tag:blogger.com,1999:blog-27516688457207259692024-03-21T10:19:59.739-07:00Postspectacle / The Candidate ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comBlogger43125tag:blogger.com,1999:blog-2751668845720725969.post-36668205923355453172066-04-13T23:55:00.006-07:002022-06-09T07:00:46.378-07:00<div dir="ltr" style="text-align: left;" trbidi="on">In the beginning Postspectacle was a reaction, a vague intention to alter, expand or break some of the implicit conditions, to escape the general atmosphere, a desire to move away from the spectacle. It started from the questions: How to perform in a society of spectacle? And why? What’s the point of adding another spectacle to the artworld when we are living in a generalized spectacle? Postspectacle doesn't really have an answer, but by dealing with these questions some practices emerged. One is to dislocate the performance and bring the "outside spectacle" to art spaces. For instance, Postspectacle invited the Romanian Army to host a dance workshop and perform a drill show in a contemporary dance venue. A reversed operation is to infiltrate the big stages of mass media, business and politics with the skills, knowledge and approaches from performance. The Presidential Candidate is one of the results of this operation. <br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br />
<a href="https://postspectacle.blogspot.com/2019/10/pillar-artist.html" target="_blank">Pillar Artist</a><br />
<a href="http://postspectacle.blogspot.ro/2016/04/esthetic-entities-for-sale-at-art.html" target="_blank">Esthetic Entities for Sale</a><br />
<a href="http://postspectacle.blogspot.ro/2016/03/presidential-candidacy.html" target="_blank">Presidential Candidacy</a><br />
<a href="http://postspectacle.blogspot.com/2013/06/end-pit.html">End Pit at Depo Istanbul</a> <br />
<a href="http://postspectacle.blogspot.fr/2014/01/the-postspectacle-shelter-was.html" target="_blank">Postspectacle Shelter</a><br /><a href="http://postspectacle.blogspot.ro/2015/09/2012-ultimate-apocalypse-at-otv-mirror.html" target="_blank">Postspectacle at OTV (Mirror TV)</a><br /><a href="https://youtu.be/zuhPlSJLdKA">Postspectacle at Mall</a><br /><a href="http://postspectacle.blogspot.ro/2011/11/romanian-orthodox-church-wants-to-build.html?m=1">Postspectacle at Church</a><br /><a href="http://postspectacle.blogspot.com/2011/07/dorato-action.html">Postspectacle at Art Opening (Dorato Action)</a><br /><a href="http://postspectacle.blogspot.ro/2013/09/dark-charity-grey-donors-at-mumok-vienna_5338.html">Postspectacle Charity (Grey Donors)</a><br /><a href="http://postspectacle.blogspot.ro/2015/02/military-performance.html" target="_blank">Postspectacle Army Show</a><br />
<a href="http://postspectacle.blogspot.ro/2013/11/the-candidates-convention-at-cluj.html">The Congress of Candidates</a><br />
<a href="https://postspectacle.blogspot.com/2019/04/the-candidates-tent.html" target="_blank">The Candidate's Tent</a><br />
<a href="http://postspectacle.blogspot.ro/2012/08/postspectacle-in-oslo_30.html">We are all Romanians Now</a><br />
<a href="http://postspectacle.blogspot.com/2010/12/romanian-presidential-candidacy-in.html">Romanian Presidential Candidacy in Vienna</a><br />
<a href="http://postspectacle.blogspot.rs/2016/07/neocatarsis.html" target="_blank">Neocatarsis</a><br />
<a href="https://postspectacle.blogspot.com/2019/03/we-would-like-you-to-come-to-our-show.html" target="_blank">We would like you to come to our show</a><br />
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<i>Initiated in 2008 by <a href="http://www.fflueras.ro/" target="_blank">Florin Flueras</a> and <a href="http://twitter.com/iond">Ion Dumitrescu</a></i><br />
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<i>In collaboration with Manuel Pelmus, Ștefan Tiron, Iuliana Stoianescu, Brynjar Bandlien, Cosima Opartan, Alina Popa...</i></div><div dir="ltr" style="text-align: left;" trbidi="on"><i> </i></div><div dir="ltr" style="text-align: left;" trbidi="on"><a href="https://florinflueras.substack.com/p/society-of-postspectacle" target="_blank">Society of Postspectacle</a> <i> <br /></i></div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-92218130503137387162019-10-09T05:25:00.003-07:002022-05-11T22:13:13.535-07:00Pillar Artist <br /><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;">
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The pillar saints spent all their lives on top of pillars. Unlike the hermits who simply disappeared from the world, the pillar saints didn't retreat in caves, mountains or deserts. Their way to escape the world was in the world, elevating themselves onto devices of solitude in the middle of people. Their withdrawals were performative, they were at the margins, or within cities. The pillars were allowing them to access another horizons, to construct parallel worlds just a few meters above everyday reality. At the same time they appear as strange monuments for the grounded others below, some alien consciousnesses were observing them from up there. This religious/politic/poetic gesture rendered an elated perspective in the public space, a distance to the normalized perspectives, and a danger to contaminate the life under the pillars. People confronted with these alien forms of life were intrigued to understand what could motivate such acts, and to wonder how their own lives, their agitation and their petty dramas, were appearing from the pillars’ heights. Neither a critique nor a protest, the pillar practice was rather an exit from this world and an opening to another. These meta charged ongoing actions were meant to trigger the imagination and the possibility for other worlds to exist. Pillar Artist is a twisted re-visitation of these ancient durational-performances, proto-monuments and pre-artworks. The public is invited to become pillar artists for a while. The work entails a short training and signing of a contract which stipulates that the person accepting this call would live on the pillar for at least one hour.<br />
(2019)</div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><br /><div dir="ltr" style="text-align: left;" trbidi="on">
Presented at We Transfer Timișoara.</div><div dir="ltr" style="text-align: left;" trbidi="on"> </div><div dir="ltr" style="text-align: left;" trbidi="on">In memory of Alina Popa. <br /></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Photo Andreea Săsăran </td></tr>
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-66044882634135937312016-04-16T15:18:00.001-07:002019-09-16T04:43:19.410-07:00Esthetic Entities for Sale<div dir="ltr" style="text-align: left;" trbidi="on">
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In the last 10 years entities with a complex esthetic operativity emerged in the zones of dance and visual arts of Bucharest. The names of the entities are often the symptom of a problem or a question: they may function as a reaction, as almost empty concepts in the beginning, triggering practices afterwards. They are esthetic compositions of people, processes, capacities, frames, concepts, behaviors, attitudes, affects. They are conceptual operations that function as platforms, as ecosystems, as wholes, that precede the details, as esthetic artificial organisms. They are art worlds. <a href="http://florinflueras.blogspot.ro/2016/02/esthetic-entities.html" target="_blank">Esthetic Entities</a> as The Candidate, Unsorcery, Artworlds, The Bureau of Melodramatic Research, Black Hyperbox, Romanian Dance History, Postspectacle, are for sale.<br />
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They were for sale at <a href="http://www.aleppo.eu/black-market.html" target="_blank">Black Market</a> Art Brussels and online. </div>
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(2016)</div>
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-74664124602663901862016-03-25T00:27:00.000-07:002017-04-14T05:19:02.880-07:00Presidential Candidacy<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Presidential rally in Museums Quartier, Vienna, 2010</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Presidential Candidacy Debate, Cluj, 2013</td></tr>
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Presidential Candidacy was an attempt to candidate to the presidency of Romania. The initiative was a Postspectacle operation of transferring the performance specific knowledge and skills to a “bigger stage”, in this case the presidential elections. The political campaign formats – rallies, speeches, congresses, debates, TV presence, tents for signatures, banners, posters, etc. – were used as mediums for the Candidate's performance. Under “the Candidate” generic name different people appeared in different contexts. The Candidate played with inadequacy, often appearing as an artist in political contexts, and as politician in artistic ones, gaining advantages such as the possibility of entering political campaigns before the legal terms because "it is just art." “Give up hope!” was the Candidate’s main slogan.</div>
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-9082775942470893432015-10-14T01:49:00.001-07:002015-10-14T06:58:10.224-07:00Losership & Dead Thinkinga discussion between Ion Dumitrescu and Florin Flueraș, at MNAC, 15 Oct, 19:00: <br />
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<i>He has no power. He achieves nothing. He has no reputation - The Perfect Man</i>, Chuang Tzu<br />
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In the wake of the elections, in the aftermath of losing the elections, the presidential candidate goes further, entering post-hope territory, where one should be prepared to confidently join a losing majority rather than a winning minority. <br />
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The two experts will make brief introductions into the concepts stated in the title followed by a discussion regarding the pros and cons of success hunting in the light of today’s losership horizon. Particular case study: achievements and underachievements in art and creative industries. We will see in which situations healthy thinking is applicable and in which situations dead thinking could be more counterproductive and helpful.<br />
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Follow <a href="https://twitter.com/hashtag/losership"><b>#losership</b></a> and <a href="https://twitter.com/hashtag/deadthinking"><b>#deadthinking</b></a>ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-48081999709127766822015-09-28T03:54:00.001-07:002021-11-17T05:58:47.888-08:00Postspectacle at OTV (Mirror TV)<div dir="ltr" style="text-align: left;" trbidi="on">
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Iuliana Stoianescu, Ion Dumitrescu and Florin Flueras appeared on Romanian national television OTV (Mirror Television) posing as researchers of the 2012 phenomena. At that time the interest for the subject was high, the movie 2012 was in cinemas and speculations about the Mayan calendar were at their peak. OTV channel, true to its name, was functioning as a mirror for what was happening in the country. During the show a therapy for freeing perception was performed, the audience was asked to touch their TV, to touch the performers hands that were on cameras, to look around their TV, to change the way in which they integrate the TV in their visual field, their lives...<br />
(2009)<br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-78427797062156212322015-03-03T15:08:00.001-08:002016-02-01T06:44:08.254-08:00Is this the End of Postspectacle? <div dir="ltr" style="text-align: left;" trbidi="on">
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What happens with a concept after its time has passed? A concept appears when it is necessary and it’s totally unpleasant in the beginning, nobody likes a new concept. Then, usually with time, it expires. After a certain period it might eventually attain acceptance and recognition, because it becomes accessible and inoffensive. It becomes a cultural good and continue as zombie-concept. Some concepts and practices die or are absorbed. Eventually, if they don't have a good death, they may haunt the living as ghosts while others just disappear as if they never occurred. One of these endings probably stroke Postspectacle too. Or maybe now when we make a spectacle of ourselves everyday on Facebook, Instagram, Snapchat, Twitter, the Postspectacle concept is still necessary and it is we who are exhausted, and Postspectacle must go on through somebody else. An important omen is the fact that until now we refused the invitations to participate in exhibitions and display videos of the Postspectacle actions. What is happening, is this the end of Postspectacle? Or finally we came to embody our slogans, we gave up hope and we are riding the “proud to be grey” wave.<br />
