#cajsa

[longlistshort]

Charles Ray “Family Romance”, 1993, and Ashley Bickerton “F.O.B.:Tied (White)”, 1993/2018

Charles Ray “Family Romance”, 1993

Maurizio Cattelan “WE”, 2010

Tishan Hsu, “mammal-screen-green-2”, 2024

Work by Josh Kline

“Untitled”, 2008-9, and “Two Breasts”, 1990, by Robert Gober

Mike Kelley, “Brown Star”, 1991 (left) and “The Judge”, 2018, by Jana Euler (painting on right)

Wanghechi Mutu, “One Cut”, 2018, (center sculpture); photographs by Cindy Sherman, 2010/2023

“Pep Talk”, 2024, by Cajsa von Zeipel and Jamian Juliano-Villani, “Women”, 2024, (painting on right)

Post Human, the current group exhibition at Jeffrey Deitch’s Los Angeles location, continues an artistic investigation of humanity that began with the 1992 exhibition of the same name. Some of the over forty artists (and even some of the works) were in the previous iteration, but now their work is placed alongside others made more recently. Seeing them together offers viewers a chance to  contemplate the shifts and continuations in culture, technology, and what it means to be human.

From the gallery-

“Post Human was virtually a manifesto trumpeting a new art for a new breed of human,” wrote the art historian and curator Robert Rosenblum discussing the impact of the exhibition in the October 2004 issue of Artforum.

In 1992, Post Human, curated by Jeffrey Deitch, brought together the work of thirty-six young artists interested in technological advancement, social and aesthetic pluralism, and new frontiers of body and identity transformation. Through their art, these artists were exploring the same questioning of traditional notions of gender, sexuality and self-identity that was—and still is—taking place in the world at large. Capturing a developing social and scientific phenomenon, Post Human theorized a new approach to the construction of the self and interpretation of what defines being human. The exhibition set the agenda for the 1990s, and its influence on artists and philosophers led to a new field of academic study.

In her book Posthuman Feminism (2022), the philosopher and feminist theoretician Rosi Braidotti credits Deitch for capturing “the avant-garde spirit of the age by foregrounding the role of technology in blurring binary boundaries between subjects and objects, humans and non-humans.” She adds, “Post Human showed also that art assumed a much more central role as it merged with science, computerization and biotechnology in further re-shaping the human form and perfecting a flair for the artificial.”

The catalogue of the 1992 exhibition, with its visual essay and innovative design by the late Dan Friedman, also proved lasting relevance. Deitch’s influential essay predicted many of the scientific and sociological shifts that have since shaped our cultural and social environment, even the pandemic.

More than thirty years later, Post Human at Jeffrey Deitch, Los Angeles, revisits the theme of the exhibition, bringing the discourse into the present. The show includes several of the key figures who participated in the 1992 exhibition in dialogue with some of the most interesting artists continuing the exploration of these themes today. In keeping with the social and technological trends that inspired it, the interest in figuration of the original artists and the younger generations presented in the show is conceptual rather than formal.

Much of the then-new figurative work was descriptive of the “real” world but cannot, in fact, be called “realistic” in the conventional sense. That is because so much of the “real” world the artists were reacting to had become artificial. With the concept of the real disintegrating through an acceptance of the multiplicity of reality models and the embrace of artificiality, Realism as it was once known was no longer possible. This new figurative art may have actually marked the end of Realism rather than its revival.

Fully integrated into our pop psychology, the term “posthuman” is now used in everyday conversations and has come to primarily identify with the trope of the cyborg. This exhibition, like the 1992 show, however, examines multiple declinations and aspects of the postmodern construction of personality and the engineering and transcendence of the human body. The artists in the exhibition embrace notions of plurality, metamorphosis and multi-beingness. Cyber-futuristic, surgically improved, commodified, stereotyped, and politicized, the “cultured body” lends itself to reflect on a variety of concerns that define our age.

