The phantasmagoric ontology of cultural anxiety has fabricated a necessity for warnings, visions, signs, and has led many to the clutches of insanity. To the warm embrace of the unseen tyranny of irrationality, to the comforting bosom of an undeniable derangement. Dripping with the sweet juices of an unfinished catastrophe, the undeniable persists. The undeniable exists as to create insecurity, a massive meta-cultural ecstasy that confounds its own languidly ephemeral and viscerally volatile “emotions.”
From the beginning of time there have been those that have seen. Those who see what others cannot. Those that have pulled in from the cosmos, from their own absurdly tuned psychospiritual minds. Those that have used these powers to communicate.
Communicating the unknown yet undeniably visible. Communicating the unseen that is yet felt to the point of exhaustion. Communicating that which has no voice yet screams at the top of its lungs into your very own unaware and cowering mind.
The spirits of the ripening awareness create hovering phantasms that shake those unprepared to a sweaty, salty, gibbering pulp of hysteric concreteness. Violently ejaculating contents of unnerving and unclassifiable chunks of cultural waste. Careening down bulbously inflamed thighs, reaching the point of a long-overdue rest in the moldy crotch of what is known as our ill-formed consciousness.
Can a fugue help reestablish the lost? Can a denial, a forgetting of the self, be all that is necessary to create a massive rebirth of that which has long been denied by those who concoct the truth? The truth as an inescapable and horrendous underpinning of trademarked dreams, trademarked under and overtones in the 24-hour supermarket of a cynically hopeless faith. A faith that insists. Insists on the rendering of a primordial desire for a cohesive juncture with all that is us. All that is them.
The sacred awaits our misused and underused senses. Our phenomenological experience creates the sensorial awareness of a convulsing pirate, stripped naked and left on a pungently unforgiving beach. Wrapped in the seaweeds of a cataractic vision. A vision that no longer speaks to anything but itself, a vision that is blocked but blocked only in its own paranoia. A paranoia that clings onto a delusional past, a proto-orgasmic sense of urgency that is found only in the fictionalizing of an unknown, unrecognizable past.
Vividly chanting the sounds and souls of an ancestral longing. A longing that has yet to be answered, yet to be asked. Desperately digging despite derelict disasters. Disasters that replicate the calamity that is known as the human mind. A mind hungry—starving—famished for the earthy texture of a bloodied corpse. A morose corpse that no longer contains its antioxidant-rich entrails, but that has been carved, scooped, raped, pillaged, and robbed of its only basic offerings. Its only basic purpose.
To plan a meal is to plan an exposure. To plan a culture is to plan a joyful neurosis.
Consumed by the radical nature of those who shout inane warnings in dimly lit streets. Hysterically pursuing the never arriving, never existing, never becoming fears of their own misguided hallucinations. Running. Running… There is a necessity. A necessity that has been negated, rekindled and replaced.
The necessity has reclaimed itself.
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El martes 22 de septiembre Santiago Sierra presentó su proyecto NO en Berlín. Un gran NO corpóreo que viajará, transpostado en un camión, por diferentes ciudades del mundo. La pieza, que partió de Lucca, ha recorrido ya el norte industrial de Italia y las ciudades del este aleman antes de llegar su primera escala: Berlín, donde la palabra tridimensional fue colocada en la azotea del Werkstatt Dokoupil, frente a las vías del tren urbano berlinés. Presentado por la prometeogallery de Ida Pisani, coordinado por Cristian Dominguez y la galería Ulf Saupe de Berlín, y con el apoyo de la Embajada española en Alemania, la acción del día 22 supuso una buena metáfora de lo que sería dar un grito lo más alto posible, ayudada por la bella coreografía funcional que representó la gran grúa encargada de elevar la pieza. El proyecto se desplegará en diferentes medios como múltiples a pequeña escala, brazaletes, fotografías o una road movie que recogerá todo el proceso del NO Tour Global. La cosa promete.Para Sierra esta pieza supone su obra magna, un grito antagonista del sistema. "Las personas que están luchando activamente contar el sistema necesitan imágenes y los artistas se las debemos proporcionar. Este NO está hecho para todos los que ya están hartos de la injusticia, la dominación, la censura y la opresión." NO, sin precisar, NO al mamoneo de un sistema que toma a sus ciudadanos como borregos y que se encarga de reproducir mentes acríticas por medio de una educación a todas luces dirigida.Nosotros, como Santiago, también decimos NO. NO y NO. Quizá algún día podamos decir SI. Lo único que nos queda es perseguir utopías.
the slippery sea slug
10 years ago
