Piece for resistance

Others’ Dialogue On Revolution 

<<Mental map>> is a mode in which the performance AXIS OF REVOLUTION was represented to the public. It is a mental texto-graphic document which had video-documentation of the Axe de Révolution as a reference. During the ACT I of the play, the public was proposed to write on walls whatever they are inspired to - either in connection with or with no visible liason to the <<Mental map>>


 It consisted of several elements:

----- quotations of thinkers, who's ideas were important for the elaboration of the performance

----- a web of key-words handwritten on the walls. They were allusions, ideas and connotations that constituted a mental <cloud> of the performance, it's representation through tags

----- my poem whcich echoes revolutionary proclamation tone, but at the same time questions it

-----pictures, screenshots and book covers - all refering to the performance and at the same time being reference to it




let’s overturn some objects

a subject

the subject of conversation,

the theme,

the themed night,

dedicated to long silence 

what are you talking about?


what kind of  left bank yakety-yak is that?


you mimic someone’s nuisance!

what are you deprived of? 

you, personally?

who oppresses you?

you’d better succeed as a person

as a personality

demanding all kind of respect

then you would have seized  to feel

some kind of itch in the area of arriere-pensee

you would have seized to deny the horizon

as a dead-line

you would have seen a possibility of fulfillment 

behind it

you would have saved

money to build

an intergalactic spacecraft

you wouldn’t have put

your life into cold storage 

you would have picked

green apples


before the transfiguration

inasmuch as religion

is zoink zoink


Hanna Zubkova


is this something menacing life?

this is fatal condition humane - only the subjectivity of vision

this is only our task and we’ve chosen it

this also was intuitive

this is Tiqqun

this is by the way an amplification of Agamben’s idea towards text

this is not radical at all

this would be impossible to watch

this is not important for the moment, because now it is a non-stop  ecstasy

this is a left-over of philistine morals

this is my plan for today

this only this saves me

is this irony?

this is a paraphrase

this is a madness

this is projection of fears

this is a joke

this is in general as old as the world

this was beautiful

this was a super-task

this relationship is hanging over the abyss, it is dramatic par excellence 


Hanna Zubkova

Ladovsky builds his arguments on the fact that Moscow is a radial-circular fortress city, which has not been the capital for centuries and hasn’t have the necessary public spaces and buildings. Analyzing the static medieval city Ladovsky uses physiological metaphor. He rightly believes that if new blood is infused into old vessels, they will burst. The rings, which are considered by Ladovsky  as city organs, are to grow at the expense of one another, resulting in a heart attack. The architect offers to «pierce» at least one of the rings and allow the city to develop dynamically in that freed direction. Moscow should take the form of a parabola or a comet with a historic core. If a static city the center is a  point, in the dynamic - an axis.


Freedom is the absolute right of all adult men and women  not to seek anyone's permission for their actions. Their only criterium is  decisions of their own conscience and mind, they must determine their actions according to their own will, and therefore be responsible only vis-a-vis to them, and then to the community to which they belong, but only insofar as they give their free consent to belong to it.


Michail Bakunin, Revolutionary Catechizes 

The image of the line is not gratuitous. In a line of writing the ductus of the hand passes continually from the common form of the letters to the particular marks that identify its singular presence, and no one, even using the scrupulous rigor of graphology, could ever trace the real division between these two spheres. So too in a face, human nature continually passes into existence, and it is precisely this incessant emergence that constitutes its expressivity. But it would be equally plausible to say the opposite: It is from the hundred idiosyncracies that characterize my way of writing the letter p or of pronouncing its phoneme that its common form is engendered. Common and proper, genus and individual are only the two slopes dropping down from either side of the watershed of whatever. As with Prince Myshkin in Dostoyevsky’s Idiot, who can effortlessly imitate anyone’s handwriting and sign any signature (“the humble Pafnutius signed here”), the particular and the generic become indifferent, and precisely this is the “idiocy,” in other words, the particularity of the whatever. The passage from potentiality to act, from language to the word, from the common to the proper, comes about every time as a shuttling in both directions along a line of sparkling alternation on which common nature and singularity, potentiality and act change roles and interpenetrate. The being that is engendered on this line is whatever being, and the manner in which it passes from the common to the proper and from the proper to the common is called usage– or rather, ethos.


Agamben, The Coming Community


…thus the street geometrically defined by urban planning is transformed into a space by walkers. In the same way, an act of reading is the space produced by the practice of a particular place: a written text, i.e., a place constituted by a system of signs. 


A comparison with the speech act will allow us to go further and not to limit ourselves to the critique of graphic representations alone, looking from the shores of legibility toward an inaccessible beyond. The act of walking is to the urban system what the speech act is to language or to the statements uttered. 


Michel de Certeau, The Practice of Everyday Life


It is sufficient to recall that the vertical position of the body has distinguished the human from typical prehominids state. Holding the upright posture for bipedal movement is impossible without constant vigilant consciousness. The man stood up - and because of this the space has become a structure inaccessible to the anthropoids: four horizontal vectors that come out from the central vertical axis. In other words, the space build up forward, backward, to the right and to the left from the human body. From the new  experience - from this feeling of being "plunged" into the unknown and threatening boundlessness - different ways of orientatio have developed; because it is impossible to sustain for a long time in the midst of a chaotic bitbrace without any points of reference. The feeling of space ordered around some "center" explains the meaning of the paradigmatic structuring of settlements and dwellings, and their cosmogonic symbolism.


Mircea Eliade, History of Religious Ideas


The echo between past and present is a persistent question, which is developed in representation like a problem field with the rigorous imperative to search, to respond, to resolve. But the response always comes from elsewhere: all reminiscence is erotic, whether it concerns a city or a woman. It is always Eros, the noumenon, who makes us penetrate into this pure past in itself into this virginal repetition, Mnemosyne. 


Gilles Deleuze, Difference and Repetion 


Anything that is built on the denial of causality, anything that is incapable of dialogue and reflection, all that appeals to the grandeur, to the ideal, to the truth and to other things forcibly detached from their inherent contexts - and this is obscurantism. The ironic distance, although being repressed by all means, remains perhaps the only remedy for any utopia, for fundamentalist and totalitarian aspirations of any kind. An unbiased view of the world and the seriousness are incompatible. So let’s take hold of it …

Leo Rubenstein


And then God sent hunger. But it wasn’t hunger for bread or for water, it was hunger for word. And the word was love. Until this word is not found, the revolution is not over.


From Alexandra Fedorovna Romanov diary 


The movement Plato describes as erotic anamnesis is the movement that transports the object not toward another thing or another place, but toward its own taking-place–toward the Idea.


Agamben, The Coming Community


This is the straight line whose tension represents the most concise form of the potentiality for endless movement. 


Wassily Kandinsky, Point and Line to Plane