Split-screen perception becomes a governing metaphor for how memory sutures porn spectacle, documentary Orientalism, and nuclear media into a single apparatus of looking, where meaning is produced through apophenic/patternic connections across competing screens, archives, and afterimages. Feminist and queer critique threads through this media ecology to expose how bodies (genitals, gender, laboring women, irradiated workers) are commodified, disciplined, and contaminated by technocapitalism and state power, while the text tests whether montage, archival debris, and imagined apocalypse can interrupt the loop binding sex, violence, and exchange.

Sarcastic post-internet spectacle is framed as an institutional attitude that normalizes complicity, collapsing critique into branding and turning the biennial into a showroom for neoliberal subjectivities (self-optimization, novelty fetish, “indebted man”) rather than a site for countercultural or counterfinancial agency. Against this corporatized genre-fication and “fear of failure,” the text calls for hybrid, time-sensitive strategies that confront debt, militarized information technologies, and urban/colonial governance—rejecting mimicry and ironic nihilism in favor of materially engaged, politically accountable art production.