Moloch / Personal show / Foundry Dubai
curated my Giuseppe Moscatello
Sasha Sime: Moloch
Presented by Foundry
Text by Giuseppe Moscatello
In his first solo exhibition in the Emirates, Sasha Sime constructs a meditative triptych that charts a journey from language to logic to the loss of self, which unfolds across dimensions, verbal, dialogic, and cinematic, each act deepening the viewer’s entanglement with systems of meaning, memory, and machine.
The exhibition begins with Act I — The Verb, where the origin of action is stripped down to a prompt. Here, the word is not simply a linguistic sign but a programmatic force. Sime refines language into commands, echoing both mystical incantation and computational instruction. The Verb becomes a cipher, summoning the machinery of interaction.
The Sentence transitions in Act II, from command to exchange. A structured improvisation between AI entities and the artist, this act plays out like a digital Talmud: fragmentary, recursive, speculative. Yet beneath the playfulness, one senses a deeper historical shadow, the trade of bodies, stories, and data across civilizations and servers. Memory competes with computation. The human attempts to interrupt the automated rhythm with the glitch of remembrance.
Then, in Act III, The Film Moloch, Sime delivers his mytho-technological crescendo. Here, Moloch is no longer a symbolic god of sacrifice but a literalized architecture, a speculative data temple beyond the Arctic Circle. The film envisions a closed feedback loop of organic input and algorithmic output, a site where human flesh and informational code fuse into machinic eternity. Moloch does not consume for purpose, it processes for pattern.
Presented by Foundry
Text by Giuseppe Moscatello
In his first solo exhibition in the Emirates, Sasha Sime constructs a meditative triptych that charts a journey from language to logic to the loss of self, which unfolds across dimensions, verbal, dialogic, and cinematic, each act deepening the viewer’s entanglement with systems of meaning, memory, and machine.
The exhibition begins with Act I — The Verb, where the origin of action is stripped down to a prompt. Here, the word is not simply a linguistic sign but a programmatic force. Sime refines language into commands, echoing both mystical incantation and computational instruction. The Verb becomes a cipher, summoning the machinery of interaction.
The Sentence transitions in Act II, from command to exchange. A structured improvisation between AI entities and the artist, this act plays out like a digital Talmud: fragmentary, recursive, speculative. Yet beneath the playfulness, one senses a deeper historical shadow, the trade of bodies, stories, and data across civilizations and servers. Memory competes with computation. The human attempts to interrupt the automated rhythm with the glitch of remembrance.
Then, in Act III, The Film Moloch, Sime delivers his mytho-technological crescendo. Here, Moloch is no longer a symbolic god of sacrifice but a literalized architecture, a speculative data temple beyond the Arctic Circle. The film envisions a closed feedback loop of organic input and algorithmic output, a site where human flesh and informational code fuse into machinic eternity. Moloch does not consume for purpose, it processes for pattern.
The exhibition moves not just through time, but through epistemes. From the granular energy of the verb, to the transactional sentence, to the immersive filmic system, the works pulse with the cold rhythm of digital recursion. And yet, in this precise machinic choreography, Sasha Sime inserts the poetic, not as resistance, but as residue.
In Moloch, Sasha Sime enacts an ontological opera: a choreography of language and machine where prompts birth dialogues, dialogues birth systems, and systems dissolve the self. It is not a warning, nor a surrender, it is an aesthetic hypothesis of our recursive present.
In Moloch, Sasha Sime enacts an ontological opera: a choreography of language and machine where prompts birth dialogues, dialogues birth systems, and systems dissolve the self. It is not a warning, nor a surrender, it is an aesthetic hypothesis of our recursive present.
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Control & Domination
