4 channel video installation, 15 mins, 2016.

The Supreme Spasm is adapted from Paul Margueritte's 1888 play Pierrot murderer of his wife, about a mime who tickles his wife to death. After her demise, her spirit enters him and tickles him until he expires as well.  The installation reconceptualizes surveillance as an act of performance, with Pierrot controlling the cameras. An allegorical structure for revealing the slippages of identity, The Supreme Spasm enacts a dialogue between contemporary forms (surveillance, social media) and ancient ones (mime, theater) in order to trace the historical roots of our fascination with performance of the self. The four screens show the same action slightly distinct originating from different takes and creating a sense of uncanny repetition.

Installation view at Künstlerhaus Bethanien, Berlin.









THE SUPREME SPASM publication:

with a text by Lumi Tan.