Alternativa dictionary


Affect is what defi­nes our emo­tio­nal and empha­tic rela­tions with others. It is the ungra­spa­ble mate­rial that pas­ses between bodies thro­ugh their con­stant posi­tio­ning and nego­tia­tion of each other. Sen­si­bi­lity is what quali­fies affect, as it makes mani­fest the reci­pro­cal rela­tion of the body’s capa­city ‘to affect and be affec­ted in return’. But affect also   >


Alter­na­tive Economy

A real demo­cracy will only come to exist, if people gain con­trol over all sphe­res of life. This neces­sa­rily has to inc­lude the eco­no­mic sphere as well. As a demo­cra­ti­za­tion of the eco­nomy is not ima­gi­na­ble with a divi­sion of people into a few gro­ups who possess the means of pro­duc­tion and make all the deci­sions and the   >


Alter­na­tive Society

In the hege­mo­nic disco­urse a pre­re­qu­isite for “demo­cracy” is the exi­stence of free (capi­ta­list) mar­kets. This uto­pian ideal, that those in power try to pre­se­rve, is seve­rely con­fron­ted by the reality of the aggres­sive lob­by­ist “capital-​​parliamentarism” (Alain Badiou), in which the possi­bi­li­ties of people to shape the form of their socie­ties and how they want to   >


Rever­sed archeology

The Artist has to find or cre­ate situ­ations that are authen­tic, i.e., based on her/​his con­scio­usness, situ­ations thro­ugh which an unme­dia­ted, direct con­di­tion can be reached. We are try­ing to recon­cile what is bygone, found, une­ar­thed, with the situ­ation of con­tem­po­rary humans, entan­gled in a cul­ture they only party com­pre­hend, and a civi­li­za­tion which at the same   >



The defi­ni­tion of “form­less” (informé) sug­ge­sted by Geo­r­ges Bata­ille in his con­tri­bu­tion to the Cri­ti­cal Dic­tio­nary in ‘Docu­ments’ maga­zine begins with the pre­sen­ta­tion of the cir­cum­stan­ces in which the rela­tion between a term and its cor­re­spon­dent meaning gets fixed and regi­ste­red. In this case, “form­less” (in French informé ), just from its own pro­po­si­tion, situ­ates the   >


Brown rooms /​ Grey halls

In con­trast to the abs­trac­tion of the white cube spa­ces wide­spread in con­tem­po­rary art exhi­bi­tion gal­le­ries, or in con­trast to the empty and aesthe­ti­ci­zed pho­to­gra­phs of archi­tec­tu­ral spa­ces, the brown room/​grey hall is a figu­ra­tion of non-​​neutrality in which space is occu­pied: old rooms, histo­ri­cal rooms, aban­do­ned rooms, inju­red rooms, dere­lict, disman­tled and inac­tive indu­strial han­gars,   >


Star­ting from the middle

Star­ting from the mid­dle is a situ­ated pro­po­sal for rese­arch. Star­ting from the mid­dle is to engage in minor, invi­si­ble, not-​​yet fini­shed pro­ces­ses and back­gro­und acti­vi­ties sup­por­ting the disci­pli­nary fields. Star­ting and stan­ding in a double sense: in the mid­dle of (incom­plete) spa­ces and in the mid­dle of (on-​​going) acti­vi­ties. This situ­ated pro­po­sal aims for enga­ge­ment in   >


Per­for­ma­tive Democracy

A par­ti­cu­lar dimen­sion of poli­ti­cal life that has ari­sen in recent deca­des in both non-​​democratic and demo­cra­tic con­te­xts and is clo­sely rela­ted to the poli­tics of hope[i].  It chal­len­ges per­ce­ived inju­sti­ces thro­ugh the con­sti­tu­tion of auto­no­mous publics and by pur­su­ing alter­na­ti­ves to despair and vio­lence, as in the disman­tling of com­mu­nism in Eastern Europe and   >



