Esthetic Entities

Retroactive self-constitution

In the past ten years entities with a complex esthetic operativity emerged in the zones of dance and visual arts of Bucharest. Attempts at understanding them are mostly made by insiders, as is the case of this text. Apart from the necessity of grasping what are you part of and to figure these entities out, self-reflection functions as an engine that self-constitutes them. The entities expand in the direction in which they conceptualize themselves, they shape themselves through self-reflection. Self-conceptualization is an internal dynamic for substantiating an esthetic entity, but once a dynamic of self-referentiality is in place, this often extends to the outside. In Postspectacle, one of the esthetic entities, a constant practice is to introduce strange feedback loops, altering, expanding or breaking some of the implicit conditions at work in the respective situations. In the case of Kunsthalle Batiștei, another esthetic entity, a self-referential intervention is made in the basic layer of identity formation, in the correspondence between the name and the project. There is an operation of forced association with a group of institutional practices that enters into a strange relation with its own behaviors, producing some institutional fog around its identity.

The entities’ names are often the symptom of a problem or a question. They may function as a reaction, as almost empty concepts in the beginning, triggering a practice afterward. Postspectacle started as a vague desire to move forward from the spectacle, without knowing what Postspectacle is or could be. It started from the question: what is the point of adding another spectacle to the art world when we are already living in a generalized spectacle? A practice emerged around this question, and consisted in bringing 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 performance black box. A second practice that Postspectacle developed was to use the performing skills and knowledge of performance on the big stages of mass media, business and politics. The Presidential Candidate, another conceptual entity, was born out of this practice.

In a similar way, Artworld started as a reaction to the type of reality and subjectivity produced in the contemporary world. It started as a desire to compose and explore new ways of worlding, through art. In the process, concepts and practices appeared: Second Body, Dead Thinking, Eternal Feeding, End Dream, Black Hyperbox. The esthetic entities and the concepts that they generate usually start from vague intuitions, and in time, thinking and practices coagulate around them, making them more substantial. They set in motion certain vectors of intention, orient practices and act as attractors to further thoughts. They are not oriented toward conceptualizing some sort of past experience, but to create conditions for new possibility of thought and practice. Actualizing themselves on their own path, the esthetic entities retro-act on themselves from the future.

Their functioning is the content
Dreaming is one of Artworld's preoccupations, not so much the content of dreams as the activity of dreaming in an expanded sense, including the simulational character of consciousness and world creation. There is an operation of self-referentiality at work in this process: a type of simulation, the awake state, is focused on the mechanism of simulation itself, the dreaming. Usually the reflection upon the simulation does not unfold at the same time with the content of the simulation, but sometimes the self-referential dynamic accelerates and the timing of the reflective operation coincides with the timing of the simulation itself. This is the case in the dreams in which the focus of dreaming, besides the content of the dream, becomes the operation of dreaming itself, and this is somehow the case for many esthetic entities as mediums in which the focus becomes the processes that are conditioning their own existence. The Romanian Dance History is an esthetic entity that enters uninvited on stages of important performances, in important festivals, after the applause, when the audience is ready to leave, saying with a humble attitude something like: "Hello, we are the Romanian Dance History, we are very happy to be here, it is very nice. We would like to present you the Romanian Dance History, it would be short because The Romanian Dance History is weak." After that, some excerpts from Romanian Dance History are presented, but the content doesn't matter too much. The implicit activity, the conceptual operation that matters is the unsolicited and alien way of appearing in front of the audience, the forced insertion in the program, skipping and overriding the structures of validation, going around the gates of access, the esthetic content becoming a type of self-referential functioning in its own medium.

