Culling video and images from the far-flung corners of the web, the work of Jon Rafman explores the influence of contemporary media and technology on present experience. In his practice, Rafman employs the rich vocabulary of the Internet subcultures, virtual worlds, and video games, to create work that reformulates the concepts of present, future, memory, nostalgia, identity, and the psyche. Rafman’s Dream Journal 2016-2019 (2019), with a soundtrack by James Ferraro and Oneohtrix Point Never, is a 3D animation with an absurdist storyline developed using automated writing inspired by “cursed” images from the artist’s vast archive. Dream Journal’s fragmented narrative follows its characters through a series of dystopian, ever-changing landscapes which include metropolitan neighborhoods and nightclubs, rotting wastelands, glaciers and deserts, starry skies and parallel universes. Weaving together broken temporalities, distorted spatialities, and unexpected lyrical inspirations, Dream Journal leads viewers on a surreal Dantean journey into the recesses of the Internet’s psyche. The second film exhibited in Belgrade, Minor Daemon, Vol. 1 (2021), set in a surreal dystopia that feels like the deranged fever-dream of Hieronymus Bosch if he grew up on 4chan, traces the intersecting fortunes of two young men, Billy and Minor Daemon, who share an extraordinary gift for virtual reality gaming and go through a series of nightmarish events.