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Discussion between Florin Flueras and Ion Dumitrescu at Salonul de Proiecte. Thursday, March 5, 18h00, right before the opening of Heroism Rises in a Warehouse exhibition, in which the video of Postspectacle at Mall will be presented for the first time.<br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-80809980487220125512015-02-22T23:33:00.000-08:002017-04-14T05:23:48.516-07:00Military Performance<div dir="ltr" style="text-align: left;" trbidi="on">
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Military Performance<br />
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Military Workshop<br />
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<i>Watching a choreographed army parade, a real one, on the dance carpet of the National Dance Center in Bucharest in 2010, one was not invited to criticism but to a shift of horizon: to watch this show as one would watch a dance piece. No comment, just believing it, and watching yourself believing, indifferently (not with irony). The dance, the performativity, was the movement of the context, the movement of it becoming meta-context, because of the contingency inflicted within its structure (the outside of the theater, the military reality, was injected into the “autonomous” theater field). This was the Military Performance, a Postspectacle work. In Postspectacle, a trade was being made: the rolling further of the performance carpet outside of the theatre provoked the unrolling of the reality from outside the theatre onto the formal stage. And we were sitting in-between. </i>Alina Popa<br />
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(2010)</div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-10368627250221172702014-09-06T09:30:00.000-07:002019-04-06T09:30:45.445-07:00The Candidate's Tent <div dir="ltr" style="text-align: left;" trbidi="on">
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"Give up Hope", Unirii Square, Bucharest 2014</div>
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-45152517132484831932014-01-28T08:01:00.007-08:002022-05-28T01:55:22.436-07:00Postspectacle Shelter<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><br /></i>Postspectacle Shelter was an event in the House of the People, which houses the Romanian Parliament and the National Museum of Contemporary Art. It was an environment programmed for all sorts of collisions. In the same space coexisted: a tribune and a spot for Presidential Candidacy campaign, a spot for philosophical lectures and workshops, a corner for medical assistance, and a spot where food was cooked and served for homeless people, artists, and philosophers. It was an overlap of a charity event, a presidential campaign, a philosophical conference, a homeless shelter, a canteen and an art show. There was criticism and some frustration about the unclear nature of Postspectacle Shelter. Is it art, activism, charity, political event, or what? The overlapping disturbed the conventions and certainties in all those spheres that tend to function more and more as spectacle. The overlapping seriously impeded their functioning as spectacle. <br />
(2012)<br />
<br />
<a href="https://postspectacle.blogspot.com/2012/04/presidential-candidate-invites-you-to.html" target="_blank">Announcement and program.</a><br />
<a href="http://postspectacle.blogspot.ro/2012/08/the-crises-of-compassion-and-thecorrupt.html" target="_blank">Text by Alina Popa on Postspectacle Shelter.</a></div><div> </div>
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-21800888473607743012013-11-12T04:59:00.001-08:002019-06-10T09:52:29.812-07:00Congress of Candidates <div dir="ltr" style="text-align: left;" trbidi="on">
A presidential candidate is primarily an interface between the economic interests of the important people and the needs of the common people. She has to have the ability to make the latter believe that their exploitation and the capturing of value from them is for their own good. In Cluj we will start the process of acquiring these basic skills, and we will learn how to deflate and annihilate important political and environmental problems like Save Roșia Montana, fracking shale gas extraction, GMO agriculture, etc. Come to our workshop for improving and professionalizing the presidential candidates. You never know when the time will come for you to candidate. Somewhere deep in your heart you know that you have what it gets to be a president. At the end of the workshop you have the chance to meet the electorate for the first time during the Extraordinary Congress of the Presidential Candidates.<br />
<br />
Candidacy Training, 12 Nov, 18h30, Fabrica de Pensule.<br />
The Candidates Convention, 13 Nov, 18h00, Casa Tranzit. <br />
With: Veda Popovici, Mihai Lukacs, Ion Dumitrescu, Florin Flueras, the list is open.<br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-76697912610284653372013-10-09T04:12:00.001-07:002015-12-19T07:27:19.341-08:00Why artists? <div dir="ltr" style="text-align: left;" trbidi="on">
<div xmlns="http://www.w3.org/1999/xhtml">
<i>Why artists?</i> - Franco Berardi Bifo's article ends under the influence of Postspectacle Shelter opening that he so movingly officiated:<br />
<br />
<i>Invited by a group of artists and activists, in April 2012 I spent some days in Bucharest and delivered a speech at the Museum of Contemporary Art. When I entered the space where a small crowd of listeners were gathering I saw two words written on the wall: No hope. <br />
<br />
According to a recent survey it seems that 58% of Rumanians declare they are nostalgic for Ceausescu. Can you imagine someone longing for Ceausescu? My hosts told me: we have been the victims of two opposing nightmares: the communist nightmare of the past and the capitalist nightmare we are suffering now. Hope is over, for us, but the same can be said for our fellow humans all over the planet. "Give up hope, therefore, is our contribution to the emergence of a new consciousness" told me Florin Flueras, a dancer and activist who practices dystopic irony. Hope and growth are traps and our life is taken in these traps. <br />
<br />
Dystopic irony (dyst-irony) is the language of those who understand without cynicism that the modern promise has been trashed because of the identification of Modernity and the capitalist dogma. Dystopia is the current imagination of future and irony is the rhetorical distance from the hypocritical discourse of power based on fake concepts such as competition, austerity, recovery and growth. <br />
<br />
"Give up hope" is a dyst-ironic provocation meaning: don't trust the promises of power, don't expect growth, capitalism is agonizing, if we don't change the expectations that capitalism has produced we'll fall into depression and fascism.</i><br />
<br />
<a href="http://www.grizedale.org/download/2013/06/10/Why_Artists_-_Franco_Beradi_Bifo.pdf">Read the article</a> <br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-58514511508008011322013-09-28T03:24:00.001-07:002019-06-10T09:53:41.794-07:00Dark Charity/ Grey Donors at MUMOK Vienna <div dir="ltr" style="text-align: left;" trbidi="on">
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Charity by the Candidate and the <a href="http://thebureauofmelodramaticresearch.blogspot.ro/">Bureau of Melodramatic Research</a> at MUMOK.<br />
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<br />
The
common charity is done to improve a bit the situation, materially or
financially, it is a ‘white’ charity with the aim to clean, stabilize,
enlighten, secure. Dark charity is a reversed charity which will
unground, destabilize, unsecure, metamorphose. This is the charity in
which the Presidential Candidate and the Bureau of Melodramatic Research
are involved.<br />
<br />
The Charity gala was organized for the Viennese people and all our sponsors in MUMOK Kino for the <a href="http://www.mqw.at/no_cache/en/program//programmdetail/changer-dimage-live-event-1/">Changer D'Image</a> program. Our contribution was curated by Raluca Voinea.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu6p_YNOzZtxoGMtJelDvu9yY9P9uRBC43ZoIC4kC1xS4gWihLFuCkyh8jh0e02I318zyjqW9OX5KQy-a5b8kJOm9yRiEpWblX6bZQknjKmZ6l8wbAzag_JGs_nVI51C9cTl9PQ0KjvdI/s1600/DSC_0002.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu6p_YNOzZtxoGMtJelDvu9yY9P9uRBC43ZoIC4kC1xS4gWihLFuCkyh8jh0e02I318zyjqW9OX5KQy-a5b8kJOm9yRiEpWblX6bZQknjKmZ6l8wbAzag_JGs_nVI51C9cTl9PQ0KjvdI/s1600/DSC_0002.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charity hostesses making their appearance on uplifting jodler-tune</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Charity Gala auf Deutsch für unsere Sponsoren</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ6ridyzt_XsxSlrALXUWYuIIjAFXWJHuUCAb2XpXQ5vjQIZxdAR-hZTvnMbZC2Bd4j5Ygi_jdzB2S0mSbVQ0VVUnpdrMbm572QZWbdrII5YueDR73Yglz6aXfVwcT-a9Pqj2cOX2s380/s1600/DSC_0011.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ6ridyzt_XsxSlrALXUWYuIIjAFXWJHuUCAb2XpXQ5vjQIZxdAR-hZTvnMbZC2Bd4j5Ygi_jdzB2S0mSbVQ0VVUnpdrMbm572QZWbdrII5YueDR73Yglz6aXfVwcT-a9Pqj2cOX2s380/s1600/DSC_0011.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Charity team singing We are the World (Karaoke)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">With the audience together</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmZa1SoqOkW2E4gK74wrFoYNn9OB4Cn9WK2diQUK-s89E8Gaw6XL58rqznc74Di_K_vmmEym2ZUa9aXq4GWcJWN12blMMA0VwxrpddPB19LETxKcAaLuCDJy0hGR5cffOCYvDCYpGKP8Q/s1600/2013-09-25_changer_d'image_022.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmZa1SoqOkW2E4gK74wrFoYNn9OB4Cn9WK2diQUK-s89E8Gaw6XL58rqznc74Di_K_vmmEym2ZUa9aXq4GWcJWN12blMMA0VwxrpddPB19LETxKcAaLuCDJy0hGR5cffOCYvDCYpGKP8Q/s1600/2013-09-25_changer_d'image_022.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The start of the acts of giving</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Florin Flueras offering darkness to Vienna</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Alina Popa offering freedom to talk-alone</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2yUBzQAJnuYm-4lWnHxoJF7WaSzWs-nms0LKLe7k12C7SOThgLO1y0J7qidhjGZZ9R12RV6SBwsb4YP3NR4JREASEO4cxbIYVMyX5NSfw-5sSw2Gd4aoKcKv1fkHE1ZYrB8hhjgvwd1M/s1600/DSC_0044.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2yUBzQAJnuYm-4lWnHxoJF7WaSzWs-nms0LKLe7k12C7SOThgLO1y0J7qidhjGZZ9R12RV6SBwsb4YP3NR4JREASEO4cxbIYVMyX5NSfw-5sSw2Gd4aoKcKv1fkHE1ZYrB8hhjgvwd1M/s1600/DSC_0044.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Ion Dumitrescu offering Bulgarian time signature</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Claude Karnoouh live from Bucharest for the Viennese people</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Finally the charity team with the Viennese receivers and the gifts</td></tr>
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-13237472251582138122013-06-04T12:10:00.004-07:002017-04-14T05:58:09.694-07:00End Pit<div dir="ltr" style="text-align: left;" trbidi="on">
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During the End Pit opening at Depo Istanbul the artists were suspended above the visitors, in elevated hammocks attached to golden pillars. They were philosophically discussing on the relation between abysmal pits and soaring pillars, between forms of life of the heights and forms of life of the depths, making connections with the current political events.<br />
<br />
(With Alina Popa, Irina Gheorghe, Ștefan Tiron, Claudiu Cobilanschi, Ion Dumitrescu, Florin Flueras, 2013).</div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-65734247076872761792013-06-03T12:41:00.000-07:002013-06-04T12:44:50.986-07:00Presidential Candidacy in Sao Paulo<iframe src="http://player.vimeo.com/video/64516070" width="500" height="375" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe>
If in Europe the slogan of the Candidate is "Give up Hope" in Brazil it had to be "Paraiso Agora!"
