Jon Kessler’s works are like the large digestive system of a crazy and tragic world. Wars, presidents, surveillance, mass-media floods, ideals of beauty, and death—these elements play into Kessler’s cosmos of kinetic installations, where everything is turned around, flipped upside down, torn apart, and rebuilt. In the history of media art, too, there is no denying the influence of his works: screens, videos, photo collages, sculptures rattling with noise, devices that survive human error. And then there are the spatial installations that lie somewhere between truth and media output, whose sensory overload can make you dizzy.