Lvis Mejía is an artist based in Berlin, Germany. He works in time-based media, and is a founding member of oqko, an artist collective and label that works at the intersection of various music and visual practices. He is our featured artist this week on the HAYP/IN SITU “Virtual Viewing Room” platform, a space for online artworks from June 1 – August 8, 2020. In this interview, we learn a little more about his meditative film essay “I don’t know where to start, though I know where this is going to end”, and what inspires him. Scroll down to the very bottom for a complete bio.
HAYP/ IN SITU: Tell us about your Virtual Viewing Room Project, “I don’t know where to start, though I know where this is going to end”.
Lvis Mejía: In all honesty, I envision this work being an exercise rather than a project. I would love this to be – in a way – a pilot of an essay film, but I don’t know if I can pay tribute to that. The story is about a non-human entity that finds “something” (like a log book/writings and graphics) and tries to make sense out of it while it finds itself stuck in its spaceship waiting for the end to come. It is in the form of a visual diary that it starts “exercising the thoughts” and tries to decipher the essence and meaning of the object that it found. To find out how it ends, just follow the story.
I don’t know where to start, though I know where this is going to end is in a way just a humble analogy to our lives. At the beginning we are unarmed, but during the process we start getting conscious about our surroundings and who we are. Nevertheless something is – at least until now – inevitable, death (the end). This final chapter, or better said, how we cope with the cosmovision of death, determines most of our behavior in life, and therefore completely the way we live. In strength we remain fragile
The idea is to approach through an “experimental visual diary” I am forcing myself to use exclusively material from my own archive. An archive of my own. I am recycling and reinterpreting my work, and therefore a part of me. Material left in the virtual, material that never got exposed (became real) to the public eye. Like a crestomatia somehow. I decided to exclusively use found footage [of my own work], and tried to guide and interpret it in a specific direction.
HI: How does this relate to your artistic practice?
LM: Well, I have been working for a few years on the topic of “speculative futures” [of humankind] – yes I know the combination might sound redundant – but this issue both fascinates and concerns me, and sincerely, this should be a thing of global character. Leaving aside the unnecessary, almost pathetic question, “Where are we going?”. My tendency shows a rather objective-pessimism based on historical observation, critical perspective and a personal analysis of today’s standards. With this humble toolkit of understanding, I dare to conclude that the direction we are going in might not find its end soon, but all the way will be ferociously painful.
As I mentioned above, the question of “Where are we going?”, seems unnecessary and almost pathetic to me, because it appears to be almost irrelevant for both the small “communities” capable of changing the paradigm on the paper and for the vast billions having potentially the chance to do it through action.
In a way, this project is a family member of a pivotal writing I finished earlier this year about the shortcomings of our species, and the main argument is where the two projects merge. The writing will probably serve as part of the script to this experimental visual diary in order to reinforce the visual language.
HI: Who/what inspires you?
LM: Some rare chemistry processes in my body, getting confronted to new thoughts and experiences, fresh love and some extraordinary works of art.
HI: What does confinement mean to you? Have you (re)discovered something during this time?
LM: As a matter of fact, it made me reaffirm more things rather than (re)discover new ones. We are quite fragile organisms driven mostly by many irrelevant and abusing meanings. When a pause is taken, imposed or seized, there is a chance to reflect, rethink, repurpose and adjust. In my personal opinion, things after confinement are just going to go on (unfortunately) back to the desired pathological consensus of “normality”. The current situation merely undressed society, exposing elemental components to ourselves. These times are just reflecting who and how we are in a more precise way. The collective does not really differ that much from the individual. There is yet so much to learn…. and paradoxically, all of that wisdom is already out there. We are just adamantly still wearing the veil. We are doomed, actually.
Pictured above, some works from Lvis’ yet unpublished photographic series, “Irrelevant Studies on Dichroic Foil” (see more works @Hayp.insitu on Instagram)
HI: When you’re not making art, what do you enjoy the most?
LM: Watching tons of films, trying to finish reading different books, meeting random people at bars and playing football.
HI: What’s your connection to Armenia?
LM: I have had the chance to work and collaborate in the last 3-4 years both with the community and great individuals from the cultural spectrum in the country, and each time has been a particular – yet interesting – challenge.
It all started with a project that now resides in limbo: an audio installation at the Herouni Radio-Optic Telescope in Orgov. Ever since I have been going back consequently every year.
In my personal opinion I think Armenia has a special and prosperous panorama for the development of the art scene and market, but there is still a long way to go. Therefore, the actual moment of paving the process should maintain an experimental idiosyncratic approach without lacking professionalism.
It is crucial to potentialize the sense of unity throughout the community in order to have a common ground and not many individual players on stage. As an external person – yet a recurrent visitor – I see there is plenty of potential to sow and educate the younger generations with a global vision based on exchange and preservation of the cultural heritage avoiding endemic self-glorification. I am always happy to come back and contribute in whatever way is possible.
HI: If you had a magic wand, and could change one thing about the art scene in Armenia, what would it be?
LM: Lethargy and the negative-driven unfounded self-destructive criticism within the scene I have perceived.
HI: What is your dream project that you haven’t had a chance to work on yet?
– A couple of large format installation
– Shooting experimental featured films.
– Develop educational artistic programs with true social impact.
– Develop a decentralized web environment.
– Found an independent multidisciplinary research institute.
– Get a lot of land to create an independent sustainable “country”, hehe.
the list gets long…..
About Lvis Mejía:
Visit Lvis’ Virtual Viewing Room project, “I don’t know where to start, though I know where this is going to end” here.
Follow him on Instagram at @lvis.mejia
See more of his work at: www.lvismejia.com
Follow oqko artists and releases at: www.oqko.org
Lvis Mejía is an interdisciplinary artist, educator and musician born in Mexico City, based in Berlin since 2007. He is a member of the artist collective and label, oqko. Lvis’ work has shown at major museums and galleries including DOCUMENTA 13, the ICA London, the Centre Pompidou, MUTEK Montréal and the Transmediale Berlin. His academic background is in philosophy, fine arts and time based media from Christian Albrechts Universität zu Kiel, MIT Media Lab and HfbK Hamburg. His work has brought him to Armenia several times, in 2017 he designed a site-specific installation “UNO” at the Herouni Radio Optic Telescope (Orgov) in the framework of HAYP Pop Up Gallery’s CETI Lab exhibit. In 2018, Lvís participated in a collaborative installation for HAYP’s Retrospective “12-12-12”, and in 2019 he worked as a consultant for the Armenia Art Foundation’s Sound Lab in Gyumri. Lvis believes in the capacity of artistic practice to transcend medium, while being deeply intertwined in a sense of place and community. Since 2020, he has joined the IN SITU team as a cultural consultant, with the aim of catalyzing cross-cultural exchange and proposing new perspectives and contexts for art and idea making.