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-42058570776634685082013-03-22T00:09:00.001-07:002020-11-14T11:02:17.895-08:00Postspectacle 1<div dir="ltr" trbidi="on">
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<br />Postspectacle 1 is a playful staging and embodiment of iconic images and events. It is also a friction and sometimes a fight between presence vs image, experience vs representation. The "amateur" aesthetics of Youtube culture, of self made performances, collides with the contemporary performance aesthetics of dance and visual arts in a work that is often dislocated from where it is expected to be.<br />
(2008) </div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-60029044566404663552012-10-03T01:43:00.001-07:002016-01-30T03:47:34.495-08:00The Romanian Presidential Candidacy Fundraiser @ Documenta 13<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>"Hey, do you want some Romanian radical art? </i><br />
<i> No thanks, I'm ok." </i><br />
<br />
On the 10th of September the Romanian Presidential Candidacy landed in Kassel with great expectations for a fundraiser at Documenta 13 and for a meeting with our accomplices, The Robin Hood Minor Asset Management, during the final SCEPSI installment hosted there by Franco Bifo Berardi. <br />
<br />
As our affection for the first world has grown our addiction is getting even more serious. We need the money and the good spirit of the north but we have no more time for applying or negotiating with curators and programmers, our patience has run out and the elections are approaching. The periphery needs cash, now!<br />
<br />
This time we came from the splendid fiords of Norway to the frictionless trams of Kassel. At Documenta 13 it seemed that nothing could go wrong, wellness was floating in the air. We encountered smooth and unstriated spaces through which contemporary art consumers were drifting without obstacles from Fridericianum to Neue Galerie, sliding effortlessly from Hauptbahnhof exhibitions to Karlsaue Park and beyond, so that one could say that the whole city, indoors and outdoors, was nicely lubricated in order for the contemporary art-goers to enjoy the big event. <br />
<br />
Coming from a campaign event in Oslo, The Romanian Presidential Candidacy felt again the happiness of the west/north all around, this time in Kassel, manifesting through every pore of most of the curator's (and her sub-curators) selections, a glee visible also in the abundant crowd of joyful visitors marching through this well thought exhibition multiplex where diversity and accessibility were the main assets. A shopping center without the shopping, or even better, we named it, Kassel Stock Un-Exchange. A perfect mix of all the tendencies and art streams of today, for those who wanted to bid on object oriented art there were plenty of occasions, for immaterial fetishism dozens of books, lectures and Neue Galerie. During the three months one could have found also occupiers and politically engaged performances, theoretical insights and retro excavation. Just place your cognitive shares and may the best stock win! <br />
<br />
But the most disturbing phenomenon discovered by us, as we attended the SCEPSI event, was that Documenta was also a place for politically correct new-ageists dreaming of communal values within a frame (Documenta 13 itself) that harvested 29 million for its budget. They pretended that all was constructed in the name of love and solidarity. A sort of schizophrenia that is typical for the contemporary art operators of today (one can check the Artleaks cases). <br />
<br />
As soon as the Robin Hood crew, in its presentation, talked about money and imitating Wall Street Stock Exchange anger exploded in the room of Ständehaus, the mentioning of "touching money" triggered instant irritation, suddenly the civil war that Bifo was prophesying for Europe in the opening of the evening, was right there, indoors, between ideologically correct artists endorsing back-to-the-nature rhetoric, curators, pure activists and the parasites of the Robin Hood and The Romanian Presidential Candidacy, or let's say between a Bane/Bruce Wayne hybrid and Catwoman, if we look at it through the perspective of the last Batman movie. <br />
<br />
<b>ATP, Walid Raad's performance, the missing link </b><br />
<br />
In the first part of his performance "Scratching on things I could disavow", Walid Raad displayed a sort of map - a very wide and playful one - that was tracing different and specific connections between the art world, capital and the army. Everything on that chart, starting with APT (Artist Pension Trust) continuing with a world-class team of art professionals and leading to Israel intelligence army elite seemed intertwined. A twisted interplay appeared between young ferocious business entrepreneurs, well motivated curators and known or less known visual artists scared of a future without a safety net. <br />
<br />
We witnessed how Walid Raad was very vividly describing the rules and conditions of ATP as well as showing us the competition in the creation of algorithms that are meant as compasses in this ever more complex and vast domain of contemporary art market. <br />
<br />
When we stepped outside the venue we felt like walking on that map, but something was unsatisfactory. A missing link was somehow eluding our view. We also thought a lot of Robin's Hood own algorithm, that one that allegedly is nosing in the trade temple, desacralizing and detouring money, the type of procedure that disturbed the Documenta Feng-Shui at Scepsi event. <br />
<br />
What kind of puzzle-piece was missing from Walid's Raad map? What if another map-board would be added to the Walid's original and insightful one, one left unfinished on which some other ramifications would be drawn? A piece that would also tie the author himself to Documenta and its curators (some of them already APT members), a virtual add-on to the initial map that reveals its tentacles and continues to expand tridimensional in all directions only to come together in the end at Documenta. <br />
<br />
Although this intricate web was still difficult to unfurl, one thing was sure, we were nowhere on that cartography. Apparently there were no links to Romanian artists, Bucharest or other Romanian cities because this is another planet, orbiting in the Outernational system. Arabian wealthy cities may be in the interest of APT, but not Europe's periphery. We watched with envy, we would have wanted to be in that map. We felt outcast, no curators called any of us to join in. Romanian performance art is mostly obscure to the global market because apparently it has nothing to sell. There was nothing we could've contributed to the collection of the ATP. I forgot to mention that in order to be a member one has to give to the Artists Pension Trust one work per year for a period of twenty years. So in this give-up-hope situation we felt even more motivated for our fundraiser. <br />
<br />
<b>Fundraiser, black-dealing romanian performance art </b><br />
<br />
The Romanian Presidential Candidacy was at first intimidated by the grandeur and dimensions of Documenta 13, but as soon as we woke up from the western awe we decided that is time to get some direct cash from anyone interested in buying Romanian contemporary and avant-garde art. During our dealing procedures we met very often the precariat, artists on a budget, people that were unable to spend 5 euros on a CD with rare Romanian radical performance art but most of them carrying the sixty-eight euro catalogue "Book of Books" in their back pack. Documenta was unwarned, as we were dealing art on the halls and corridors of the Fridericianum we met no resistance. <br />
The volunteers and guards were not trained for this, the frame was unsecured in front of this type of activity. We were spotting potential clients everywhere, they seemed hungry for new experiences although in the same old format of a museum/gallery. We became traders of experience economy; we upgraded the customary practice inside a biennale-documenta-manifesta from passive spectatorship to toxic interactive black-market. We mostly approached them while they were standing at long cues outside or inside the Fridericianum. <br />
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The fundraiser took us also in front of curators-customers, we tried to sell our merchandise also to baby curators and mature art consumers, journalists, art pilgrims - and many reacted with great scare and suspicion. They made us feel like rough art pushers from the Wild East. But some of them greeted us with smiles while others gave in and emptied their pockets. They risked a crumpled euro investment in romanian performance art without knowing that they actually have invested in the future to come, the best 10 euros they've ever spent. Yet others were inspired, some of the precarious artists we encountered during the proceedings even told us that they would employ our blackmarket strategy! <br />
<br />
<b>Cohabitant pests, parasites and pushers </b><br />
<br />
"So nat'ralists observe, a flea <br />
Hath smaller fleas that on him prey,<br />
And these have smaller fleas that bite 'em,<br />
And so proceed <i>ad infinitum</i>.”<br />
--Jonathan Swift<br />
<br />
Parasitism allows for and enhances all the advantages and proclivities of ad infinitum progression. Characterized by mathematical non-trivial self-similarity, it permits a much finer mesh of nooks and crannies where numeric leftovers, energy crumbs and financial quanta escape, spill over and get stuck. This is why sifting, sliding automated algorithmic “internalizers” have been more and more adept at pearl diving through financial “dark pools”. <br />
On the other hand Eastern block corruption, petty crime, parasitism and shadiness have been a mainstay anti-hero of the Western narrative of sanitation, transparency and punitive action. So now, in the era of algo trading, there is also high time for rescuing non-machine readable methods, basic tactics and skills associated with blunt hide&sell economy, art market pickpocketing and under-the-counter praxis. </div>
Ion Dhttp://www.blogger.com/profile/14987130822306748134noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-87542589245891605592012-08-30T05:56:00.001-07:002019-04-05T12:35:47.775-07:00We are all Romanians Now (Oslo) <div dir="ltr" style="text-align: left;" trbidi="on">
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The <i>Candidate</i> has arrived in Norway. This is a truly socialist country, a more egalitarian society than any other. Despite a few problems, the common good is served and the general atmosphere seems much less charged than in the south, where frustration and financial desperation has taken over. For the past three years we have declared “abandon all spectacle now”, but here in Oslo we feel almost paralyzed, in this environment the spectacle and the good life have to be celebrated. <br />
So give up hope and join the party!<br />
<br />
<b><i>The Candidate at Drama House Oslo</i></b><br />
<br />
<b>4 September</b><br />
19h00 - <i>Postspectacle Trilogy part I</i> with Florin Flueras and Ion Dumitrescu<br />
21h00 - <i>Postspectacle: an Introduction</i> with Florin Flueras and Ion Dumitrescu<br />
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<b>5 September</b><br />
18h00 - <i>Postspectacle Workshop</i> with <br />
Brynjar Åbel Bandlien and Valentina Desideri<br />
20:30 - <i>Biosorcery</i> (premiere) with Florin Flueras and Alina Popa<br />
<br />
<b>6 September</b><br />
19h00 - <i>Neocatharsis</i> with Florin Flueras and Ion Dumitrescu<br />
20h00 - <i>So what</i> (premiere) by Valentina Desideri and Zoe Poluch<br />
<br />
<b>7 September</b><br />
19h00 - <i>Preview</i>, Manuel Pelmus<br />
20h00 - Debate: <i>Postspectacle is not enough!</i> with Ine Therese Berg, Valentina Desideri, Florin Flueras, Ion Dumitrescu, Manuel Pelmus and Brynjar Åbel Bandlien<br />
<br />
<b>8 September</b><br />
18h00 - <i>Romanian Presidential Candidacy</i> with The Romanian Presidential Candidate<br />
20h00 - <i>Postspectacle Join the party </i><br />
<br />
(2012)<br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-15969996855738291632012-08-05T08:42:00.007-07:002019-03-06T10:04:28.108-08:00The Crises of (Com)Passion and the Corrupt Audience<div dir="ltr" style="text-align: left;" trbidi="on">
<i>An analysis of affect circulation and border movement in the Postspectacle Shelter</i><br />
<a href="https://alinap0pa.blogspot.com/2017/12/blog-post.html" target="_blank">Alina Popa</a><br /><i> </i><br />
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<b>The Crises of (Com)passion</b><br />
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How does the relationship between compassion and injustice work? And how does it function in an institutionalized museum context? Does the display of injustice in a museum produce any actual twist, any affective shift, or is it a mere dioramization, a caged instance of a murky reality, tamed as in a transparent time-capsule? The capital of compassion accumulates constantly through the charity-economy with artists, NGO's and foundations acting as agents of the soul—that <i>soul</i> which is put to work in the new financialized economy.(1) The whole image–production, which represents far-off colonial subjects as well as hidden backyard misery within the first world, is in search of the ‘becoming-spectator’. Becoming spectator to the pain of others generates the illusion of agency through involvement in a labyrinthine circuit of feelings. Rather than increasing and intensifying consciousness, it only succeeds in sustaining and reproducing social injustice and economic inequality. Becoming-spectator is always implicit in the representation of injustice.<br />
