"When my emotional system was still youthful and for other reasons seriously in trouble, I used to spend a lot of time engaging my brain in theoretical and political discourse. One of the points I tried to make in all kinds of versions, was that everything we know is a human construction of power and language, while nature is at best a conceptual mistake, at worst the product of a conspiracy of white male bourgeois scientists, who are attempting to capture, control and synthesize everyone & everything else, while themselves hiding in plain sight, armed with cameras, telescopes & microscopes mimicking the invisible eyes of God. I studied the history of their secret rule and obviously I argued that the concept of Nature needed to be taken down as soon as possible. I still more or less agree with that, but the urge to argue for it has disappeared. I don't think it was forgotten or deleted, but I think it has transformed into something else."
At this point in the performance I reach out to the closest audience member to hand them an object impossible to identify visually, as the room is completely dark. During the first iteration of the performance, taking plce in Amsterdam, this object was a boxing-glove-shaped bottle cap made out of glass, a beautifully nonsensical artifact for the haptic brain. A year before it had come to me as a gift from a good freind of mine who had been visiting St. Petersburg. Unfortunately the glass glove disappeared in the audience and never showed up again. In the next version of the performance, taking place a few months later, in September 2016 in Berlin, I handed out a sticky chunk of modelling clay instead.
Currently I am developing a card deck themed around the Weimar Republic, to be used as a tool of interactive situation analysis, therapy and play. Overwriting the christian and feudalist references of traditional tarot, my deck devises a secular holistic system, a modernist phantasy of order and coherence, distributed onto 78 cards of 2 kinds, 4 colors and 10 numerical grades. The cards function as nodes in an emotional neural network, that tends to be preoccupied with physical training, vitalist science, paper-based stability and political thrill. Many of the deck's core characters are taken from 1920's silent films, in particular the paradoxical films of Fritz Lang. On the one hand my deck is tied to the catastrophic narratives of German history, to industrialism, fascism, masculinism. It's tied to old promises of total disruption and renewal, to the dream of individual self-expression. On the other hand it isn't tied to anything but the querents' understanding. If the reading goes well, between these two hands, new sensiblities and new narratives have emerged by chance.