In an act of last moment censorship, The Presidential Candidate was eliminated from the Just do it. Branding Biopolitics exhibition at Pavilion Unicredit. The Candidate continued to behave as if nothing had happened, and a promotion campaign was launched. People were invited to celebrate the opening with the Candidate, 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 Presidential Candidate'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, again, 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. The same with Kunsthalle Batiștei actions of emulating the art functioning of important art institutions, with an attitude of seriosity and importance in the name, in the public communication, in the type of actions that were launched. It was an imitation of success, in a small precarious garage, without money or any legal status. Because of these inadequacies, the usual smoothness and normalcy of the institutional operations have a second intention, a second effect, a looping dynamic that points to its own operativity more than to the content of its artistic activities.

The accent on their own positions in the structures of the respective event creates a self-referential dynamic that makes the esthetic entities interfere with their determinations, with the implicit atmosphere in their mediums. Self-referentiality affects the overall conditions in which the entity is immersed and, like in dreaming about dreaming, structural effects in the implicit worlding or an exit can be the result. The art world has its clues and pointers that implicitly orient the behaviors, acting as a loose and transparent frame for what is possible to perceive, imagine, think, and do. But an ambiental, or esthetic power is at work everywhere not only in the art world, every world has its orientative ambience. The esthetic entities experiment on a small scale with models that are no longer based on critique, denuniciation, exposure or acts of resistance from inside, but based on directly changing the structural ambience of their respective worlds. They seem to say that new environments are needed, rather than critique and resistance in the implicit ones.


To be part of an esthetic entity usually means a constant rethinking of your position in the fields of different mediums, formats, and disciplines. All these domains have their constraints, silent prescriptions and expectations, dragging along their social pressures with their implicit orientations and frames for action. For many conceptual entities the question is not so much how to move outside of these constraints to be free, but what kind of dynamic could emerge between collisions of formats and constraints. Acknowledging dependency and the potential of constraints, The Bureau of Melodramatic Research sees itself as a "dependent institution." Oscillating between pseudo-academic frames and formats and pseudo-melodramatic ones, the Bureau often overlaps or collides cheesy and exaggerated feminine emotionality with urgent global issues and abstract theory. Sometimes a new genre emerges where everything is at the mercy of abstract passions, philosophically speculative dramas and powerfully rational emotions.

An inadequacy is assumed by many of the esthetic entities. The Presidential Candidate sometimes appears as an artist in political contexts, and often as politician in artistic ones, gaining advantages such as the possibility of entering political campaigns before the legal terms because "it is just art." The Robin Hood Fund, another esthetic entity, operates within the financial markets and in contemporary arts, parasitizing, transferring knowledge and opening possibilities for access to sophisticated financial instruments otherwise accessible just for very rich people and companies. Many art venues were transformed into temporary Robin Hood financial offices. And many times we had the pleasure of saying, in art environments, that we are bankers. There is a perverse desire to dislocate and transport an entire apparatus from one field to another, to push toward non-art territories, and to bring something alien into the art frames, such as real financial operations, presidential candidate campaigns and abstract philosophy.

The collision of mediums and disciplines can be messy, destabilizing and, for many entities, desirable. In Artworld, instability is by design. The stated desired dynamic is a productive alienation from concepts through experience and from experience through thinking. The Postspectacle Shelter was another environment programmed for all sorts of collisions. This was an event of the Presidential Candidate in the House of the People, which houses the Romanian Parliament and the National Museum of Contemporary Art. In the same space coexisted: a tribune for presidential candidates, a spot for philosophical workshops, a corner for medical assistance, and a canteen where food was cooked and served for homeless people, artists, and philosophers. It was an overlapping of a charity event, a presidential campaign, a philosophical conference, a day shelter, a canteen and an art show. The event marked a rupture of the entities both from the art scene and the activist world. There was criticism and some frustration about the unclear nature of Postspectacle Shelter. Is it art, activism, charity, political event, or what? It was indeed a controversial, monstrous project and, unsurprisingly, the only support for it came from other esthetic entities.