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Compassion implies hope, hope for justice; it implies the transformation of a singular instance in a potentiality for its perpetual existence. But capitalism today relies on the “relentless branding and marketing of even the most ‘inner’ aspects of subjective experience.”(2) Hope is immediately commodified as a warranty that the system will go on, so that the structural inequalities and generalized injustice fail to be challenged. Neoliberalism is a machine for engineering hope: it recycles the hopelessness of its outcomes into new hope that eventually accelerates its negation. Thus, we have to acknowledge that in the new economy of emotions, a <i>compassion-without-hope</i> operates. In the <i>Postspectacle Shelter</i>(3), an event organized in Bucharest in the building that hosts both the Parliament and the contemporary art museum, No-Hope slogans were the backdrop for the performance of compassion brought bluntly onto the artistic and political scene.(4) There was no illusion in the Shelter, or rather everything else seemed to be an illusion. The spectacle of compassion was made manifest without the smooth-out of its contradictions. All that was performed was the pure soothing effect: inviting the homeless, and offering food, medical care, knowledge, affectivity and voice. In the neoliberal ‘reality’, in order to annihilate the resistance to the exploitation both of humans and non-humans, big companies and supra-democratic organizations use whitewashing strategies, such as fighting poverty, investing in research to clean the ecosystem, and the rehabilitation of communities. In this 'reality', compassion and charity merely become the 'spoonful of sugar to make the medicine go down'. In the <i>Postspectacle Shelter </i>only the 'sugar' was delivered, only the comfort, without the 'medicine' and nonetheless without hope. Although the situational spectacle inside the Shelter was devoid of illusions, what was enhanced was, on the contrary, an effect of unreality. It has been clear all along that no hope lies in the neoliberal 'spoonful of sugar', but is there any hope at all? <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwL8aFcTrseTps3Aa_jNBfUKp8Rt01ejtagsdX9XYyrJ_eyYqnXmJ7cKhSFehw37uawSY9HE9xR1VLEq_BghSCdL5j6pSJv9Ot1Mtvm2aDn2O8UI8WDvWBMArVF2gMzvDEiXVC2Y8MsNc/s1600/GIVE+UP.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwL8aFcTrseTps3Aa_jNBfUKp8Rt01ejtagsdX9XYyrJ_eyYqnXmJ7cKhSFehw37uawSY9HE9xR1VLEq_BghSCdL5j6pSJv9Ot1Mtvm2aDn2O8UI8WDvWBMArVF2gMzvDEiXVC2Y8MsNc/s400/GIVE+UP.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Slogan of the Presidential Candidate campaigning in the Postspectacle Shelter</span></td></tr>
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Identifying the categories more prone to being deemed as compassionate easily turns into a political question. The present economy manages compassion as it organizes moods and states of mind. In this emotional organization chart, roles are assigned and registered, and the psychic space is being constantly modeled and produced on the immaterial assembly line of the postfordist factory. The idea of care becomes a commodity to be sold for profit under the strict regulation of the economic logic. We find how this affective regulation works in the dominant rhetoric of the West as capitalism arrived in the Eastern Bloc, at the beginning of the transition period. The West proclaimed itself as compassionate and performed the agency of care in the East. For example, among the homeless who came to the Shelter there was a young couple with a baby, who were wondering what the actual source of the diaper packages they got as a present had been, and then concluded that it must have been ‘the French’ (there was a group of artists from France invited for the event). The couple were actually repeating the foreign aid rhetoric, in which compassion and help have been associated with the West, as if they were delivered by some anonymous alien benefactor-force. And they were right, in that before appearing in shops and on billboards, the aid campaigns functioned as the best commercials or ‘use manuals’ for the commodities that were soon going to flood the newly opened market.</div>
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In the spectacle of compassion, the subjects of injustice are caught in the trap of performing their suffering in front of an audience who must develop a psychic transformation to-not-feel-empathy in order to adapt to the emotional requirements of the neuropolitics at work. The spectacle of compassion operates precisely as cover for lack of compassion, whereby the gaze at another’s suffering is really a mode of inadmissible envy (<i>in-videre</i>), not-seeing, and voyeuristic love of witnessing the pain of the other. For instance in the 'tributes' from <i>Hunger Games</i>(5), the spectacle seemed to be the only escape, the only way out of one’s precarious life: all that you are left with to perform is your own enacted bare life. </div>
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The imperative to exhaust the spectacle potential, to empty the stage, becomes a question of transgressing ethics through a contradictory aesthetics. If a zero degree of attention is achieved, this could give way to an <i>affective attention</i> or <i>ineffective attention</i> leaking through the interstices of the sensible that has become precisely the medium where power operates today. This ineffectual attention opens an affective gap inside the current marketization of (in)attentiveness, a blindspot of the <i>spectacle attention</i>—the latter relying on the priming effect (6) that drives the vectors of the sensible towards what is already the established norm that keeps the system going.(7) Placing oneself in a position of ‘insensible’ self-fragilization(8) by allowing a power to affect and to be affected corrupts the interstices of the sensible.(9) Maybe this (an)aesthetic vulnerability could be the result of the radicalization of the effects of the contemporary spectacle of suffering and compassion. This could be then transformed into an (an)ethical vulnerability—the reciprocal acknowledgement of a shared fragility and precariousness of our body-psyche both politically and ontologically, while overcoming and corrupting the ethical imperatives at work in the current affective ecosystem.<br />
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By allowing the amplification effect of passion for both the anesthetic effect of the current spectacle of compassion and for one’s vulnerability facing it, the current crises of compassion could radicalize and corrupt the becoming-spectator into (mis)using his/her own fictitiousness to intervene in reality by creating aesthetico-political black holes. The Postspectacle Shelter opened up a new post-ethical thought, beyond the auto-laudatory moralism that so often drives activist thinking and self-proclaimed political art.<br />
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<b> Compassion and Distance</b><br />
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There is a multiple layer of distance in compassion. The first layer enables compassion in the first place. It is the distance between the subject and object of compassion. This gap involves a sort of hierarchical relationship between the object of compassion, which is the subject of the suffering itself, and the subject of compassion, which is also the subject of the thought of suffering.(10) Compassion in itself requires an unequal relationship between the thought of emotion, which then becomes an emotion of thought (feeling the pain of others), and the lived, embodied emotion (one’s own suffering, feeling pain).<br />
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The second layer of distance comes from the overwhelming enormity of the painful spectacle, which results in feeling powerless.(11) The scenes of vulnerability produce a desire to withhold compassionate attachment, to be irritated by the scene of suffering. The spectacularization of poverty produces a numbness of empathic feeling. It produces the possibility to disconnect, to run away from the scene of suffering, to refuse actual engagement with the reality of pain. Lack of empathy (impairment of compassion) and <i>apatheia</i> (impairment of pathos) are the states of mind produced by the late capitalism, with its now primary function as an emotion-shaping belief system.<br />
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The third layer of distance follows the Cartesian view on the mind-body relation, wherein one’s own body and emotionality is perceived as external, detached and hence controllable by the sovereign-mind and rationality. In this case, distance—which actually characterizes the post-Renaissance dominant scientific and patriarchal paradigm—is what separates body from mind. It was believed that through will, judgment and reason, the unruly, animal body could be tamed and controlled, in the same way that the state functioned as the center of command to discipline the bodies of people under its rule. As Silvia Federici noted, “[…] the human body and not the steam engine, and not even the clock, was the first machine developed by capitalism.”(12) As a historical moment, the Cartesian paradigm simultaneously coincides with the advent of capitalism, the erosion of community and of alternative forms of communality, based on proximity and compassion, as opposed to the alienation and estrangement triggered by the dominance of capital and money relations.<br />
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The telescopic structure of compassion calls for a new tool to speculate on its complex relationship with distance and alienation. Furthermore, we need to corrupt this telescope and zoom nearer than in and farther than out. Something enabling appears as a result of the paradoxical alignment between the excess of feeling and hyperalienation. If we distance ourselves from compassion in order to know it anesthetically, while feeling it excessively at the same time, we could then reflect upon the plot twists newly produced. All the more so, if the current economy is involved in the automation of the body-psyche through its hegemonic machines that generate the plot that we follow without sensing and the affects that we capture without knowing. The body-mind is automatized both in the Foucauldian sense of discipline and control—a control that is achieved though operations at a distance—and in the posthumanist sense of the prostheticity, which again poses the problem of distance, in that the co-evolution of technology and the human necessitates the externalization of one’s cognition into the tools that will then help the human rule over nature—which rather reveals a trickster mechanism of nature to hopelessly self-help.(13) This melodramatic telescope proves to be an affective prosthetic tool for creating auto-glitches in the body-mind’s emotional and mental programming.<br />
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<b><i>Bodies Out of Place</i>. The Power of Homelessness</b><br />
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As we are more and more becoming precarious and home-less, there is a backlash of intense movements of home-finding and home-creating as all-too-familiar (and dangerous) ways of escaping the frail ground of economic insecurity and no-future-ism.(14) The new old homes are the solid, enclosed (and oppressive) territories of nationalism, racism, homophobia, speciesism, all the community-forming practices based upon exclusion and impaired compassion, or on identity politics, be it related to nation, ethnicity, sex orientation, species, and so on. The alignment of family and homeness with whiteness, heteronormativity and <i>carnophallogocentrism</i>(15) “is powerful, and works to transform all these features into familial ties, into a form of racial kindred that recognizes all non-white [and queer subjects] others as strangers, as 'bodies out of place'.”(16) Identity politics is based on a unidirectional empathy (excluding the bodies out of place), on a <i>compassion-within-borders</i>, which is strictly regulated top-down by the neoliberal economic hegemony, by the state and religion.<br />
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Likewise, the institutionalization of resistance and autonomy potential through the NGO system is part of another home-seeking mechanism, which acts through division and dissipation. It finds a cozy home for every social anomaly, disregarding the 'homelessness' of all these anomalies in accordance with the <i>arbitrariness of power</i> and avoiding to grapple with their common cause, which is eventually left unchallenged.(17) We can speak of a unidirectional empathy to characterize the affective restraints of the charity economy that “treats the symptoms and not the sources”. This system of rationalized--algorithmic philanthropy is another mechanism by which “a generalized impaired compassion is being institutionalized on a grand scale.”(18)<br />
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For art, home equals the art institution. There is an inflation of art with socio-political content today, which is in constant search for homes, and like the NGO system, it doesn't challenge the causes but only quarantined effects, disregarding the position from which it criticizes and who actually profits from the symbolic capital it amasses. As long as it remains inside the comfort zone of the home-institution, the subversive, disruptive potential of this alleged revolutionary art is easily tamed and its acts of representation cannot escape depoliticization, its semiotic charge cannot turn into action. Maybe political art today relies too much on a hope-rhetoric that disregards all the present refrains of collapse echoed by an art system deeply embedded in the capitalist profit-logic, by the fiasco-politics of Western representative democracy, the abysmal effects of the current expanded biopolitics, or the coming ecological catastrophe.<br />
