The End of the World or the End of Capitalism?

Žižek

Death is not democratic

Byung-Chul Han

I don't think anyone knows as much about what's right for me as I do

Mariah Carey

This is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning

Churchil

We have it totally under control

Trump

We’re all going to die one day

Bolsonaro

Go to saunas, drink vodka and go back to work

Lukashenko

Greetings citizens of the Wuhan Lab, Bill & Melinda, CDC, WHO

Anonymous

Estado

El Estado sabe por tanto dónde estoy, con quién me encuentro, qué hago, qué busco, en qué pienso, qué como, qué compro, adónde me dirijo. Es posible que en el futuro el Estado controle también la temperatura corporal, el peso, el nivel de azúcar en la sangre, etc. Una biopolítica digital que acompaña a la psicopolítica digital que controla activamente a las personas.

– Byung-Chul Han. Sopa de Wuhan. P.102

Espacio Público

Las redes sociales ya son nuestro segundo espacio público. Dependemos más de ello que del espacio público real, ahí está nuestro entorno, nuestros amigos y nuestro hogar.

– Esra

Estas plataformas son privadas (controladas por empresas), pues niega el sentido público de las banquetas, calles, parques y plazas que dan vida a una ciudad. Lo niega al tiempo que despliega un aparato brutal de vigilancia y control, ya que toda acción e interacción que sucede dentro de esos horizontes informáticos está siendo registrada, datificada y, no en pocas ocasiones, monetizada.

– Pablo Martínez Zárate

Fronteras

Cuando Europa proclama el estado de alarma o cierra fronteras sigue aferrada a viejos modelos de soberanía. En la época de las ‘fake news’, surge una apatía hacia la realidad. Aquí, un virus real, no informático, causa conmoción.

– Byung-Chul Han

El muro no solo protege; sobre todo separa, escinde, fractura. Inventa divisiones donde antes no existían. Es un ejercicio primigenio del poder pues reorganiza los recursos naturales y altera la geografía. Crea un adentro y un afuera, despliega las ideas de pertenencia y exclusión. Nos remite a una solución que responde a la amenaza y el control.

– Frank Lloyd Wright

State

Therefore, the State knows where I am, who I am with, what I do, what I am looking for, what I think, what I eat, what I buy, where I am going. It is possible that in the future the state will also control body temperature, weight, blood sugar level, etc. A digital biopolitics that accompanies the digital psychopolitics that actively controls people.

– Byung-Chul Han. Wuhan soup. P.102

Public space

Social networks are already our second public space. We depend more on it than on the real public space, there is our environment, our friends and our home.

– Esra

These platforms are private (controlled by companies), since they deny the public meaning of the sidewalks, streets, parks and squares that give life to a city. It denies it while deploying a brutal surveillance and control apparatus, since every action and interaction that takes place within those computer horizons is being recorded, dated and, not infrequently, monetized.

– Pablo Martínez Zárate

Borders

When Europe proclaims a state of alarm or closes borders, it continues to cling to old models of sovereignty. In the era of ‘fake news’, an apathy towards reality arises. Here, a real virus, not a computer, causes a commotion.

– Byung-Chul Han

The wall not only protects; especially separates, splits, fractures. Invent divisions where they didn’t exist before. It is a primordial exercise of power as it reorganizes natural resources and alters geography. Create an inside and an outside, display the ideas of belonging and exclusion. It refers us to a solution that responds to threat and control.

– Frank Lloyd Wright

Photos shooted in La Paz during August 2020

A collaboration between

Guely Morató & Víctor Mazón Gardoqui

Guely Morató (BO)
Curator, cultural manager and researcher. She has a degree in Social Communication Sciences, specializing in Cultural Studies.
She has self-taught skills in the areas of electronics and programming. Since 2014, she directs SONANDES, an art experimentation and research platform that promotes its international sound art biennial, with this same name.
She is the curator of PUERTOS: Creation Residency Program developed in six Bolivian cities. It is part of the international INFRA project, which investigates the relationship that deaf people establish with sound and vibration. She directs the Gender, Science and Technology Observatory, focused on the development of research and projects related to the gender gap in the field of technology and science. She is currently responsible for the project Sound Expressions of the Center for the Cultural Revolution (CRC) in La Paz, Bolivia.
Her work explores alternative methodologies for artistic research as well as the relationship between science, technology and politics, with a strong emphasis on the study of perception.
A few key concepts within her work are: Processes of collective creation, limits of perception, sound art, public space, gender and technology.
https://sonandes.org
https://infra.soy
Víctor Mazón Gardoqui (ES/DE)
Mazón Gardoqui’s work questions perception, altered state and vulnerability through un/stable arrangements.
His work materializes in three main fields: actions or site-specific performances through experimental processes, exhibitions as consequences of previous actions and collective work through collaborative groups, or seminars in cultural and academic centres.
Mazón Gardoqui has been a guest artist and lecturer at Slade School of Fine Art, Concordia University, Universität der Künste Berlin, Rijksakademie Amsterdam, Ecole Nationale Supérieure des Beaux Arts de Paris, Universität für angewandte Kunst Wien, Superior Technical School of Architecture of Madrid, Master Studies Interface Cultures Linz, University College London – Arts and Sciences, HFK Bremen University of Arts, Master Studies C:Art Media Valand Univ Goteborg, Institute of Dramatic Arts and Cultural Studies Casablanca, University Mohamed V Rabat, Patricio Lynch Universidad de Valparaíso, Universidad de Humanidades y Arte Concepción, Harvestworks Digital Media Arts Center, MediaLAB Prado, LABoral Art and Industrial Creation Centre and Hangar.org, among others.
His work has been performed or exhibited in museums, biennials, galleries, billboards, urban screens and TV/radio stations in Africa, Russia, Nepal, North America, Canada, Mexico, Bolivia, Colombia, Argentina, Uruguay, Antarctica and numerous locations across Europe.
https://victormazon.com
https://infra.soy
https://0x0x0.porn
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