for here am I sitting in a tin can far above the world
A woman dreams of a future economic crisis affecting the cryptocurrency market. Thousands have been cryogenized, waiting for better times… Gala Hernández López’ densely researched, engrossing two-channel work is a dizzying psychedelic epistolary laden with doom and unease. Are we all suspended, falling into the void? And what strange relationship do we have with the future?
Recycler of mass internet content and portrayer of YouTube communities, Hernández López borrows texts from Finn Brunton’s Digital Cash to compile an obscure cyberpunk nightmare. “How come you are not scared Hal?” asks a velvety, frightful voice to American cryptographer and techno-optimist Hal Finney in an imaginary conversation. In 2014, Finney had entered cryostasis, financed by his crypto points. The film uses his time travelling arc to construct an anxious collage of past and present wherein digital currencies, future phobia, extropian philosophy and life extension technology converge. At times, the double screens resemble the windows of a space station and we float high above a world eternally collapsing, where people have withdrawn from life in the hope of a techno-fix. (Ane Lopez)
Gala Hernández López is an artist-researcher and filmmaker. Through interdisciplinary research and the production of essay films, video installations and performances, her work explores new modes of subjectivation, specifically as produced by computational digital capitalism. From a feminist and critical lens, she examines discourses and imaginaries circulating in virtual communities and their relationship to states of being in the world. Her work has been shown at DOK Leipzig, Cinéma du Réel, IndieLisboa, the Clermont-Ferrand Short Film Festival and the Salon de Montrouge, among others. Her film The Mechanics of fluids is selected for the César awards 2024.
for here am I sitting in a tin can far above the world (2023), The Mechanics of Fluids (2023)