crisis in taste

For the classic Greek tragedy “all the world was a stage’’ where the human actors were nothing but the pawns of gods, reflecting on the earthy scene the eternal cosmic game. But eternal games are “eternal’’  because although they can be perceived and played, they remain unfolded, in the same way that the eye sees the snake biting its tail, while at the same time changing its skin.

The Intermediated project is a metaphor that reflects the tragedy (and the comedy) of the crisis. A crisis, that at this moment is identified with the déclassement of the country that ‘’gave birth to democracy’’.  It is the crisis of the bifurcation that transpierce the body of the snake while it is trying to loose its skin. It is the spectacular democracy of the snake. The bodies are on stage. They are formed and interpreted as an appropriation of Badiou’s platonic categorization of the contemporary social dead end and drama. A dead end expressed by the form of a triangle made from human bodies and their sounds and images.

However, the dead end is only the contemporary. Everybody talks about a “New New Deal’’. But how this deal will happen and who is going to perform it? Certainly, the deal we are going to get can only be as good as our capacity and our force to demand it, reclaim it and form it. History is up for grabs. We need a projection of our will for this; we need the right avatar, a new form of heroes that reflect nothing from that that heroes used to be once. What the metaphor of the crisis is reclaiming is the power to form new groupings, new communities that could respectively create an active well built frame of the principle of the common. Maybe the artistic production – we shall remember that the aesthetic experience is purely emotional – is one of the best means to attempt this rescue.

After all, the collapse of the old rules and the anticipation of new rules, form the space where aesthetics and social resistance meet.

The journey is over, the journey begins.