The idea of imhi­bi­tion was born out of a dra­ma­tic hel­ples­sness in con­fron­ta­tion with com­plex forms cha­rac­te­ri­zed by chan­ging para­me­ters and insti­tu­tio­nal spa­ces for which they serve as a buil­ding mate­rial, and which, murky as it is, esca­pes re-​​cognition. Imhi­bi­tion allows for a sub­ver­sive strug­gle with the moloch-​​institution. Imhi­bi­tion is moving on the edge of the visi­ble and   >


From ‘What If’ to ‘As If’

There is a joke that best descri­bes a mode of acting the ‘as if’ way: Some­one falls from a wall on which he was sit­ting. Two other men run towards him and ask “is eve­ry­thing alri­ght?” He stands up and while wiping the dust off him­self says “I don´t know, I’ve just arri­ved”. ‘As If’ is a term that   >


Non-​​doing manifesto

1. An acti­vity is sup­po­sed to be a pro­lon­ga­tion of reflec­tion, not an expres­sion, and it sho­uld only be applied when it is indispensable. 2. Do not pro­duce things, objects, works of art; avoid reali­sa­tions whose main point or aim is an object, a work of art or a phy­si­cal object. 3. Artwork which appe­ars in the pro­duc­tion pro­cess   >


Work­place: a sub-​​dictionary of survival

aggres­sion: a form of beha­vior valued in many societies bul­ly­ing: ope­ra­ting within the esta­bli­shed rules and poli­cies of an organization con­flict: agre­eable, diplo­ma­tic and sup­por­tive appe­arance; disho­nest, back­stab­bing behaviour demo­cracy: com­mand hie­rar­chy: a pre­fer­red mana­ge­ment style fol­lo­wed in many com­pa­nies for its sim­pli­city, speed and low pro­cess overheads. eva­lu­ation: see bul­ly­ing, con­flict, gos­sip, jar­gon, poli­tics, revenge, sabo­tage,   >


Buil­ding sites

Buil­ding  sites is a con­cep­tual model, my com­pa­nion in reading and wri­ting an appro­ach to cura­to­rial rese­arch on space. Buil­ding sites are gene­ra­ted by power and repre­sen­ta­tion; they enun­ciate tec­to­nic pro­po­sals. Buil­ding sites are lite­ral spa­ces: they are the inter­sec­ted fields of design, con­struc­tion and rese­arch com­pli­ca­ted by the social, eco­no­mi­cal and poli­ti­cal dimen­sions of spa­tial   >


Work (fiel­dwork at work)

The notion of work (what is pro­du­ced) is a com­plex entan­gle­ment of the actors [research/​object/​researcher] in rela­tion­ships [process/​situation/​implication]. Field work marks an “exter­nal refe­rent” and it works in rela­tion to the field. So, work is a con­stant inte­rac­tion of all the inte­rven­tions. Field work at work is a trian­gu­la­ted rela­tion of rese­arch pro­cess, situ­ated object and impli­ca­ted rese­ar­cher.   >



Atti­tude, quality and postu­late that can be under­stood as a more uni­ver­sal ver­sion of one of the slo­gans of the French Revo­lu­tion – the „bro­ther­hood”. In the poli­ti­cal the­ory of Jacques Ran­cièr soli­da­rity is the core of poli­tics, as we have to iden­tify our point of view with the „cause of the Other”. Soli­da­rity means a com­mu­nity   >


Shi­fting (of per­spec­tive; and thus, understanding)

As an artist, one embra­ces the chal­lenge to engage with com­mu­ni­ties, howe­ver phy­si­cal or incor­po­real; pre­sent, past or future, using a variety of media, venues and metho­do­lo­gies. As a cura­tor, one is enga­ged in cre­ating and taking care of the situ­ations ori­gi­na­ted to deter­mine and allow the arti­sts’ work – reali­sing a pro­ject inter­de­pen­dent on the audience, the   >



The idea of affair as an ope­ra­tio­nal term for my prac­tice came into exi­stence during my time in the ‘Chi­cago Boys While We Were Sin­ging They Were Dre­aming’ which is a music band and an attempt to cre­ate a discus­sion group about the neo-​​liberal order. It was cre­ated in an infor­mal envi­ron­ment and the rese­arch was based   >