#11 Suzanne Treister
New military-occult technologies for psychological warfare. A Rosalind Brodsky research programme.
Curated by Tania Nasielski
HEXEN 2039 is a multi-venue project taking place across London between November 2006 and February 2007.
HEXEN 2039 charts Brodsky's para scientific research towards the development of new mind control technologies for the British Military through a series of drawings and diagrams, a video, website and site-specific interventions. This complex body of work uncovers links between conspiracy theories, occult groups, Chernobyl, witchcraft, the US film industry, British Intelligence agencies, Soviet brainwashing, behaviour control experiments of the US Army and recent practices of its Civil Affairs and Psychological Operations Command (PSYOP) and new research in contemporary neuroscience.
"HEXEN 2039 offers us an inverted, riotous version of a sociopolitical history that stands in kaleidoscopic opposition to the homogenised, narrow flatland of the capitalist march forward. Treister's constructions belie a deeper mission: to explore how we make sense of history and the politics of war." (Jane D. Marsching)
In 1995 artist Suzanne Treister created the fictional alter ego Rosalind Brodsky, a delusional time traveller who believes herself to be working at the Institute of Militronics and Advanced Time Interventionality (IMATI) in the twenty-first century. Through Brodsky, Treister explores issues of history, global politics, religion, popular culture, sexuality, science, technology, the military and theories of the future.
The Rosalind Brodsky project has been described by Art in America as "One of the most sustained fantasy trips of contemporary art".
Suzanne Treister studied in London at St Martin's and Chelsea Schools of Art and currently lives and works in London and Berlin. Treister has shown internationally since 1981. Recent exhibitions include: Operation Swanlake at Annely Juda Fine Art, London; Knstlerhaus Bethanien, Berlin; Gallery Skuc, Ljubljana; Magazin4, Vorarlberger Kunstverein, Bregenz; (The World May Be) Fantastic, 2002 Biennale of Sydney; Don't Call it Performance, Centro de Arte Reina Sofa Madrid and El Museo del Barrio, New York, USA.