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The state of homelessness is usually associated with the refusal to work. It is a position outside the production time; it is not anymore factory or corporation time, but personal time—as productivity now equates the speed of reaction, the velocity of response-ability and the constant shaping of subjectivity. Homelessness is sheer precariousness (physical) combined with dark precarity (economical). It is the anticipation of the imminent generalized dystopia. A homeless person on the street said: “I have no place to sleep so at night I study, I do my research on the street.” The depressed cannot wake up, the homeless cannot sleep. There is an inverted depression characterizing the homeless. They are hyper-active waste of the neoliberal flood of meaning and information overflow. They embody the dark restlessness and über-consciousness. This forced state of renunciation and hopelessness allows them to drill in time and sensitively connect with the no-future that lurks upon the world. Interestingly, the most precarious social strata, and the homeless in particular, were oftentimes portrayed in horror movies as the most sensitive to dark forces—the chronic social instability makes them also prone to possession—as in John Carpenter’s 1987 <i>Prince of Darkness</i>.<br />
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<a href="http://1.bp.blogspot.com/-CQ0d-lHfV_c/Vq-IeeMHALI/AAAAAAAAEmQ/lUecSbZHnvQ/s1600/prince%2Bof%2Bdarkness.jpg"><img border="0" src="https://1.bp.blogspot.com/-CQ0d-lHfV_c/Vq-IeeMHALI/AAAAAAAAEmQ/lUecSbZHnvQ/s400/prince%2Bof%2Bdarkness.jpg" /></a><br />
Prince of Darkness, John Carpenter, 1987 <br />
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Homelessness becomes a kind of ominous, pre-apocalyptic state, both virtual and actual. In its actuality it defines<i> bodies out of place</i>, at the mercy of the neoliberal compassion apparatus. Nevertheless, in its virtuality, 'homelessness' can become a state of continuous de-subjectivation, a zero degree of being, from where new forms of life could appear. The refusal of 'homes' is bound up to the refusal of work, to the acceptance of fragility and precariousness (as opposed to precarity), to the state of being possessed by the no-hope affect. Even the escape from normative subjectivities is hopeless since transgression has recently become the norm. One can only say, repeating another Postspectacle slogan: “Proud to Be Grey”. <br />
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Telescoping through the multiple homes that await our stabilization after every transgression, we could then radicalize the <i>unhome</i> operation to the level of the whole planet. In the midst of the ecological crisis it becomes apparent that even the home of all the homeless—the Earth—will soon rid itself of the human. By becoming possessed by the affect of the imminent extinction and escaping the promised security and success of all 'homes', we end up ridding ourselves of all preservational desires: we can maybe escape our humanity. <br />
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When the body disorganizes and disconnects from its familiar, habitual structure, when its movements override the normative patterns prescribed by the late capitalist rules, then maybe the body can become something else. Perhaps what it becomes is the norm that it already was: a homeless, alien body. If 'homelessness' at a molecular level is the displacement of the habitual microstructures from the monolithic body-home and their autonomization, at a macro level it can displace the whole monolith of thinking the human and the body altogether. <br />
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<b> Feeding-Feeling </b><br />
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The newly developed system of 'Food Banks' in Great Britain seems like a prophecy for the reality to come.(19) The homeless are offered due-to-expire supermarket products in return for sentiments of gratefulness towards the merciful new economy and the religious big-hearted-ness. As in the case of the Food Banks, aid and compassion usually come along together with religious indoctrination. The present charity system replaced the function of the former welfare state, as the emotional turn in politics took place along with the post-70's financialized economy. Compassion management has changed from being regulated by public policies to being part of corporation strategies and the affiliated NGO system. Social assistance transitioned from a right to an opportunity that depends on humbleness and speed. This movement is another link in the neoliberal chain of impaired compassion. The Trusts manage compassion and food.(20) The food they distribute through their centers (one example is the Hope Centre, another name worthy of the dystopian script) is actually the debris of technologically processed stamps, which remain unsold at the end of the day. The circuit of compassion is completed by the specificity of the working conditions. The standardized care is performed by volunteers. Volunteerism is the legitimate form of compassion today. It is based on both a unidirectional empathy (promoted by the employers - foundations, trusts) and on a lack of empathy (the volunteers perform unpaid labor). No trust, no hope.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmnujdmnrB_PMiZDCChgbdwbvlU4Lai0LNhNC-gOrUgzT85DrzBessiq6KYNJlz3vi2RHWnI04jFHVdBUrIZuCOfV-KsKVyiwZgchLRV9H9MwoWo8I0bG7OdyPHQau_2_izfjfUP52LKA/s1600/shelter4.jpeg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmnujdmnrB_PMiZDCChgbdwbvlU4Lai0LNhNC-gOrUgzT85DrzBessiq6KYNJlz3vi2RHWnI04jFHVdBUrIZuCOfV-KsKVyiwZgchLRV9H9MwoWo8I0bG7OdyPHQau_2_izfjfUP52LKA/s400/shelter4.jpeg" /></a><br />
'Food Bank’ in the Postspectacle Shelter<br />
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There was an interesting relation between food and affect in the <i>Postspectacle Shelter</i>. Food was the materialized desire. It was what actually becomes body, and the emotions shape bodies as well. So, on this level, there is a resemblance to the two main acts of production: circulation and distribution/food and affect. Hierarchically, food has always been subaltern to the higher functions of the body-mind. It becomes epistemologically necessary to re-think a flat organization of food and affect. The homeless who usually come to openings for a snack and a drink (called <i>Pișcotari</i> in Romanian) were always treated as inferior because they preferred food to emotional, cathartic states of mind allegedly stimulated by art. There is an emancipatory potential in the subjectivity of this spectator (embodied by the homeless), who doesn’t privilege catharsis over bodily needs. In a society ruled by economic laws, the politics of food is well entangled with a politics of emotions. The immateriality of food can be literally incorporated and at the same time the materiality of affect is being felt. Both are flows that shape subjectivity and create forms of life. Thinking the environment in terms of domination and extraction—mainly since the beginning of agriculture on a large scale—has shaped subjectivities around the fixation on securing the future: the crops ensured food in excess and in reserve as opposed to the hunter-gatherer’s just-in-time nourishment. This is only one instance of the feedback loop between the politics of food and the politics of emotion.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfeeciL3-lTEYr4nTOK7gaAZqKb2o5InEq8Oa7r9EJzWqMF1S-tjH8x54laMSlKrPf6z7bJh602e11hyYvMVoxmmQReC8EdAAyyNTTg8-iEnHfXa8aF1rim-njvdSkmXc_n7h8a_ZCvbY/s1600/531163_10150763668566859_1496054361_n.jpeg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfeeciL3-lTEYr4nTOK7gaAZqKb2o5InEq8Oa7r9EJzWqMF1S-tjH8x54laMSlKrPf6z7bJh602e11hyYvMVoxmmQReC8EdAAyyNTTg8-iEnHfXa8aF1rim-njvdSkmXc_n7h8a_ZCvbY/s400/531163_10150763668566859_1496054361_n.jpeg" /></a><br />
'Food Bank’ in the Postspectacle Shelter<br />
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<b> The Corrupt Audience and the Illusion of Spectatorship</b><br />
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<i> On stage: the audience-performers/ performing audience : the guards, the museum wards, the director, the employees, the artists, the homeless, the NGO, the philosophers of depression, surveillance cameras etc.</i><br />
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When the only audience is corrupt, and does not respond to the same rules of valorization as the ones established by the history of an institution, like the museum, a solipsistic game riddled with holes of meaninglessness starts unfolding. New forms of truth-telling can arise if the spectator de-automatizes affectively and semiotically from the system of valorization that makes art art. Maybe bringing the homeless as audience is a necessary act of cynicism; it breaks the art bubble <i>autarkeia</i>, and annihilates the usual self-gratulatory ceremony (which happens in restricted circles, while self-praising the practice of addressing a wider public). This practice can be a contemporary parrhesiastic game to change perception of art/institutions/politics for performers and audience alike. The homeless seem to be paradigmatic for the function of the subversive spectator. They are the unbearable audience: the constant reminder that biopolitics is real and the spectacle has crept inside to teach us how to play our role outside. The rupture between the audience and the performers makes one think that each plays her/his own show at the end of which the applause comes for something other that what was meant, leaving one hopeless and devoid of meaning, In the <i>Postspectacle Shelter</i>, the performance is beyond feedback, beyond appreciation. <br />
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The <i>Postspectacle Shelter </i>operated an aesthetic intervention to re-enact the crises of compassion—its internal contradiction. Postspectacle recognized that the only possible place to both stage reality and affirm the real effect of the stage where we play every day as bodies in and out of place is a No Hope shelter. A shelter which takes over a public institution by overstating its past and present failed promises of compassion and care for the people: The House of the People, now mainly housing the Romanian Parliament. The grand narrative of Romanian modernity produced this concept of a grand 'home' which was to never belong to the people, as its name so performatively promised. At the same time, the current representative democracy failed to meet the necessities of the demos; the people itself stopped believing in it. Hence, everybody invited could fearlessly play on the political stage constructed in the Shelter: by addressing the audience from the open tribune of the Presidential Candidate you became what you already were—the spectacle itself. <br />
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Freeing the homeless from 'representativity', from being caught in the rogue algorithm of compassion operates a shift in the relationship between representation and injustice. There is no sure 'home' for the spectator and the performer. The audience is as fragile as the performing bodies. The assigned roles inside the spectacle are in themselves precarious, unstable, oscillatory. The partial-spectator becomes the partial-performer and vice versa. There is no pure audience. Like in the performance of compassion, mere spectatorship generates the illusion of agency, but there is first and foremost the illusion of spectatorship that shadows any oscillation between comforting agency and the much-feared passivity. The stakes are not about seeing a spectacle, but about sensing the movement, the uncertainty of every moment, the fragility of borders and of the possible outcomes.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFtD7qZcnR7fP2qj2c3QZkPG0Mb0q-y4cEZrBNprHk8WlYrxXwv19vU88aK_E1kHE_tKKFzjIednDd4rOTUF47Y6PM-wzGX75O7zloY7NPC1UuktgYoPuK6tBBKAwI3OkFBWMiQSEfVBA/s1600/shelter8.jpeg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFtD7qZcnR7fP2qj2c3QZkPG0Mb0q-y4cEZrBNprHk8WlYrxXwv19vU88aK_E1kHE_tKKFzjIednDd4rOTUF47Y6PM-wzGX75O7zloY7NPC1UuktgYoPuK6tBBKAwI3OkFBWMiQSEfVBA/s400/shelter8.jpeg" /></a><br />
One of the Presidential Candidates addressing the audience in the Postspectacle Shelter<br />
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To be passive as a corrupt audience in a museum is a subversion of the codes imposed by such an institution. And passivity has always been associated with the incapacity of judgment—demonized and deplored. On the contrary, I contend that precisely this incapacity should be regarded as a positive anesthesia, wherein becoming insensate draws one closer to the inhuman prosthesis that one is. Maybe this corruption of the sensible is the flipside of the emotional overflow of the outside spectacle to which one becomes attuned even through one’s own inattentiveness. While even emotions are introduced into machines that make them effective and marketable, automating inequality, the glitch introduced by this affective corruption could be as well automatically proliferated. <br />