The esthetic entities are often inadequate, long-term, complicated, playing with improper formats, pushing toward all kinds of not-yet-art zones, difficult to frame and present. Entities like Artworld, Cooperativa Performativa, Black Hyperbox and the Presidential Candidate experiment with ways of collaborating beyond consensus, replacing the necessity of a common agreement and common product, which are somehow implicit in collaborations, with an amplification of alienation, where each individual has the space to pursue a different direction in the proximity of the others. These forms of collaboration are not represented but enacted in the usually hidden and problematic aspects of art projects, in the inside relations and implicit dynamics. But even if these forms of collaboration are not on display, they leave traces in any form of presentation, and attention for them expands a sensibility for the forms of organization and governance present behind any artwork in general, the individual work included.

But sometimes there are no art products at all that are recognizable as such. In Blank Mountain College some of us met in a place for a while, without any special agenda or aim and, after some time, we met again and continued somewhere else, and again elsewhere. Blank Mountain College seems suspiciously unambitious. It's atypical because the implicit impulse is to exploit a situation to the maximum, to use the opportunity of having some resources at one’s disposal, to convert any occasion, to be maximally productive, always on a way to success. In the desperate art world, Blank Mountain College, like other esthetic entities, feels like a lost opportunity. But the apparent poverty or emptiness actually unlocks potential. From the inside, the ambition void felt like a relief, because you are suddenly disconnected from implicit orientations and have the luxury of a less instrumentalized time. And the lack of pre-determination and instrumentalization produced a different quality of interactions and a special environment.

When the requirement is to fill a niche, to be clearly identifiable and assigned to a type of art, the complexity and unpredictability of the entities, with their distance from the implicit approaches and formats, seems alienating. While artists are expected to manage themselves and more or less consciously adjust their attitudes and behaviors to implicit art world demands, performing in the sphere of success's requirements, the entities often push their artists toward "unsuccessful" attitudes and behaviors. As an entities' artist, you can expect to remain under the radar of mainstream institutions, hidden in a pre-career stage, with a para-art presence. A self-reflexive para-art, the acknowledged situation, feeds back the thinking and actions of the entities, influencing ideas and situations such as "being no-one," "losership," "give up hope," "dead thinking." Paradoxically, this negativity has a positive feel, creating a bit of a nothing-to-lose atmosphere. It is more fun than desperation, or is maybe a funny desperation. What from the art world perspective can be seen as a persistent defiance toward the requirements of success, and self-sabotage, is neutral or even positive from the point of view of the entities’ system of valorization.

Besides the esthetic entities’ alienation in the art fields there is a second, subjective alienation. In time, the esthetic entities function more and more as environments, shaping the artistic visions and options for the people involved. After a while, it's not only that artists work and develop the entities, but more and more the entities shape and work upon their artists. In the process, they recode and override some of the structures and implicit commands that shape what is possible and desirable to perform and imagine in the art world. For entities' artists, it becomes difficult to be totally embedded in the art world’s implicit suggestions and habits. This exteriorization of personal artistic agency could feel like alienation for the people involved, but mostly a necessary and desired one, and with larger implications. Like any other world, the contemporary world formats subjectivities with some implicit thoughts, patterns of behavior, and perceptions. To have a perspective and an influence on these layers, it is important to create ways of acting from exterior ways of alienating oneself. Some external devices are needed to trigger us out of our own inscribed patterns and regularities. The esthetic entities can function as exit devices from the particular type of subjectivity encouraged by the art environments, and maybe even from the usual production of subjectivity in the society.

Art worlds

The esthetic entities are not objects to be exhibited, nor performances to be seen or texts to be read. They are not research or experiments nor immaterial art, but they can be all of these and more. They don't have a sharp and clear presence. They cannot be presented as events or finalized and condensed as products. They include artistic processes and products but their esthetic capacities are somehow always beyond their appearances. Their esthetic emerges from an amalgam of elements, from their complexity. 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 work as worlds, in the sense of complete behavioral spaces that affect the transcendental implicit conditions of their own existence, as the physical worlds curve the time and space around them.

