3D printed sand, plinth, light spot, video (color, silent)
In an act of digital theft, Wedemeyer lifted one of movie history’s most famous props from the screen and set it on a pedestal in the gallery. A key scene from Stanley Kubrick’s „2001: A Space Odyssey“ tells the story of humankind’s earliest technological moment: a humanoid uses a bone as the first tool—and the first weapon—and then flings it toward the heavens in a gesture of triumph. Wedemeyer excised the object from the famous scene and reconstructed its shape using 3D modeling technology. The heavens are deserted, the bone is tangible, but each is as inauthentic as the other. Or is it?
3D and nanotechnology, AI, and other twenty-first-century developments herald the advent of novel metamorphoses that throw a different light on the animistic worldviews that speak from ancient stories. Images and spaces, information and bodies become mutually convertible; the boundary between animate and inanimate substance looks increasingly implausible, as do the distinctions between real people and their media incarnations, between genuine objects and mere dummies. Linear time is riddled with holes and folded in wrinkles. Artistic methods of reenactment, the theatrical recreation of past events, widen to include processes of material and immaterial transformation whose coordinates in time and space seem ever more mutable and inject historic moments of emancipation and critique into the social struggles of the present. Instants of resistance leap across the time of history.