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'Passive' and 'passion' have a common Latin root—<i>passio</i>—which means 'suffering'. Com-passion should be common passion, a shared passion, a suffering experienced together. Or rather becoming ‘possessed’ and homeless in common. “To be passive is to be enacted upon, as a negation that is already felt as suffering. The fear of passivity is tied to the fear of emotionality, in which weakness is defined in terms of a tendency to be shaped by others.”(21) The affect cannot be incubated in the body, there is no well-sealed interiority: it has already started leaking its inhumanity out of the human. There is a permeability, fluidity of affectivity—affect is homeless. No vacuum chamber to isolate it inside the body. That is why the psychological apparatus is so deceptive. Compassion as co-passivity should be the shared capacity of being affected, acted upon and possessed. Of being able to co-suffer and abide in the negativity and hopelessness of this sufferance both as a partial-spectator (the subject of compassion) and a partial-performer (the object of compassion).<br />
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<span style="font-size: x-small;">1 Franco Bifo Berardi,<i> The Soul at Work From Alienation to Autonomy</i> (Cambridge, Massachussets and London: The MIT Press, 2009).<br /><br />2 See Steven Shaviro’s “Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales” in <i>Film-Philosophy Journal</i>, Vol 14, No 1, 2010. Retrieved from http://www.film-philosophy.com/index.php/f-p/article/view/220.<br /><br />3 In the <i>Postspectacle Shelter</i>, the homeless were offered food and medical assistance, and a voice in the Presidential Candidacy. The House of People was through this practical gesture given back to the People – now claustrated between the heavy brackets of double walls, that of the Parliament and of contemporary art. <a href="http://postspectacle.blogspot.ro/2012/04/presidential-candidate-invites-you-to.html">http://postspectacle.blogspot.ro/2012/04/presidential-candidate-invites-you-to.html</a><br /><br />4 The <i>Postspectacle Shelter</i> was organized in a place with both artistic and political importance, the House of the People built by Ceausescu and never entirely finished (but after the Romanian revolution in 1989), whose Western wing was transformed into the National Museum of Contemporary Art (MNAC) in 2004. <br /><br />5 <i>Hunger Games </i>is a 2012 SF film, directed by Gary Ross, after the homonymous book of Suzanne Collins. “The story takes place in a dystopian post-apocalyptic future in the nation of Panem, where 12 boys and 12 girls must participate in the Hunger Games–a televised annual event in which the "tributes" are required to fight to the death until there is one remaining victor.” (source: Wikipedia)<br /><br />6 See <a href="http://en.wikipedia.org/wiki/Priming_%28psychology%29">http://en.wikipedia.org/wiki/Priming_%28psychology%29</a>.<br /><br />7 This difference between affective and spectacle attention has been signaled to me by Florin Flueras. <br /><br />8 Term used by Bracha Ettinger in a lecture at Future Art Base (Helsinki) in 2012. Self-fragilization in Ettinger's sense implies the dispersal and loss of the self, becoming sub-subjective. It is thus a concept opposed to oversensitivity. <br /><br />9 “An individual is first of all a singular essence, which is to say, a degree of power. A characteristic relation corresponds to this essence, and a certain capacity for being affected corresponds to this degree of power. Furthermore, this relation subsumes parts; this capacity for being affected is necessarily filled by affections.” (Gilles Deleuze, <i>Spinoza: Practical Philosophy</i>, trans. Robert Hurley [San Francisco: City Lights Books, 1988], 27).<br /><br />10 See Lauren Berlant (Ed.), <i>Compassion The Culture and Politics of an Emotion </i>(New York and London: Routledge, 2004), 20. <br /><br />11 “Citizens of modernity, consumers of violence as spectacle, adepts of proximity without risk, are schooled to be cynical about the possibility of sincerity. Some people will do anything to keep themselves from being moved.” (Susan Sontag, <i>Regarding the Pain of Others</i> [New York: Farrar, Straus and Giroux, 2002], 86). <br /><br />12 Silvia Federici, <i>The Caliban and the Witch</i> (New York: Autonomedia, 2004), 146. <br /><br />13 Prostheticity “in the sense of the embodiment and embeddedness of the human being in not just its biological but also its technological world, the prosthetic coevolution of the human animal with the technicity of tools and external archival mechanisms (such as language and culture).” (Cary Wolfe, <i>What is Posthumanism?</i> [Minneapolis London: University of Minnesota Press, 2010], xv). <br /><br />14 "Welcome Home!" was one of the most repeated slogans of Mihail Neamțu, which he propagandistically used in his hysterical speech against the ruling social-democratic party during the right wing's official demonstration at the beginning of July 2012. He was referring to the alive, dead and 'unborn' Romanians patriots who are against the idea of emigration. Neamțu is an important figure of the center-right party in Romania, and an assiduous promoter of the neoliberal doctrine. <br /><br />15 In the periods of the mad cow disease outbreak, in countries such as Great Britain in the 80's and 90's, and Canada in 2000's, there was a powerful nationalist discourse tied to the consumption of beef. As Nicole Shukin notes, there “were dramatic public displays of cooking, serving, and consuming Canadian beef, modeling a metabolic commitment to the health and “carnophallogocentrism” of the nation through patriotic displays of meat eating. Not only is the purity of a nation’s meat representative, on a deeply affective level, of its domestic economy; meat also enciphers ideological investments in the masculinist virility and racial purity of the national body.” (Nicole Shukin, <i>Animal Capital Rendering Life in Biopolitical Times</i> [Minneapolis London: University of Minnesota Press, 2009], 227). Carnophallogocentrism is a term coined by Jacques Derrida to refer to the sacrificial (carno), masculine (phallo) and language-centered (logo) dimensions of classical subjectivity.<br /><br />16 Sara Ahmed, <i>The Cultural Politics of Emotion</i> (Edinburgh: Edinburgh University Press, 2004), 2. <br /><br />17 <i>Arbitrary power </i>is a concept developed by Akseli Virtanen. <br /><br />18 See Gary Olson’s <i>Empathy and Neuropolitics: This is your brain on neoliberal culture. Any questions?</i> Available at: <a href="http://home.moravian.edu/public/polsci/pdfs/EmpathyAnd%2520Neuropolitics.pdf">http://home.moravian.edu/public/polsci/pdfs/EmpathyAnd%20Neuropolitics.pdf</a> <br /><br />19 See Amelia Gentleman’s <i>Food Banks: A Life on Handouts</i> Retrieved from http://www.theguardian.com/society/2012/jul/18/food-banks-on-hand-outs on July 18, 2012. <br /><br />20 Although it is a name worthy of dystopian novels, these are foundations which administrate the Food Banks. <br /><br />21 Sara Ahmed, <i>The Cultural Politics of Emotion</i>, 2.</span></div>
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Alina Popahttp://www.blogger.com/profile/03185348500653287954noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-60608535449221005912012-04-26T23:39:00.001-07:002013-07-02T09:58:07.268-07:00Facing the Wall, Disaster, Collapse and the Impossibility-to-not-Love<div dir="ltr" style="text-align: left;" trbidi="on">
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with <b>Akseli Virtanen</b> and KAFKAMACHINE Team <br />
workshop about:<br />
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Exhaustion of the possible. Three metamorphoses of the spirit. From biopower to arbitrary power. To function “in another way” (Benjamin). Economy as oikonomia. Topoi koinoi. An-arche. The secret bond between anarchy and government. Production of ethics. Production of memory. Giorgio Agamben and Paolo Virno’s on coming politics. Good and evil share the same root. Distance to environment. Mode of potentiality. Endless regression. Openness to the world. Experience of potentiality. Exhaustion of the realizable vs. exhaustion of the possible. Pathos of distance. Disaster, fragilization and desubjectivation. Impossibility-to-not-love. Copoiesis. Kafkamachine. Cooperation to come. Robin Hood Investment Fund of the Precariat. Minor Asset Management.<br />
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KAFKAMACHINE arouse in the midst of the marvels of financial economy and crises of Europe, when the precariousness of immaterial labour defines our every day, financial capitalism exercises its arbitrary power and forces us to continuously exploit ourselves and our friends while cynicism, opportunism, depression and detachment from others have become the only means of our survival. After the economic collapse, there seems to be nothing that holds Europe together anymore. Except our fear and apatheia. Just like in the Greek myth about the beginning of Europe, the Bull is raping Europa maiden again. Just look at Greece, Portugal, Italy, Ireland, Spain, Romania, Finland... And there is nothing we can do, nothing works. There is no solidarity, no shared place or time for a creation of community, of conscious collective subjectivity. There is no way out. The old political practices have totally lost their operationality.<br />
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KAFKAMACHINE is made out of loosers, sad figures, dark souls, cynical opportunists and depressed princesses. ”We are not tough or heroic, we are soft and feeble. We don’t march or demonstrate. We have difficulties in getting up from the bed. More, we are dependent on each other to see this. We are molle people, the future of cooperation.” There may be some self-sarcasm in this introduction, but only to express that there is no heroism in the exhaustion and disillusionment we are experiencing at the moment when seeking a way forward together is necessary but without any one being able to guide the way. The cognomen of the project is n-1, the one that disappeared. There is no other ground but the broken one.<br />
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We have difficulties in believing what is happening to us, because nothing seems to happen. We are tired of being ourselves because the self-evidencies of our lives don't work anymore. We know they don't, even if we still try to pretend that they do. We need reinvention of ourselves, but have no strength or appeal for it. That is why we all sound like déjà vu. The realm of possible at our disposal is exhausted. And when there is no access to possible, there is just the actual: there is no change. How do you build a way back to the possible? How do you invent a way out when there is no way out? KAFKAMACHINE is an organizational experiment on cooperations to come.<br />
This is our story, the story of our lives, naked in front of the arbitrariness of the world, alone and lost, when the one has disappeared.<br />
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<b>Akseli Virtanen</b> is a member of Mollecular organization and the coordinator of Future Art Base in Helsinki (Aalto University School of Art). He is currently working on “Parasite –Investment Fund of the Precariat” and “Kafka machine” film project based on Félix Guattari’s project plan. He also teaches new political economy and philosophy of cooperation at the Aalto University School of Economics. His recents books include the Molecular Organization of Félix Guattari (2011), Economy and Social Theory Vol 1-3 (2011-2012), Introduction to Bracha Ettinger's Copoiesis (2009), The Place of Mutation. Vagus, Nomos, Multitudo (2007), A Critique of Biopolitical Economy. The End of Modern Economy and Birth of Arbitrary Power (2006), Dictionary of New Work. A Map to Precarious Life (2006). He edits "Polemos" and "Memory books of cooperation" book series<u>.</u></div>
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-56989267562556905492012-04-05T15:34:00.003-07:002019-04-05T21:27:00.269-07:00Postspectacle Shelter in The House of the People<div dir="ltr" style="text-align: left;" trbidi="on">
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25 - 29 April, in the House of the People<br />
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It looks like what we, Presidential Candidate, have been anticipating in the last years, with our "no hope" messages and slogans, is already at work. This is not perceived as an eccentric, provocative vision anymore, it is the banal reality that everybody can feel. So what now? What’s happening when you give up hope and you are pushed into the corner?<br />
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There is a feeling of urgency, fundamental issues need to be immediately confronted and we will do exactly that. The House of the People (Ceauşescu's Palace) will be transformed temporarily into a real house of the people, where, for a few days, free education, free health services, free food, political therapy, a bit of everything that now is disappearing, will be provided.<br />
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Still, there is a sensation that it's too little and, maybe, already too late, so we don’t know if we can avoid adding a dystopian dimension to the whole situation. The events within the House of the People will be a good opportunity for thinking the present and feeling the (no) future in this first Postspectacle shelter.<br />
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<b>Inside the Shelter:</b><br />
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Wednesday 25 Apr, 19.00</b><br />