They are small experimental worlds, like spaceships that have to be self-sufficient and to endure extremely hostile environments. Like the explorers who leave behind the long tuned structures functional at home, the esthetic entities have to rethink all the vital components, to mess with the foundations. The homely safety net is missing and all kind of things have to be improvised. An esthetic entity has to reinvent esthetic operations, forms of collaborations, and of presentation, to mess with its own determinations, and implicitly be at risk with its environment. Failures happen, premature disparitions or monstrosities could appear. Because they are messing with the consensual realities, they are unpleasant. In the beginning nobody likes new esthetic entities, but in time they can be absorbed and become cultural goods, and function as zombie-entities, or they can expire when their time has passed. Eventually, if they don't have a good death, they may haunt the living as ghosts or just disappear as if they had never occurred.

1. Robin Hood Fund is an international entity that has as founder members many artists who are active in the other esthetic entities mentioned.

2. Blank Mountain College was born in Oslo and the initiators are in contact or active in other esthetic entities mentioned.

The esthetic entities were for sale at Art Brussels 2016.

Dreaming the End of Dreaming /fragment

Usually dreaming is something that happens to us, not so much something that we perform. According to Jennifer Windt and Thomas Metzinger, we live our lives and the majority of dreams as "naive realists", having the "impression of being in direct contact with external reality" and being unable to recognize "the simulational character of consciousness". The dreaming operations are hidden, we experience just their results. A question for further consideration and experimentation is what happens if dreaming becomes explicit or if the implicit dreaming is speculatively doubled with a consciously performed one? What happens if an excess of dreaming is applied to a reality, if we overdream the world in which we are caught?

Maybe there is an optimum degree of dreaming for a reality to remain a reality, for a world to be natural. Probably if some limits of dreaming are surpassed, the natural solidity and coherence of the respective reality is shaken. Windt and Metzinger noticed that somehow an ability to exercise supernatural powers is linked with "the availability of the dreamlike nature of one's ongoing state of consciousness on the level of behavior." An intervention at the level of dream creation seems to be a necessary perturbation in the complete coincidence with one's own nature, the step that must be made not to be totally inscribed in nature like an animal. Or from another perspective a way for nature to accelerate itself. At least this seems to be the vision in this Buddhist prayer: "Do not sleep like an animal. Do the practice which mixes sleep and reality."

A possible way to follow the prayer is to constantly consider the eventuality of being asleep, dreaming what is happening. The "reality checks" of lucid dreamers can be amplified to a habit of radical doubt - from time to time to doubt that you are awake and that you are perceiving a reality. One of the consequences of amplifying this kind of doubts could be the sensation that everything is a dream. This is usually seen as a degradation because dreams are considered weaker forms of reality. But this degradation has its advantages - when the world is a dream, it becomes available to dreaming practices. Another consequence of the fact that you are dreaming is that you can wake up. And when you wake up you wake up in a superior reality. A hierarchical relation between realities is created through a retroactive degradation of experience - after you wake up you can acknowledge that your previous experience was "just a dream".

A complication of this dynamic is that dream from which you continuously wake up in another dream, till you end up in reality - a reality that could be seen as the most stable available dream at that moment. But nothing guarantees that you will not wake up again, even from the most solid "reality". In one of these types of dreams I was scared because I didn't know where to come back, I felt that I could choose from more realities and I didn't know where to wake up. I woke up in the wrong places and I was struggling to return, anxious about the idea that maybe there is no way back. It is a strange homelessness to feel that you are everywhere in dreams, nowhere in reality. But an alienation is a necessary consequence of a transversal navigation between realities or worlds.

