in Space?” in the 1960s. Vlaschits’s radical solo female commander narrative and progressive space offers a disturbance in the systems of patriarchy – leaving behind the macho matter and their binary tech gadgets staring and lusting at the sun until they eventually go blind with lost pride. She also extends the user's ability to travel via a mind-altering digital video that plays with the effects of N,N-Dimethyltryptamine (DMT or N,N-DMT), a powerful psychedelic compound that offers the traveller a rapid onset of action and affect - holidaying has never been so unreal. Vlaschits turns the gallery into a blueprint for an interstellar spaceship designed for comfort, not too unlike a cruise liner in the Bahamas but for life. Culture is paramount in this new world and maintained at the highest value for each space traveling unit and its users. Predominantly through travel, political leadership, moral authority and social privilege. Marianne Vlaschits’s exhibition offers us the new cosmos as a social system, where females hold the primary power. Land-bound he can only stare impotent into the screen, yearning for his own astral projection. She looks so agile, so at ease on this red smoldering planet – more so than her male counterpart, sitting back on earth, his eyes pressed against the pixels of the transmitted image through the void-like lens of his robotic rover. She is caught wandering through the borealis basin, stepping between oxidized rock formations as the Mars Curiosity Rover documents her from afar. If you type the phrase woman on mars into the Google image search, a ghostlike figure appears across the first dozen hits, dated 2015.
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