Does Europe Have Any Future? - workshop with <b>Franco Bifo Berardi </b><br />
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<b>Thursday 26 Apr, 19.00 </b><br />
- The Official Opening of the People's Shelter - speeches by <b>The Presidential Candidate and his guests</b><br />
- Paraparada - <b>Aparat Security</b><br />
<b>-</b> Samusocial - <b>Elena Adam</b><br />
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- Reintegration - <b>Vali Zaharescu aka The Romanian Bum</b>, chief editor Gazeta Străzii</div>
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<b>Friday 27 Apr</b><br />
<b>16.00 - 20.00</b> - Facing the Wall, Disaster, Collapse and the Impossibility-to-not-Love - workshop with <b>Akseli Virtanen</b><br />
<b>20.30 </b>- Meditation<b> - Valentina Desideri</b><br />
<b>21.00</b> - Film Projections<br />
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<b>Saturday 28 Apr</b><br />
<b>16.00 - 20.00</b> - Facing the Wall, Disaster, Collapse and the Impossibility-to-not-Love - workshop with <b>Akseli Virtanen</b><br />
<b>20.00 - Bezna #3 Launching</b><b> </b><br />
<b>20.30</b> <br />
- Queer Apocalypse vs The Salvation Child - <b>Mihai Lukacs</b><br />
- Soulstorming - <b>BMR (Alina Popa, Irina Gheorghe)</b><br />
- We Are All Reptilians Now - <b>Florin Flueras </b><br />
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<b>Sunday 29 Apr</b><br />
<b>15.00</b> - Political Reading Group <br />
<b>17.00 </b><br />
<b>- </b>112 - <b>Iuliana Stoianescu</b><br />
- Survival Guide - <b>Cosima Opârtan</b><br />
<b>- </b>About Migrants- <b>Simina Guga</b> <br />
<b>18.30</b><br />
<b>-</b> Peronism Will Be Revolutionary or It Will Not Be At All - <b>Eva Peron</b><br />
- Postspectacle Condition - <b>Ion Dumitrescu</b><br />
- Public Life - Private Life, Where Are the Limits - <b>Caroline Keppi-Gurita</b><br />
<b>20.00</b> - FRR/kunstahallke.ro presents: Water Strategy - <b>Alexandru Gurita </b><br />
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<b>Workshops details: </b> <br />
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<b>Does Europe have any future? - atelier cu Franco Bifo Berardi:</b> <br />
Franco ‘Bifo’ Berardi is a contemporary writer, autonomist theorist and media activist. He founded the magazine A/traverso (1975-1981), and initiated Radio Alice, the first pirate radio station in Italy (1976-1978). His work analyzes the role of media and information technology in post-industrial capitalism, in particular drawing from schizoanalysis and aesthetics to investigate processes of subjectification within precarious labor. Human emotions and embodied communication becomes increasingly central to the production and consumption patterns that sustain capital flows in post-industrial society, and as such Berardi uses the concepts of "cognitariat" and "info labour" to analyze this psycho-social process. In his recent book, <i>After the Future </i>, he tries to prefigure what can come after our present end of the future.
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<br />
<b>Facing the Wall, Disaster, Collapse and the Impossibility-to-not-Love - workshop with Akseli Virtanen:</b><br />
Exhaustion of the possible. Three metamorphoses of the spirit. From biopower to arbitrary power. To function “in another way” (Benjamin). Economy as oikonomia. Topoi koinoi. An-arche. The secret bond between anarchy and government. Production of ethics. Production of memory. Giorgio Agamben and Paolo Virno’s on coming politics. Good and evil share the same root. Distance to environment. Mode of potentiality. Endless regression. Openness to the world. Experience of potentiality. Exhaustion of the realizable vs. exhaustion of the possible. Pathos of distance. Disaster, fragilization and desubjectivation. Impossibility-to-not-love. Copoiesis. Kafkamachine. Cooperation to come. Robin Hood Investment Fund of the Precariat. Minor Asset Management. <br />
<br />
<b>In the Shelter every day:</b> <br />
- Simple yet Nourishing Food - <b>Simina Guga, Ovidiu Anemțoaicei, Ștefan Tiron...</b><br />
- Political Therapy - <b>Valentina Desideri </b> <br />
- Medical Care - <b>Iuliana Stoianescu</b><br />
<br />
<i><b> With the support of MNAC and Goethe-Institut Bucuresti</b></i><br />
(2012)</div>
ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-25908764864064468222011-11-02T01:58:00.001-07:002019-04-06T06:31:37.964-07:00The Inauguration of the People's Salvation Cathedral<div dir="ltr" style="text-align: left;" trbidi="on">
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The Romanian Orthodox Church wants to build a huge People's Salvation Cathedral. Of course with money from the state budget (around 900 millions euro). Ironically it will be next to the House of the People, the huge building made during Ceausescu's regime. The construction is on, but near it a small, simple and cheap prefab-church has been already built for temporary use, as a way to mark the territory. The Presidential Candidate organized a public campaign announcing that the People's Salvation Cathedral has been already finished and 11.11.11 was the date set for its inauguration.</div>
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For the ceremony the Candidate dressed in priest and, after a very short religious procession, he inaugurated the prefab-church as the actual People's Salvation Cathedral. He also apologized in the name of the Orthodox Church for the exploitation and commercialization of gypsy slaves by the Romanian Orthodox Church that went until later 19th century (a taboo issue for the Church). </div>
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The priest announced that the orthodox churches will be open day and night and will serve as a shelter for the continuously growing number of homeless people, pushed away from their homes by the harsh Turbo-Capitalism. </div>
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He announced also some possible reforms inside the Church, for example granting women the same rights as men to perform the mass and have access in the hierarchical structure at any level, not just to clean the church and sell candles. He also criticized the hierarchical structure of the Church and its hypocrisy - everything is in gold, a lot of properties and political power. The top members of Church travel in limousines surrounded by police, blocking the traffic for the rest of people. In all these facts, the Candidate-priest recognized the Antichrist - the opposite of the Jesus message encompassing simplicity, poverty, love... </div>
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Nevertheless the general tone of his preaching was pervaded by a sense of thankfulness for the honor to inaugurate the People's Salvation Cathedral. The priest was happy to help the Romanian Orthodox Church make such an important step towards christianity: choosing to build a simple and spiritual church instead of the opulent home for the Antichrist. </div>
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The official sermon was abruptly interrupted by an aggressive orthodox faction that pushed the priest down the stairs and recommended him to perform a self-decapitation immediately after he would take off the holy costume.<br />
(2011)<br />
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-13281686419202526582011-10-09T08:46:00.000-07:002013-07-02T10:01:15.423-07:00McImpuls Tanz or nothing to eXplore<div dir="ltr" style="text-align: left;" trbidi="on">
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</span>What does it mean to do a festival of contemporary art in 2011? And what does it mean to do a festival of contemporary dance in the city of Bucharest in 2011? What does it mean to be involved in contemporary arts in general? Those questions seem of no concern for eXplore Dance Festival that at least for the past editions was trying to produce a minimal (even if banal) text that proposed a position in the world of spectacle. <br />
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This year we get directly names. The only concern of the festival seems to be to bring us “world-known artists” from the much larger and more successful Festival Impuls Tanz Vienna. We even have a “coaching” project, scholarships and an “8:tension” like category for “emerging artists” disguised as a competition named “Prix Jardin d’Europe” (which includes, of course, many participants in the 8:tension program).The self-colonizing at it’s purest! The local context with its issues and realities is of no interest at all. We must only feel very happy to see the same “world-known artists” that we saw this year in Vienna and Berlin. You know….”it’s good for the audience”…<br />
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The periphery does not produce discourse. It only integrates the already produced discourses and names by its bigger and stronger partner and reproduces it in its own territory with no critical distance whatsoever. The success model must be reproduced (in a minor key of course) regardless of any other imperatives of the moment in hope that we might be successful as well if we only follow closely the receipt of our bigger brothers. Nothing should interrupt this logic not even a proposed protest by fellow artists to address the disastrous situation in which the Ministry of Culture keeps the National Center of Dance Bucharest and the loss of the only space available for the dance community.</div>
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Solidarity with your local context must come only when you need financing for your own project! The march towards becoming a local branch of Impuls Tanz must continue without any disturbances in a conformist and provincial manner that will secure our modest place inside the global “network”. This (lack of) attitude stands in deep opposition from that of the local dance community that over the past ten years has been promoting a critical stance towards their own art form and towards the politics involved in it. </div>
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Together with the loss of the venue of CNDB, 2011 begins to look like the year when Romanian contemporary dance steps back into it’s ‘90s “pre-thinking” condition.2011 - not much left to eXplore!</div>
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<br />The Romanian Presidential Candidate<br />
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biroul de presahttp://www.blogger.com/profile/17329927575047650380noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-16305284244273642062011-07-23T02:23:00.001-07:002011-09-18T04:48:18.479-07:00Discussion with Franco Berardi Bifo about the Presidential Candidacy project<div dir="ltr" style="text-align: left;" trbidi="on">
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Bifo: <i>You underline awareness as the "main word". Don't you think that impotent awareness is kind of masochistic? What's the use of awareness when conscious collective action seems impossible?</i><br />
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Florin Flueras: Probably the impossibility of conscious collective action is because too much unconscious collective action - too much production, agitation, too much immersion in the official perception of the reality, too much involvement in the consumerist-capitalist religion. <br />
Maybe for a conscious collective action the first thing that we have to do is to make space by stoping the unconscious collective action. A moment of paralyzing awareness can be good - a total stop, a total silence, a zero moment. <br />
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<i>You have announced your presidential candidacy for the next elections in Romania. What's your aim? What's your program? Do you want really to change the political course of Romania?</i><br />
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We are a group and we mainly come from performance/contemporary dance. At some point we couldn't avoid anymore to raise a fundamental question for our art. What is the point to do our performances in the theatre, what is the point to add another spectacle in this society of generalized spectacle? Based on this question we started what we call postspectacle practice, with the intention to go with our skills and knowledge as performers and makers on the main stages - mass media and politics.<br />
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The candidacy is a mean to enter in the official debate, to get on TV basically. We don't go on TV to announce an alternative or another program; we go to expose what is behind a program, how a program works, to expose and to play with the spectacle of power and with the power of spectacle.<br />
We don't enter in the political life because we have a solution. We enter more to raise the avoided questions and to deconstruct the official solutions, to make space, to create the premises for collective intelligence to manifest.<br />
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We don't have a plan because planning implies a logic of authority that we want to question. We see every day the unhappy results of planning the lives of the people by the state or corporations. People have the capacity to organize themselves if they are allowed to (as the workers that occupied the factories in Argentina proved, and many other communities when a vacuum of power has occurred). So maybe we can say that our plan is to un-plan. As we said in our announce for the candidacy, we want the power in order to dissolute the power.<br />