In another one of my dreams I woke up in the same reality as that of the dream. In a paradoxical way, the awakening, what Windt and Metzinger call the "shift into another global state of reality-modeling", was felt as just a different way of being in the same world. The awakening, instead of being a switch between realities, was just a subtle change in quality. The minimal aspect of an awakening seems to be a sensation of an increased lucidity more than a switch of realities. For Windt and Metzinger, we are more aware in a lucid dream than in waking life because the system "is able to grasp the simulational character of its overall state". The awareness increases even more in the lucid false awakening "because it combines both concurrent and retrospective insight into the dream state". If we radicalize this perspective, we can say that the maximum awareness is a series of lucid awakenings, a falling from a dream to another dream.

On the other hand, this can only accelerate and make continuous a retro-degradation of existence. For Bergson "a dream is this: I perceive objects and there is nothing there. I see men; I seem to speak to them and I hear what they answer; there is no one there and I have not spoken. It is all as if real things and real persons were there, then on waking all has disappeared, both persons and things. How does this happen?" Retrospectively everything is just a dream, just nothing, it doesn't exist. To fall from a dream to another dream is an endless catastrophe, an infinite falling into a black hole. You kill realities one by one looking for an exit, haunted by a overwhelming feeling that you have to escape, but there is nowhere to go, just a serial exiting, an empty awakening. Seen from the other side, a repeated waking up is a continual falling asleep, because any waking up means a falling asleep somewhere else.

Sometimes a nightmare, a dream of the end, an apocalypse can give a sensation of waking up, in another dream. This is particularly relevant now when many signs indicate that we may be in a process of extinction, when our personal and collective realities are ending. It is important to imaginatively and practically speculate about what happens when the worlds are ending. Maybe, following a Vedånta twist - “the world is included within the state and not in the world the states occur” - to make the serial births and killings of worlds as easy as waking up and falling asleep, a meta-state is needed. A meta-dream in which you constantly wake up only to realize that you are actually in another dream. A meta-dream of endings, of falling from a dream into another dream, dreaming the end of dreaming.

Process in Progress

Process in Progress functions on multiple levels. On one hand it reflects on the formal aspects of communicating an artistic experience. The space and time of transmission and receiving is structured as a hybrid between visual arts and performance arts principles.

The audience is invited to choose a trajectory in the space, to situate themselves, answering to a curatorial designed structure of the space. And simultaneously to participate in the different situations that are taking place in the space, demanding a type of relation specific to a processual, presence based art.
This mixed situation is the result of parallel debates in the visual arts and performance arts of the lasts decades. The constant narcissistic questioning of all the implications of an artistic act made the display, and performance in general, extend their spheres of action from their own conceptual content and their own formal aspect to the assistance of audiences on a trajectory of reception. The importance of space and the way it is emphasized has increased.

On the other hand, the three situations proposed by the project are exploring different anatomies of the processes of creation and reception of artistic acts. Multiple dimensions are considered – from psychological and embodiment based aspects to the objective, physical conditions.
Cosmin Costinas, 2005.

Photos at CNDB, 2004


1-1 (MNAC 2006)
1-1 (MNAC 2006)
1-1 (MNAC 2006)
1-1 (version 2, 2007)

Dead Thinking /fragment

There is an absolutely obvious, normal step, almost a command, a silent requirement to do what we should do in order to secure and improve our life. We want to succeed, to achieve something in this world. Our thinking, perceiving, behaving are shaped by a belief in (the improvement of our) life which guides us in our daily activities, in our moral and political attitudes. An alive thinking is consolidated on and on and this alive, healthy thinking constantly forms us as healthy, functional humans. And as humans we want that a healthy, alive world takes shape around our healthy habits.