Several works in the exhibition will embrace the biometrical aestheticization of the human body to address the decay paranoia, the social conflict over genetic engineering and the use of biotechnologies, and the conversation around the limits of “natural” life.” Artists have long engaged with the threats of biometric surveillance, the possibility of virtual reality overtaking our physical one, the accelerating real-time consumption of experience, and the automation of the workforce. As AI’s ability to fulfill our creative and specialized needs has reached mass fruition, artists are confronting the impact of what was once considered speculative science fiction, an everyday reality.

Post Human was first presented at FAE, Musée D’art Contemporain, Pully/Lausanne (June 14–September 13, 1992) and traveled to Castello di Rivoli—Museo d’Arte Contemporanea, Rivoli/Turin (October 1���November 22, 1992), Deste Foundation, House of Cyprus, Athens (December 3, 1992–February 14, 1993), Deichtorhallen Hamburg (March 12–May 9, 1993), Israel Museum, Jerusalem (June 23–October 10, 1993). A number of the works shown in 1992-1993 are now in international museum collections. Matthew Barney’s REPRESSIA (decline) (1991) is now in the collection of LACMA, where it was on view in 2023. Posthumanism has since been the subject of countless books, movies and high-profile exhibitions.

Artists in the exhibition: Isabelle Albuquerque, 
Matthew Barney
, Ivana Bašić
, Frank Benson, 
Ashley Bickerton, 
Maurizio Cattelan
, Chris Cunningham
, John Currin, 
Alex Da Corte, 
Olivia Erlanger
, Jana Euler
, Rachel Feinstein, 
Urs Fischer, 
Pippa Garner
, Robert Gober
, Hugh Hayden, 
Damien Hirst
, Tishan Hsu, 
Pierre Huyghe, 
Anne Imhof
, Alex Israel, 
Arthur Jafa, 
Jamian Juliano-Villani
, Mike Kelley, 
Josh Kline, 
Jeff Koons
, Paul McCarthy
, Sam McKinniss, 
Mariko Mori
, Takashi Murakami
, Wangechi Mutu
, Cady Noland, 
Charles Ray
, Cindy Sherman, 
Kiki Smith
, Hajime Sorayama, 
Anna Uddenberg, 
Cajsa von Zeipel
, Jeff Wall
, Jordan Wolfson, and 
Anicka Yi

This show closes Saturday, 1/18/25.

[shorthairheaven]

Cajsa Wessberg

[iambountyfan]

To whom it may concern. have updated their Spotify playlist with a selection of their current favourites featuring tracks from iamamiwhoami, ionnalee, Sin Fang, Efterklang, Fever Ray, Jenny Wilson, M83, Jennie Abrahamson, Cajsa Siik and more. 🎶

🎧 open.spotify.com/playlist/2eRG2iVzKLvgUJk8h5ga2N

[ohagreentea]

cajsa wessberg, 31 ans, suédoise (she/her)

crédit : greentea

[sonicziggy]

"Artificial Love" by Cajsa Siik https://ift.tt/5khXW7o

[rottenraccoons]

OBSCURA is in Early Access!

Rotten Raccoons is delighted to announce that our episodic dark fantasy romance, OBSCURA, has released the first half of Chapter Two now available on itch.io and and on Steam!

There's a marketplace under the mountain where anything can be bought and sold. Visitors wear masks to become faceless strangers. It's home to the unscrupulous, the outcast, and the desperate.

You're one of the desperate.

Strangers with their own secrets and ambitions can show you ways through the market. They'll guide you to your goal, but don't trust them to have your best interests at heart. 

First chapter of each route available in the demo to try a taste.

Choose the protagonist's name, pronouns, and mask.

Four mysterious love interests.

Over 120k words so far (70k in the demo, 50k in early access)

A dark, mature story with many ways to fail.

Timed choices! Or turn them off for an easier game.

Original music by Cajsa.

Use the default, OpenDyslexic, or Atkinson Hyperlegible font for ease of reading.

Once you buy the game, you get all current and future chapters.

Full list of warnings available here, our streamer/VOD rules are here.

See you under the mountain...

