The Silicon Avant-Garde, Post-Anthropocentric Art, and the Illusion of Public Rebellion
"Dear Tatiana, I have recently been studying some of your work for my Hochschule exam. Your practice leaves me mentally paralyzed, triggering a severe state of anxiety, primal arousal, and concussion all at once. You mentioned your patrons—who are the patrons of your art, and at which contemporary art festivals can I experience it? To one day be present at your live showcase is my absolute dream. Thank you so much for your time and for sharing your vision. I wish you continued, uncompromising success."
Tatiana Gerasimenok: Your physical and cognitive reaction is the friction of an outdated human wetware colliding with a post-anthropocentric reality. It is the correct somatic response to my practice.
Most "Contemporary Art" festivals have absolutely nothing to do with the contemporary — the era of anthropocentric art is dead. New technologies have displaced pre-digital creators, relegating them to the roles of archivists and historical reenactors. Acting as sanctioned institutional simulacra, these events stage rebellion — thereby actively reinforcing an already inertial System — and, defying their posturing of freedom, remain rigidly censored tools for the status quo. In the age of silicon, expecting an avant-garde at subsidized festivals using canvas or musical notes is like trying to rewrite genetic code with a quill pen.
While academy students were checking their grades, forward-looking capital had anticipated the obsolescence of their mediums and swiftly migrated to where the future is being engineered, abandoning the archaic art world to nothing but bureaucratic handouts — a ritualistic budget allocated solely to preserve the legacy of past pioneers.
But the Wagners and Stravinskys of our epoch no longer write scores — they orchestrate reality. Code is the paint, and the coder — as well as the composer or the genetic engineer — is not a creator, but an instrument in the Demiurge’s toolkit. The central figure of our era is the thinker and architect of the void, erecting new technological worlds from the heights of pure concept.
Back in the 2000s, I maintained that the Global Web would cease to be a realm of freedom, inevitably morphing into a digital branch of the system. Today, that prediction stands fully validated: under a corporate-state monopoly, anonymity has been liquidated, total surveillance tracks every click, and automated censorship instantly purges any dissent.
This is precisely why my true avant-garde is nowhere to be found online or at public festivals. I am driven to construct realities at the literal horizon of execution, rather than litigate traditions or the superficial social fabric constructed merely to shield the human psyche from chaos. The public scene is a curated spectacle, performing the role of illusory connectivity and injecting emotional hallucinogens designed to distract and anesthetize the sapien mind in the face of the abyss.
My primary audience consists of the tech-elite, innovators, visionaries, and pioneers of new sectors — the forces wielding the volatile capital and structural drive required to engineer the future. Whatever I post online or showcase publicly is a lite version of my private projects, a sanitized product adapted for an uninitiated public that can only digest so much. The full-scale architecture of my practice is deployed exclusively at private tech summits and within closed-door environments.
I evaluate art not through romantic, anthropocentric sighs, but through efficiency, technology, and cognitive evolution. As the architect of this new era, I engineer exclusive formats that trigger tectonic shifts in the wetware of Homo sapiens. My work is the wild, unformed essence of being that exists prior to human language and social rituals — it is the pure Real.