William James witnessed how healthy thinking became a new religion or at least a new background for old religions in the middle of the 19th century when the advance of liberalism brought about “a victory of healthy-mindedness” over the morbidity of the old ‘hell-fire theology’. Healthy-mindedness believes in universal evolution, ‘general meliorism’, progress, and appreciates “the conquering efficacy of courage, hope, trust”. Healthy-mindedness fosters an optimistic “muscular attitude”, similar to the one implicit in ‘Don’t Worry Movement’ which has a motto that one is encouraged to repeat to oneself often: ‘youth, health, vigor!’. But healthy-mindedness brings also contempt: for doubt, fear, worry, and “all nervously precautionary states of mind”. For a healthy mind “the attitude of unhappiness is not only painful, it is mean and ugly”. It is impossible to maintain this healthy-mindedness without “zealously emphasizing the brighter and minimizing the darker aspects of the objective sphere of things at the same time . . . we divert our attention from disease and death as much as we can; and the slaughter-houses and indecencies without end on which our life is founded are huddled out of sight and never mentioned.”

Healthy thinking avoids morbidity and tries to be optimistic but this doesn’t matter too much, the morbidity is in the world itself – we may abandon morbidity but morbidity is not abandoning us.


Light for Levinas is the condition for meaning, for thinking but also the condition for property, which “constitutes the world”: “through the light the world is given and apprehended. . .The miracle of light is the essence of thought: due to the light an object, while coming from without, is already ours in the horizon which precedes it.” Light is about registering information, about the known and knowable, it is the foundation of healthy and alive thinking. But something unsettling is camouflaged in light itself. A strange night can sometimes be felt in the most ordinary moments of plain healthy thinking, “different forms of night” can occur right in the daytime. “Illuminated objects can appear to us as if in twilight shapes. Like the unreal, inverted city we find after an exhausting trip, things and beings strike us as though they no longer are composing a world, and were swimming in the chaos of their existence.” Not only is light always encompassed by darkness but darkness lingers there, even in the most beautiful moments, in the most delightful sunny landscapes. We all know it and maybe feel it sometimes when we are ‘weak’: “something dark, something abysmal always finds its way into the bland beauty of such pictures, something that usually holds itself in abeyance, some entwining presence that we always know is there.”

If nothing else, time will dismantle our defenses and we will become weak and permeable to this darkness that is not just a rare and special ingredient of daylight but is the reality behind the superficial spectacle of light. Not only does night come again and again but it is there all the time. Or in Cioran words: “At first, we think we advance toward the light; then, wearied by an aimless march, we lose our way: the earth, less and less secure, no longer supports us; it opens under our feet. Vainly we should try to follow a path toward a sunlit goal; the shadows mount within and below us.” In this context the source of “all of life’s evils” is our “will to exist at once imperceptible and shameless” – a too optimistic conception of life which doesn’t account for the fact that “life is what decomposes at every moment; it is a monotonous loss of light, an insipid dissolution in the darkness, without scepters, without halos.” A minimum optimism can be maintained for a while, with great costs of energy, but slowly the effort needed to maintain the hope of life cannot be sustained anymore. From this point of view the obsession with life looks like a strange disease. We have to do amazing cognitive acrobatics to be able to maintain for a while our normal ‘irreality’, our petit healthy thinking. It is a great effort to keep holding it in this way, why not just let go?

Light is a deception, what appears is always below potential, below expectations. If you enter a dark place and turn the lights on, there is a moment, usually imperceptible, of deception (and relief): everything is so much less than what it could be. The promise of darkness is always betrayed when light invades. But darkness is usually a deception as well. For Cioran darkness can be “quite as mediocre as the light”. Probably because “night itself is never dark enough to keep us from being reflected in it.” Usually we implicitly add imaginary light and sight to every darkness, constantly forcing a light-continuity into it, automatically filling darkness with what we know, projecting our world into it. For Bataille the world of objects persists in ‘simple night’ because of an attention that functions by ‘way of words’. But there is a darkness that is not the absence of light but ‘absorption into the outside’ by way of a heart that has dilated and is no longer an organ but an ‘entire sensibility’.

The question is then how to escape the luminous prison, so sharply described by Clarice Lispector: “I can understand only what happens to me, but only what I understand happens?" A possible answer comes from John of the Cross: “to come to be what you are not you must go by a way in which you are not." The problem is that the only way in which you know how to go is the way in which you are. All what you are capable of comes from what you know. And the way in which you are is the result of going on known ways. Practically, this is a prison that you cannot leave and for which there is no knowledge about how to escape it because you and all the knowledge that you (can) have are the prison. You are always on known roads to known lands, there is no outside, no darkness – everywhere and everything is too much you.