[englishotomegames]

OBSCURA

Release date (Windows, Mac OS, Linux, Steam) English (early access): September 9th, 2024

"I once heard a story...

There's a marketplace under the mountain where anything can be bought and sold. Visitors wear masks to become faceless strangers. It's home to the unscrupulous, the outcast, and the desperate.

You're one of the desperate.

Strangers with their own secrets and ambitions can show you ways through the market. They'll guide you to your goal, but don't trust them to have your best interests at heart."

First chapter available as a demo, first half of second chapter available in early access.

Choose the protagonist's name, pronouns, and mask.

Four mysterious love interests.

Over 120k words (70k in the demo, 50k in the early access release)

A dark, mature story with many ways to fail.

Timed choices! Or turn them off for an easier game.

Original music by Cajsa.

Use the default, OpenDyslexic, or Atkinson Hyperlegible font for ease of reading.

OBSCURA is now available in early access! You can try the demo or buy it from itch.io here, or from Steam here.

[cosmosemporium]

Chapter 2 of Obscura has allowed a certain lunar priest to worm his way into my mind BIG TIME. Whenever I've been listening to music, there have been songs that for some reason to me = Cirrus vibes.

Here we go!! Hypothetical Cirrus playlist commence:

Choir + Devotion - Cajsa Larsson (obviously)

I Can't Decide - Scissor Sisters (every character with yandere elements ever)

Beautiful Dreamer - Stephen Foster (seems like you could chant it in a church if you were so inclined)

Hopelessly Devoted To You - Grease (Vesper's perspective ig??)

Hide 2 - Fin Ayoto (can you imagine Cirrus grandly opening the church doors to this!!!??? cos i can)

SPKOTHDVL - idkhow (the lyrics... THE LYRICS)

Mixed Messages - Tom Cardy (title speaks for itself, also it gave me a giggle imagining Cirrus in the MV animation style)

Dancing in the Moonlight - Toploader (in another universe, Cirrus is living it up on the surface spreading the lunar word)

Sunlight - Hozier (but isn't he a lunar priest? yesss, but thats the point - the lyrics!!! sunlight being a metaphor and Cirrus maybe not being quite as religious as one might first believe)

yeah so anyway, Cirrus is taking up quite a bit of real estate in my brain and I am not complaining 💙🌙

[hektora]

group chat name of the day

it’s my 3 year transiversary

[funstealer]

Uma Wang A/W 2017 Cajsa Coat and Adalyn Dress via InkClothing

[norsesuggestions]

18th century swedish fancy cooking be like:

"And for spice. Add nutmeg. More nutmeg. More!!"

- Cajsa Wargs cook book, basically

[rfsnyder]

Cajsa Holgersson

[secondlife]

Today we’re shining a spotlight on Cajsa Lilliehook, a pillar of strength and support within the Second Life community. Cajsa's dedication to uplifting artists through her discerning "Cajsa's Choices" and her unwavering commitment to social activism stand as a testament to her influential presence in the virtual world and beyond.

Read Cajsa's interview ➡️ https://second.life/spotlight-CajsaLilliehook

[lovelydeliciouscollective]

“The Sunbottle”

Cajsa Stina Åkerström

[vmvndv-666]

Cajsa von Zeipel

[alexbkrieger13]

🤣

I'm howling at the Häcken-Vittsjö game for many reasons but mostly because Vittsjö made it 1-1 in 93' on a corner kick scored by their goalie!

Other hilarious things are the 2 x Grant and 2 x Rubensson on both teams. The Grants aren't related and not even from the same country. The Rubenssons are sisters and met in a game for the first time tonight. Elin's little sister Cajsa (on loan from Rosengård) was close to score a goal and almost got an assist. She looks promising! Minus the wrong/intercepted pass into the box to Elin she didn't set a foot wrong.

Oh and Gorry got walloped after shoulder to shoulder tackle. She stayed down for a good while, rolled over from her back to her stomach and placed her forehead on the ground. Then she stood on her hands and knees for a bit, head hanging low, before she got back up.

Yea it was a bonkers game