Tishan Hsu has been exploring the messy entanglement of bodies and technology for over three decades. Spanning painting, drawing, sculpture, photography, and video, his work is characterized by a slippery lexicon of biological and technological motifslingering on the touch in touchscreen and the face in interfacethat probes the more visceral, affective, and lived aspects of our relationships to machines.
How might an ethics and politics committed to the flourishing of significant otherness be learned from taking dog-human relationships seriously? asks scholar Donna Haraway in The Companion Species Manifesto (2003), a characteristically nimble and excursive text on the imbricated past, present, and future of canines and people. In the follow-up to her 1985 cyborg manifesto, Haraway frames people and dogs as co-constitutive categoriesthe term companion hinges upon a relation or contingencyand characterizes significant otherness as a nonhierarchical form of relating that springs from a cognizance of difference and an ethics of attention.
In response to the socio-ideological landscape that late capitalism presents as donnée, the Yes Men pose as corporate or governmental bodies in mass media hijinks that either take consensus reality to its ludicrous extremes or demonstrate that consensus reality has already reached said extremes, highlighting our entrenchment in its naturalized frameworks.