Lino Heissenberg
bangaloREsident@Blank noise

Giving voice:
Artist Lino Heissenberg supported Blank Noise from afar and prepared first drafts and concepts which will now be realised. He will focus in particular on the successful and expanding «I Never Ask For It» campaign.

Lino Heissenberg was born in 1991 and studied Visual Arts at the Braunschweig University of Fine Arts, finishing as Meisterschüler (Master Student). Since then he is a freelance artist and teacher.

In his work, he focuses on digital media, nerd and geek culture, and language. The emphasis mostly lies on different concepts and strategies of storytelling, memorisation, connecting and commenting on the various set pieces that are evoked in relation to one another.

Lino Heissenberg © Lino Heissenberg The Abusive Relationship Simulator (2015) appears to be a simple text adventure which can be accessed online as well as in a fixed terminal. Contrary to its genre-abiding design, the programme deviates from the norm in some very specific ways: The game can neither be won nor can the storyline be affected in the long term. There is no ending, no high score and, all in all, only 300 words which are displayed in a semi-randomised manner. Interacting with the programme always leads to a loop until the player decides to stop playing altogether. As long as he participates in the narration’s diegesis, he becomes an ‘enabler’ who continuously passes the ball to the computer, who impersonates an abusive partner. The programme is not written solely with textbook information, but is a patchwork of experiences of an assortment of different real people who have lived through relationships like this.

In the two-channel video installation Negentropie (Negentropy, 2015-16), different complexes collide in a variety of ways. Through drawings, videos and text overlays, an acute emergency, a past vice and the process of entropy, which will lead to the end of the universe, are described. The work aims at connecting the different narratives, working with all their similarities, contradictions and forecasts, to, with minimal means, refer back to the typical big questions: Is there any meaning in our actions if the universe is about to perish? Is a temporally finite universe more threatening than an infinite one? And how connected to ‘the big picture’ are we in our daily routines?

The short experimental documentary oo-nye-doo? (2016) deals with topics like commodity fetishism and privacy, accessed through a childhood dream: Owning a Furby. Critical questions arise: Why didn’t one get a Furby, and what did the NSA have to do with that? Why does Barbie have to know what I say? And how is the hole in us always exactly the same size as the product we desire?

Lastly, the film SYMPTOMS is an hour-long exercise about far right online anime fanboys, mental and physical decline, the Ode to Joy’s reception history and the extent of drawing lessons, or, less directly: it is a take on oversaturation, the limits of causal reasoning and information overload.

In Germany, Heissenberg supported Blank Noise from afar and prepared first drafts and concepts on what to aim for and achieve during her stay in Bangalore together with the organisers of the I Never Ask For It campaign.

Final Report