The confrontation of “we!” versus “them!” is not created by the mass media controlled by the powerful, but by algorithms controlled by the powerful, which, thanks to identity politics and the misuse of technology, supply us with new groups of “them!”. Problems and solutions are pre-determined and fed as hook bait to the hungry, who on the one hand are standing against each other, but at the same time are together on a sinking ship,
The actual Paul Freire’s oppressor, has successfully made himself invisible. He is everywhere and nowhere just like the Big Three, who control ninety percent of the Standard & Poor’s 500 companies, including those investing in the nuclear weapons industry. Immersing oneself in an exploration of who the real “they” are, depends on free time, finances, health, luck, skin color, gender, age or family and social background. Such immersions rarely occur in schools, where the spaces of exploration are occupied by the very isolated spaces of identities, at best, and at worst, by an agenda for competitive individualism designed to ensure that the graduate will have a better life than the others.
However, surviving the pandemic period, although differently by different social groups, has shown new possibilities and developed imaginations about possible futures (think of the falling emissions curve or the expropriation petitions, for example) and our abilities to change the trend set by the oppressors.
The timeline passes through three bodies drawn in pots: my body 1981 – 2040, my grandmother’s body 1921 – 1980, and her grandmother’s body 1860 – 1920. It traces the trend of the crisis from managed to unmanaged capitalism and the ecological catastrophe associated with it.
The author reflects on the role of the artist-researcher who presents unreadable knowledge. She tries to account for how many lives have to be paid for her own research, because education is freedom, but at the same time this freedom is built on the bones of others.
Translated with www.DeepL.com/Translator (free version)
Installation view: Gallery Schemnitz, Banská Štiavnica, Slovakia
Photo credit: Lucia Hasbach (nr. 1,3,4,5,6)
Supported using public funding from the Slovak Arts Council.