Who Destroys a Heterotopia?




Executed by Galia Moumtzidou and Eleni Laloumi.

Archeological museum of Thessaloniki, Greece.






On the wall of A Memorial for Potassium Suppository is written in English and Greek:


Art institutions desired to accumulate heterotopias - heterotopias as textual possible worlds. These worlds were not "for real", they were symbolic representations as desired. This work will be destroyed in a few days.

Barbad Golshiri fuit hic.



On Who Destroys a Heterotopia?

"… I can see that what I tell you isn't at all interesting. It's still theater. What can one do to be truly sincere?"

Antonin Artaud  


Forgive me society for I have sinned. Forgive me my poor country for I have misspent this money. Let me ridicule myself. Let me celebrate the triumph of my failure.

It all started when a co-curator - dressed to kill for the opening - made a miraculous statement: you fucked up our budget, Barbad.

A certain order on the plane of the feasible is our noblest offspring. We tether ourselves in the boundaries of representation voluntarily. When a jubilant opening gives an end to the process of making (not to praxis), remorse comes creeping like the ancient self-reproach after fifteen seconds of masturbation.

Working with “real spaces” - in its best - involves the (im)possibility of stepping out of representation. Protégés of Celant, aficionados of Bourriaud, who make things in praise of intersubjective encounters, Live Artists and all those who make temporary stands to serve life, merely delay this representation. Or is it possible that representation has become a creditable pseudonym for the object of our detestation - Art?

After weeks of exhibitionism, "A Memorial for Potassium Suppository" was destroyed by the hands of its sponsors, patrons or hosts. No one dresses to kill, no one disrobes for a closing.

به فارسي بخوانيم


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