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Filip Kostic

Landgrab the Musical is a western VR musical. The work investigates the restructuring of the viewers position within the image that is inherent to VR. We follow a cowboy avatar, as he sings of his binary existence. Four digital western landscapes are adjoined and mapped onto a wooden stage that defines the borders of the experience - as to address the paradox of site specificity in VR. The conflation of digital and physical space (as defined by their contingent existence), in real-time, actualizes the physicality of simulation. The four-song performance oscillates between investigating the construct of the simulation and addressing the emotional collateral of being a digital image.

Landgrab the Musical is a western VR musical. The work investigates the restructuring of the viewers position within the image that is inherent to VR. We follow a cowboy avatar, as he sings of his binary existence. Four digital western landscapes are adjoined and mapped onto a wooden stage that defines the borders of the experience - as to address the paradox of site specificity in VR. The conflation of digital and physical space (as defined by their contingent existence), in real-time, actualizes the physicality of simulation. The four-song performance oscillates between investigating the construct of the simulation and addressing the emotional collateral of being a digital image.

Landgrab the Musical is a western VR musical. The work investigates the restructuring of the viewers position within the image that is inherent to VR. We follow a cowboy avatar, as he sings of his binary existence. Four digital western landscapes are adjoined and mapped onto a wooden stage that defines the borders of the experience - as to address the paradox of site specificity in VR. The conflation of digital and physical space (as defined by their contingent existence), in real-time, actualizes the physicality of simulation. The four-song performance oscillates between investigating the construct of the simulation and addressing the emotional collateral of being a digital image.

Landgrab the Musical is a western VR musical. The work investigates the restructuring of the viewers position within the image that is inherent to VR. We follow a cowboy avatar, as he sings of his binary existence. Four digital western landscapes are adjoined and mapped onto a wooden stage that defines the borders of the experience - as to address the paradox of site specificity in VR. The conflation of digital and physical space (as defined by their contingent existence), in real-time, actualizes the physicality of simulation. The four-song performance oscillates between investigating the construct of the simulation and addressing the emotional collateral of being a digital image.

Landgrab the Musical is a western VR musical. The work investigates the restructuring of the viewers position within the image that is inherent to VR. We follow a cowboy avatar, as he sings of his binary existence. Four digital western landscapes are adjoined and mapped onto a wooden stage that defines the borders of the experience - as to address the paradox of site specificity in VR. The conflation of digital and physical space (as defined by their contingent existence), in real-time, actualizes the physicality of simulation. The four-song performance oscillates between investigating the construct of the simulation and addressing the emotional collateral of being a digital image.

Filip Kostic

Filip Kostic’s practice examines the relationship between the self, the uploaded and continually updating digital-self, and the mechanisms that facilitate the upload. His work operates within existing cultural structures – such as information-sharing platforms, gaming and simulation, and video – by borrowing and employing their language and means of production. Kostic explores the ways in which identity and autonomy are defined by our ever-growing relationship with simulations and virtual reality.

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