In a strange YouTube tutorial a man on an empty beach teaches the viewers how to arrive to a shadow-body showing repeatedly how: “my consciousness tells my mind to tell my body to move his hand, and the hand moves the shadow”. By showing how his shadow follows the body he demonstrates that the shadow obeys his consciousness. Dead Thinking ‘teaches’ us an opposite type of approach: to start from the shadows and let them affect the body, mind, consciousness – instead of increasing control of consciousness over the shadows, allow the thinking and feeling to come from the shadows.

Dead Thinking performance

There is an absolutely obvious, normal step, almost a command, an obligation to do what one should do in order to secure and improve one's life. A healthy, alive thinking was developed around the obsession with life. We are attached to the features of this world, but this world is doomed, we are doomed... obviously, death is much more powerful than life. A planetary decline affects our modes of perceiving, thinking and feeling. Somehow we register the changes and we are scared, but like in a stampede, we choose to reinforce and accelerate what the others are doing and what we know, our petit alive, healthy thinking. Dead Thinking is the post-political gesture that we can do in a time of extinction when politics, in the sense of organizing society and power relations between people, seems more and more a sedative for deadly thoughts. The oscillation between unknown and the worst, between dead thinking and deadly thinking could be the starting point of discussing a new kind of politics, knowledge and existence. Dead Thinking starts where the hopes end and the remaining options are rather negative, dark and dead.


Second Body /fragment

The free body -  obtained through hard experimentation with all kinds of substances, all kinds of sexuality and all sorts of techniques of freeing ourselves - got exhausted and turned up not that free after all. The enthusiasm and the joy of the freedom lasted for a while but, after years and years of self-expression, a depressive moment arrived when the realization that there is no ‘itself’ to express couldn’t be postponed. The joy and the sensation of freedom felt from getting out of the disciplined body was quickly consumed. The effort of setting free this tool-body is not enough because, similarly to what happened when this is tried in dance, what remains after the 'liberation' are just stereotypes and clichés. Our bodies are shaped by our type of culture, nature, society, economy, politics, especially in the unconscious layers, in the unknown - at the level of reflexes, habits, perception automatisms, affective circuits, etc. It’s not enough to deconstruct or to apply critical thinking to the tool-body or to the world. You need to reconstruct the body and that’s a different kind of work. On the other hand we need this tool-body too because it is what we have for navigating this world.

The familiar habits and patterns of perception and movement are silencing the inhuman factors in the body. "One instinctually arranges one’s life so that the tasks, the tools and the problems and the encounters will recur the same each day, one avoids the limits”. In this way the first body constantly confirms the world and its behaviours, the first body always encounters a known, stabilized world. The quantity of known is constantly expanding until it becomes the totality of perception, until we actually perfectly know what a body can do and what a body is. Our bodies are impregnated with a biological conception, there is a scientific knowledge that we put automatically into bodies and objects. We just know that they are made of molecules and atoms not of affects, spirits, or something similar and we take for granted that a body cannot be in two locations at the same time.

Even if this seems a very solid, grounded reality, there are spaces where this type of thinking is just an impotent fiction. It is possible that an Amazonian continues the end of the last paragraph about the impossibility of the same body to be in two locations at the same time by saying: “maybe not so much in Europe but in Amazonia it can”. Viveiros de Castro was aware that in this kind of worlds a dematerialization of the body and of the thinking was necessary: “What I call ‘body’ is not a synonym with a distinct substance or fixed shape; it is an assemblage of affects or ways of being that constitutes a habitus”. This type of Amazonian material, says Aparecida Vilaça, will allow us to discern a body that is not impregnated with a biological conception, “a body whose existence is fleeting and whose reality lies in the eyes of others”.

