stephanie syjuco

 

PROJECTS
 

RECENT

> Neutral Calibration Studies (Ornament + Crime)
> Neutral Orchids
> Cargo Cults
> Money Factory (An Economic Reality Game)
> Empire Gardens
> Hecho en Cuba (Made in Cuba)
> Artificial Currencies
> Dazzle Camouflage at Workshop Residence
> Public Pedagogy
> Market Forces
> American Rubble (Lancaster Avenue)
> The Fabricators (Tbilisi Edition)
> This is Not the Berlin Wall
> Dirty Works
> Copystand Books (Kronika Edition)
> Dazzle Camouflage Projects
> Cascadian Pattern Collapse
> Modern Ruins (Popular Cannibals)
> Re-Mediation Lab
> Afghanicraftistan
> Empire/Other
> Ultimate Fabrication Challenge (Fauxrijuana)
> CHATFACE
> The Precariat (Material Witnesses)
> Cargo Cults: Object Agents
> Neutral Displays (Small Dilemmas)
> Ultimate Vision (Dazzle Camouflage)
> Ornament and Crime (Villa Savoye)
> Speculative Propositions
> Excess Capital
> FREE TEXTS: An Open Source Reading Room
> The International Orange Commemorative Store (A Proposition)
> RAIDERS
> Phantoms (H_RT F D_RKN_SS)
> Pattern Migration
> Shadowshop
> Learning to Love You (All)
> Particulate Matter: Things, Thingys, Thingies
> notMOMA
> COPYSTAND: An Autonomous Manufacturing Zone
> Custom Transitional Utility Object (Morris Mover)
> Temporal Aggregate (Borrowed Beuys)
> Anti-Factory Bristol
> Towards a New Theory of Color Reading
> The Berlin Wall
> Counterfeit Crochet Project (Critique of a Political Economy)


Black Markets 
Mis-Productions
Self Constructions 

 

PROJECT INDEX

STATEMENT

CV

REVIEWS

NEWS

CONTACT

 


Partial installation view


Paperback books: online versions of Joseph Conrad's Heart of Darkness


Sample interior text


Sample interior text




"This Film Has Been Modified..." portable DVD viewer/player, video clips downloaded from YouTube, looped










"Proxy Audio Manifestation (Total Bootleg Collection)," inkjet prints of images downloaded from Amazon.com, wood, paint, plastic wrappers, stickers


Phantoms (H__RT _F D_RKN_SS)
and related works
2011

Three channel video, public domain texts printed as paperback books, tropical plants, tables, stools; portable DVD player/viewer; handmade representations of illegally downloaded music albums.

The main portion of this installation consists of a table setting displaying twelve different paperback copies of Joseph Conrad's "Heart of Darkness," but reprinted using text files downloaded from different online sources. As unique copies, the interior text is modified by the digitization of the novel -- some include Google ads, mistakes, and mistranslations of the original.

On the wall, three monitors blink portions of the novel's title, forming a cipher that can be fully legible only after watching it after several minutes. Decorative tropical plants suggest an interior domestic space, but also reference an outdoor excursion.

Conrad's 1899 novel was a layered narrative exploration of colonialism, a search for a shadowy figure in a "Heart of Darkness." By creating physical books from digital files, the text further becomes modified, adding a layer of distance, mistranslation, but perhaps also functions as an inadvertent rewriting.

Two other works displayed (Proxy Audio Manifestion and This Film Has Been Modified...) also utilize digital/analog retranslations to push forward the idea of how narrative and authorship shifts across different surfaces.

Proxy Audio Manifestion (Total Bootleg Collection) displays hundreds of handmade replicas of all the digital music files I have illegally downloaded. Low-resolution jpgs of CD covers found on Amazon.com were printed and mounted onto wood, which were handwrapped in cellophane. Representing a manual, labored penance of sorts, the awkwardly physical collection is a snapshot portrait of my musical tastes. Each item can be purchased for $9.99, the standard cost of a music CD today.

This Film Has Been Modified... is a three minute looping video that scrolls through found footage of different film and video format translations placed before movies. Clipped from digital files playing on YouTube, they literally describe how formats change and how it affects the resulting cinematic experience.