twee whistler

I often find myself analyzing fan communities; I am fascinated by how their social hierarchy is based on knowledge rather than economic power or by how their productivity is capable of overcoming and stratifying above that of the original product. I was wondering what it would mean to place in the same economic system fan art that was, in turn, the same product (an artwork) offered by another artist. Besides questioning the meaning of authorship, quotationism, copyright, production and post-production I want to play on the limits of privacy and emotional attachment in a fan vs celebrity dimension. I have therefore developed a complex fan-fiction where I am the girlfriend of an esteemed artist, Jon Rafman, who now becomes meme, now "senpai" (a name often used in manga by shy girls referring to a boy, perhaps barely known, which they have fallen in love with), now a sort of contemporary art Justin Bieber ( ͡° ͜ʖ ͡°)

Collectively authored cut-for-cut remake of the 1929 film of the same name through the lens of internet-based aesthetics. Drawing a lineage from the experiments of Soviet montage to contemporary trends such as sludge content, desktop documentary, corecore, and database cinema, Man with a Movie Camera (2025) attempts to reinvigorate the popular avant-garde project of a universal cinematic language which was originally developed almost a century ago by Dziga Vertov and The Kinoks.