119 digital prints of found Internet imagery categorized in
four thematic cabinets.
13,5 cm x 19,0 cm.
Logging onto a sex-dating page is like a promise, an overwhelming
sea of imagery and data. Next to each other one finds fetish-addicts
and ordinaries, "Tops" and "Bottoms",
"Trannies" and "Sissies". Here, everybody
can find a sweetheart. Digital flaneurism, an ongoing desire
of searching and finding.
Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)
is a collection of found images from these virtual sex-dating
pages that formulates a poetry of teasing. The images show
particulars of the human, but the character or identity is
obscured: A shape of a chest might count more than what's
written on a driver's license. Nobody knows for sure which
personality is hidden beyond the image: Is it a constructed
identity or an authentic one, a bourgeois or a pervert?
Hierarchies of bodily forms, of beauty or nationality do not
make the categories, by which the collection is organized,
but the various formal disguising, masking, blurring or highlighting
techniques that obliterate the notion of the natural and the
real. Hiding is showing.
Sound collage of found amateur audio off Internet porn sites
accompanied by video. 42 minutes.
The investigation took its starting point with the question:
why is pornography mainly visual and rarely audio? The examination
that followed ranged from professional and theatrically staged
to nowadays predominant amateur porn videos, in which the
visual and aural setting and the sexualized atmosphere has
become as important as the actual sexual act itself.
The material for the Audio-Porn-Megamix (Come Into My Light)
sound collage was collected during seemingly endless walks
through cyberspace and in the same manner of flaneurism as
in Angels of Disguise. (The audio material is also featured
in the box-set on CD in alphabetical order.)
Video sex portals provide any fetishes and sounds imaginable.
From outdoors to body sounds to electronic machinery or simply
the next-door neighbours' blaring television set. A major
part of the sound mix are corrupted files, damaged by faulty
up- or downloading or by improper use of recording equipment.
Similar to the Angels of Disguise prints, the digital corruption
becomes a mask that disguises or highlights the original document.
The Audio-Porn-Megamix (Come Into My Light) is accompanied
by a silent and hardly moving short video recoding of the
moon, which digitally has been time stretched to a 42 minutes
slow motion movement. The moon, earth's face to face eternal
companion, becomes a cosmic metaphor for the infinite and
perpetual potentiality and quality of what man has created:
the computer and the internet; the digital-age as a symbol
of a global and maybe even cosmic human interconnectedness?
Can "Khan" Oral in his own words: "The idea
for Audio-Porn-Megamix stared with a question: 'Why is pornography
mainly visual and rarely audio?' I started looking for examples
and only found some 60s flexi disc that was some kind of a
phone-sex recording accompanied by a ye-ye lounge sound-track.
I came across Porno for The Blind a rather unexcited narration
by someone watching porn, transcribing to the blind what he
sees without using any porno slang nor much emotion. I'm not
sure if that was just bad casting or on purpose. My next step
was collecting audio off of pornographic video material I
was looking up on the internet. I realized that the "old
school theatrical actors porn" had almost been replaced
by massive uploads of amateur video or that what pretends
to be amateur. I found interesting that some clips are publicized
mute, some original sound was replaced by music, most of the
time Top-40, others were corrupted video up- or downloads,
in and out of the internet, or simply malfunction recording
equipment. My attention went towards video in which the erotic
self-portrait managed without much moaning, growling or talking.
The room and the sexualized atmosphere became the main attraction.
The street sounds, people next door or the camera hum itself
under my headphones opened a 3-dimensional room of showing
and not showing, intimacy or in your face, corruption and
innocence, a room in the room in the room, endless flaneurism."
Can "Khan" Oral,
born of Turkish-Finnish parents in Frankfurt/M works and lives
as a music- and film-music producer, performer, actor and
visual artist in Berlin since 2002.
Living in NYC from 1992-2002 he owned the electronic record
shop Temple Records Soho/NYC, hosted downtown art events and
parties, run three record labels and produced and performed
with a variety of artists such as: Diamanda Galas, Julee Cruise
(Twin Peaks/David Lynch), Kid Congo Powers (The Cramps/Nick
Cave & The Bad Seeds) or Brigitte Fontaine with whom he
won the prestigious Qwartz Award 2010 for best song in Paris/France.
Can "Khan" Oral hosts a monthly party at the Berlin
techno shrine Berghain and tours internationally with various
artists and projects. In 2012 Khan worked on an opera piece
with Stereo Total, a theatre production for Hau 3 called "Wir
sind ein Bild aus der Zukunft" as well as exhibitions
in Berlin, Nice and for Kassel's documenta13.