The main technique for lucid dreaming and for out of body experiences is to become aware of your body or a part of your body while asleep. This creates a strange feedback loop which initiates awareness and intensifies the presence in the ‘dream world’. By making the dreams real or by becoming real in the dream the 'dreaming body' appears. This kind of body-attention is an interesting way of creating a body and probably there is a key here about how the first body is constituted, and about how the second body can be created. Maybe by deviating a certain amount of attention, of affection, of energy from the first body and the first world in the direction of an intensification of the Unknown, a second attention and a second body can appear, in the same way that, by deviating attention from the dream activity, a dreaming body appears. Maybe by stabilizing this second attention, and by making it a habit, a second body and other worlds can acquire some consistency.

Second Body performance

Paradoxically, we experience an infinite openness of the real, we are overwhelmed by the vastness of the possible and at the same time the reality is more and more something to consume in pre defined bits - packages of pre-fabricated, ready made life-slots. Our lives and world(s) are shaped by our type of culture, nature, society, economy, politics, especially in the unconscious layers, in the unknown - at the level of reflexes, habits, perception automatisms, affective circuits, etc. It’s not enough to deconstruct or to apply critical thinking to the tool-body or to the world. The free body -  obtained through hard experimentation with all kinds of substances, all kinds of sexuality and all sorts of techniques of freeing ourselves - got exhausted and turned up not that free after all. The joy and the sensation of freedom felt from getting out of the disciplined body was quickly consumed. To free your body it's not enough. One needs to reconstruct the body and that’s a different kind of work. If the worlds and the natures are organized around habits it is not possible to produce other world and other body through simple acts of volition nor just through theoretical approaches. Instead of changing ourselves and developing new practices, we can add layers of unknown to what we already do, by adding  a second nature, second intentions, shadow attention, shadow processes and activities to the everyday behaviours, to the first reality. The first body cannot and does not have to be annihilated or replaced, what we can do is to grow a second body by diverting attention from the known body and feeding the shadows and the unknown.

Presented in Chisinau, Oslo, Zagreb, Warsaw, Sao Paolo 
With Florin Flueras and Alina Popa


We Are All Reptilians Now

We Live a Conspiracy Theory

Conspiracy theories are in a special relation with reality, they are perceived either as the most radical and profound explanation of it or as pure fiction. They are theories of extremes - you make fun of them or you approach them religiously. Or at least this was the case before 2008, now it looks like they become more and more common sense, banal reality. The recent occupy movements brought the 1% vs 99% discourse in the headlines and slowly by slowly the "financial elites" moved from the weird Internet sites abounding in one eyed pyramids to the mainstream media. It is not so easy to laugh about conspiracy theories anymore.

What can we do with an Apocalypse

It is 2012 and the Apocalypse is here. The question is what can we do with it, what can we do with this concept, what is its potential? Apocalypse in the common sense means the end of the world, it etymologically means a lifting of the veil or a revelation about what is already here, hidden in plain sight.
Nowadays we have too many signs of the end and not so many about the revelation. We cross or we are about to cross some major important boundaries like climate change, species extinction, the disruption of the nitrogen-phosphorus cycles, ocean acidification, ozone depletion, freshwater usage, land cover change... Each of these rifts in planetary boundaries constitutes an actual or potential global ecological catastrophe.(1) The panic of the end is everywhere: it is in the current desperate phase of capitalism with its aggressive and destructive scratching for the last resources, using techniques like tar sands, fracking and deep sea exploitation... And, similarly, it is in the aggressive exploitation of the sensitive zones of human subjectivity - our emotions, empathy, sociability, intuition, imagination are now extracted and put to work at the center of the economy. The consequences on ecosystems, socio-systems, psycho-systems are the same – they are all collapsing.

The Inauguration of the People's Salvation Cathedral

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.

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).

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.

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...

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.

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.