Séance: Technology of Disalienation

Elena Vogman

Tamar Guimarães and Kasper Akhøj, Captain Gervasio’s Family still, 2013/2014. 16mm film transferred to digital (b/w, sound). 16 min. Commissioned for the 55th Venice Biennale Il Palazzo Enciclopedico and the 31st Sao Paulo Biennale How to (…) things that don’t exist. Courtesy of the artists; Fortes D’Aloia & Gabriel, Sao Paulo; and Ellen De Bruijne Projects, Amsterdam

Tamar Guimarães and Kasper Akhøj, *Captain Gervasio's Family* still, 2013/2014. 16mm film transferred to digital (b/w, sound). 16 min. Commissioned for the 55th Venice Biennale *Il Palazzo Enciclopedico* and the 31st Sao Paulo Biennale *How to (...) things that don’t exist*. Courtesy of the artists; Fortes D'Aloia & Gabriel, Sao Paulo; and Ellen De Bruijne Projects, Amsterdam

Elena Vogman is a scholar of comparative literature and media. She is principal investigator of the research project Madness, Media, Milieus: Reconfiguring the Humanities in Postwar Europe at Bauhaus University WEimar and a visiting fellow at ICI Berlin.

Research Title

Séance: Technology of Disalienation
Participants

Elena Vogman
Publishing Date

2025-09-11
Languages

Korean
Editions

SMB13
Categories

Essay
Keywords

death moving image séance technology

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Research Title Séance: Technology of Disalienation
Category Essay

Edition The 13th Seoul Mediacity Biennale

Author Elena Vogman

The English version of this essay can be found in e-flux journal #156, a special issue for the 13th Seoul Mediacity Biennale Séance: Technology of the Spirit.

Link: https://www.e-flux.com/journal/156/6776768/s-ance-technology-of-disalienation

It will also be available on this SMB website from mid-October.

This essay is originally commissioned for the 13th Seoul Mediacity Biennale Catalogue, Séance: Technology of the Spirit (Seoul: Seoul Museum of Art, Mediabus, 2025), scheduled for publication on October, 2025. With the author’s consent, it is being published in advance on the Seoul Mediacity Biennale website and e-flux Journal. No part of this essay may be reproduced or utilized in any form or by any means without the prior written permission of the author, Seoul Museum of Art and Mediabus, Seoul.