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We are very aware that first of all we cannot win the elections, and if we do, it doesn't matter. You don't do politics in Bucharest these days. You can see constantly how IMF functions as a kind of super ego that regulates the entire political and economical life of the country. So the democratic game doesn't mater as long as policies are made in supra-democratic structures like IMF, World Trade Organization, World Economic Forum, etc. What they call politics in Romania is the following of the directives of the supra-democratic structures and a bit of a provincial mafia administration and fights for the leftovers. Basically they take their commissions by selling the politics and the economics of the country. <br />
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The power becomes more and more verticalized and globalized and the authority becomes more and more complex, integrating the means of discipline, control and management of perception (means of producing auto-control - the interiorized authority). There is not a passage from disciplinary society to society of control, to arbitrary power, it is an accumulation - all kind of coercion coexist and amplify each other, shaping a power that reaches the limits of the world and the core of the subjectivity (exploiting or make us to self-exploit our souls, how you very well point out).<br />
It looks like we are definitely lost. No possible plan, no possible solution, no hope. There is nothing to do but something must be done. We give up hope and in the same time we can somehow (secretly) believe in an event, a miracle or at least an apocalypse.<br />
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<i>Can you describe the current situation of the young generation in your country? What are the labour conditions? What the average salary of a young worker?</i><br />
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The average fee in Romania is around 360 euro/month. Better for the people that work in informatics (majority young) average 850/month.<br />
It was just voted the new working legislations and they are proud about its flexibility. But basically it is a flexibility for corporations, for employers to dispose even more and easier of the time and life of the workers, to be able to fire them easily and to overwork them. Basically the rights of the workers are decimated.<br />
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Romania is a clear case of a Second World country situated somewhere between the first world where the power invests in some people’s capacities in order to harvest their productivity after, and the third world with its brutal exploitation, fordist production, etc. So you can find something close to the third world sweat shops but also the first world immaterial labour.<br />
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<i>How large is the space of cognitive work in the Romanian economy? Can we speak of a precarious cognitariat? What is the salary of a school teacher?</i><br />
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They reduced a lot the salaries for education. The perception is that you are a kind of loser if you work in the pre-university education. So the people avoid teaching and the quality of education is going always down. The salary of school teachers are between 180 euro and 380 euro in pre-university education. In the Universities can go much higher, like 4000 euro/month in some cases (they were scandals on this issues).<br />
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I don't know statistics about how much cognitive work we have. But I can give you other statistics that I think can say something about this issue. Romania has the highest speed of internet in Europe and the first place for internet illegal activities too. Another curious thing is that Romania is the only country from Europe where the law that oblige internet providers to save personal information from people (emails, etc.) it was not approved.<br />
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We can speak about a generalized precarious life here. The people that have a job are afraid that they will lose it. And the others are improvising on the spot, each day, to survive. The official debate is allot around how to get rid of state employees, what is still possible to privatize and how to cut what we still have from education, healt care, pensions, etc. Like almost everywhere we assist at the killing of the social state.<br />
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<i>What is the mind-scape of the young generation? Which kind of drugs (legal, illegal) are prevailing?</i><br />
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The main drugs, like everywhere in Capitalism, are coffee and allot of alcohol. Coffee to push the productivity, alcohol to kill the little free time and any possibility of a scary moment of lucidity. For the marginal people there is heroin, and for the very marginal the aurolac (a cheap paint inhaled from a plastic bag). I heard allot about people that take Xanax (anti-panic and anti-anxiety pills) and anti-depressives, but I don't know statistics. But I know a statistic that says that generally Romanians administrate themselves legal drugs when they are sick, without consulting a doctor (too expensive).<br />
In general the mindscape is more and more shaped towards right wing, neocons directions, by money and propaganda that gives astonishing results. There is a very toxic mixture of nationalism combined with orthodox religion, racism, homophobia, etc. And this is growing and growing.<br />
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The other big tendency is a more centric one, perfectly represented by people from the creative industries. People that are cynical, not interested in politics, "against any ideology" and activism. They are into a life style copying the kind of Berlin atmosphere, parties, drugs, etc. But in practice they are not apolitical at all, they actually are working in creative industries like publicity, etc. - at the core of neoliberalism. And behind the attempts of cool, fashionable, original appearances, the majority shares a very conventional, mainstream and political ignorant perception. They use social networks mostly just for self expression and party events. This category consumes, besides the coffee-alcohol, also ecstasy, cannabis, cocaine, amphetamine, etc.<br />
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The people invested so much in the Capitalism dream during the dictatorship, that now the confrontation with the real is totally overwhelming. The delusion is too big. No more revolutionary energy. It was consumed, discharged in 89. Now it is apathy and depression. <br />
But there are good sides too. From many points of view seems to be more potential, the capital is not so well organized, there are gaps, the reality and capitalism not totally coincide like in the west. And there is a special understanding in some people, because a change in political systems and official discourses like we had after the revolution can create awareness and a distance from any political system - skepticism towards the power and its solutions in general. <br />
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<i>Some months ago we heard voices of a student's movement in Bucharest. How did it evolve? What is the condition of school, and of the university in your country? What the effects of neoliberal politics on the educational system? Do you see any sign of student's consciousness and self-organization?</i><br />
<i><br /></i><br />
What you heard was the protests of workers and pensioners, when the government cut 25% of salaries of state workers and 15% from pensions. Is an atypical situation, the most revolutionary generation here are the pensioners, they continued the protests for many days. From this point of view the students appear more conventional and conservative than police - while everywhere in Europe students were beaten by police, here one of the most radical action it was the police protest and strike.<br />
The leaders of the student unions are part of a very corrupt system, similar to the leaders of working syndicates, they are in close dubious relations with the political parties and usually they enter in one of the parties structures after they finish school.<br />
There is no sign of political consciousness and self-organization... It seems that the school works perfectly in creating conventional thinking and obedience. The recent neoliberal policies will complete what is already a disaster. A school in which study and education is not possible, only a dressage for interiorizing the authority and a preparation for exploitation.<br />
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<i>How can artistic action interfere with the social process? How can an artist or a poet produce changing effects on the social sphere?</i><br />
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After the capitalism expansion reached all the populations, all the resources and the limits of the earth, now the fight is for the most intimate human "resources", capacities, sensibility - we can say that the ultimate battle is in the art domain. So I don't see so much art as a weapon for fighting Capitalism but more as a battlefield. A battlefield that unfortunately is alredy almost entirely occupied by the enemy, the economic logics. The power domesticated and almost entirely integrated the art and the artist. <br />
In Romania during the Communism period functioned what they called "the resistance through culture". In the sense that some artists, writers, didn't compromised to praise the dictator, but at the same time they didn't take any risk, they went with the regime doing their art and now they pretend that they were dissidents. They are very badly judged. They are called 'collaborators'.<br />
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But now is it not the artists that legitimize Capitalism? The artist is in a chain of economic-political power relations. He's the subject of a pressure from above - curators, programmers, which are the subject of a pressure from politicians or banks/corporations (a soft invisible pressure via access to funds). From this point of view the artist is a link between officials and subjectivities and their knowledge and sensibility is preferable to work for power than against. <br />
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If we really want to do something, it would be a bit less comfortable, less safe - we have to assume the risks of loosing the artistic privileges and to be exiled from the official art, from the court of the Capital. If we want to produce change in the social sphere first of all we have to go out or against the institutionalized art bubble. To interrupt the flow of spectacle, the institutional chain of passing the cultural agenda. To not listen and even to sabotage the administrative protocols in art - from artists to become cultural terrorists. <br />
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"Terrorist" is a label that points towards any enemy, potential danger to the establishment. The terrorist and the little brothers, pirate and hacker are the only ones that are not assimilated and integrated in our society. Maybe now, in the crisis is an opportunity for us to go out from the assigned art bubbles and to use our time, skills and knowledge to intervene on the biggest stages (mass media, politics). Maybe is time for art to go where things happen.<br />
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Another possible alternative is for us to become saints, prophets, mystics. What I want to say with this is to radically work and experiment with subjectivity. Not just to play safe in representation with creativity and fantasy but to experiment with essential human behaviours, values, perceptions, attitudes, states of mind, sensibility - so radical that it become religious. If we really want something to change I think we have to go a bit beyond our comfort and to alter the core of our identities. If we are Capitalism, the exploitation, the extinction of species, the climate changes, at least some parts of us have to transform radically or even die. In this sense, maybe we have to embrace a bit of (artistic) apocalypse.</div>
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ffluerashttp://www.blogger.com/profile/02737309807104910678noreply@blogger.comtag:blogger.com,1999:blog-2751668845720725969.post-51069358854142715082011-07-16T17:40:00.001-07:002019-04-06T06:29:35.901-07:00Dorato Action<div dir="ltr" style="text-align: left;" trbidi="on">
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In an act of last moment censorship the <i>Candidate</i> was eliminated from <i>Just do it. Branding Biopolitics</i> exhibition at <i>Pavilion Unicredit</i>. The <i>Candidate</i> continued to behave as if nothing had happened, and a promotion campaign was launched. People were invited to celebrate the opening with the <i>Candidate</i>, and with a glass of Dorato champagne (a good-looking bottle with a very cheap and dubious content). The exhibition was announced everywhere as a <i>Presidential Candidate</i>'s event, and the opening as a performance. It turned out to be a very strange scandal as a result of Pavilion staff’s violent reaction. But no matter how interesting the evening as a performance was, the actual work, the main esthetic operation, was the activity of reframing – as a reversal of the usual situation of artists acting under the institutional umbrella, in this case the artists were framing the institution – pointing to the activities of framing in themselves, focusing on their own operativity in their implicit mediums.<br />
(2011)<br />
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