Francisco Zhan,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,About
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Your journey to hell is on #me
2021
Poster for London Arts Board
Text written with Yuki Nishimura
Peckham, London
18 April – 6 May 2021
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Not What It Used to Be', which I recently heard in a dancey but trite, nondescript pop song's House remix*. |
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It made me think about how the futures that I was born into no longer exist. It once felt public, but now we know social media is fully corporate, profiting off culture wars, mob blame and trends. There's a palpable fantasy to become more popular to grow and survive, and a need to behave more expensive or corporate to stay popular. Pop culture mirrors this logic. |
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Currently what we see is people claiming individual futures at the expense of collective ones. But as a result, I feel like collective ones are gradually cancelled, because individual futures take Neoliberal priority. . But then, I remembered that our predicaments are tied together. We stand in complex relationships of reciprocity with each other, even if we've forgotten all about it. |
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, So how do we reprogramme power play, but in a way that's beyond power play? We're programmed to pursue our individual fantasies - and never grow out of them; almost like we're tied to those fantasies. We're not supposed to know how to take distance from our values.
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And I don't mean that to criticise modern Shibari or self-care practices (they can be both life-affirming), but more trying to observe our culture of self. Otherwise, if I did, I should perhaps ask instead:
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...........................................................................................................................,,,,,,,.......................The poster on the last day, covered over by another poster
....,~ . . . . . . . . . ~ . . *'The Future' (Purple Disco Machine Remix), by Motez for helping me shape this writing and thinking, and showing me 'The Future'. |
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