2022: A Spaced-Out Odyssey. A trip experience that enables exactly those levels of consciousness, or rather their dissolution, that the consumption of certain intoxicants also makes possible. In just three minutes of HAPPY DOOM’s cinematic movement, I get the impression of falling through the screen into an alternative space, am briefly reminded of the material of the screen – its material reality – and in the same instant witness a journey into the interior of my eye. The boundaries between inside and outside, me and the world, the virtual and the material, all become permeable, ambiguous, irrelevant: I am the origin and object of a gaze, I am actually there and gotten lost, sitting in the movie theatre and falling through space and time, with everything in flux in an infinite, neverending circular movement.
The recorded image and sound fragments from a session in a darkened studio, organized by Billy Roisz and Karolina Preuschl last summer, have in a next step been condensed into HAPPY DOOM. Completely absent this time are the horizontal and vertical bars so typical of the artist, which always double and shift the boundaries of the canvas; for the most part, what is seen are colorfully pulsating circles of light that flow beyond the canvas or into the center from beyond it, therein dissolving it, having it implode, consigning it to oblivion. The deep sine wave that initially sounds almost like a four-to-the-floor kick drum, increasingly unravels, frays, and is gradually replaced by various hits, stabs and structures of white noise. (Alejandro Bachmann)
Translation: John Wojtowicz
3 min 30 sec