postulates: art no longer separates, shocks, or polarizes, XXXXi̶s̶m̶TC is
the art virus that has mutated and evolved within consumer society and the body politic,
regaining its subversive power to undermine, destroy, and revolutionize from within.

awakens the Trojan Horse Legacy and uses new strategies in the contemporary
context of art—new in their intensity but ancient in origin—which include war by
guerrillas, camouflage, subversion, insurgents, war by ambush instead of combat, and
by infiltration instead of aggression.

defines itself as a post-socialist, post-activist modular perpetual motion machine
that operates at the intersection of pop-cultural semantics, performative art theory,
micro/macro activism, and related forms of contemporary art in the form of solo or group

is against any ism and any ideology. It stands for innovation versus institutionalization.

constantly changes its name, redefines its artistic language, and renders
visions actionable in order to escape stagnation.

criticizes the incestuous art world, i.e., contemporary artists and their work,
whose democratic power has become an illusion. Stylizing itself as an omnipresent constant
through well-established formats of representation, it is winning itself to death.

aims at the dematerialization of art—not catering to the market or capitalism.


SUCKi̶s̶m̶TC proposes a restructuring of the art world hierarchies – institution > director
> curator > gallerist > artist.

affirms the urgency of an art that points to and helps build alternatives. It
stands for critical cooperation that provokes, scrutinizes, responds, and strikes up a conversation
in the contemporary art scene.

says: Think big and don’t expect some artist or artist group will come to
save you from the misery of late-capitalist lifestyles and lack of imagination. There is no
such savior beyond the system, it lives only within yourself. Open your eyes to the things
you don’t understand and that which is new.


(May 2014)








FEMINi̶s̶m̶TC tests and positions new scenarios and strategies in the contemporary context of art and society, taking into account the influences of our neo-liberal, late capitalist, consumer-culture society as well as individualism, postmodernism, and post-feminism. ✔

FEMINi̶s̶m̶TC oscillates between identity politics/ contemporary art/ pop culture, as well as mainstream and youth cultures. ✔


FEMINi̶s̶m̶TC  criticizes the ideology (“ism”), undermining the female (FEMIN), referring to the multiple meanings associated with the words: femin, feminine or woman, not real woman as such. ✔

FEMINi̶s̶m̶TC  demands a total openness, infinite embrace and rejection of doctrinal rigidities. ✔


FEMINi̶s̶m̶TC  moves beyond the corset of binary thinking (man – woman, power – oppression). ✔


FEMINi̶s̶m̶TC adopts as a crucial strategy the integration of male and queer positions in order to open up new spaces of thought. ✔


FEMINi̶s̶m̶TC  champions the semantic potential of art as a means of a condensed communication and device that compresses, stores, and disseminates information, referring beyond mere representation of images. ✔

FEMINi̶s̶m̶TC excludes from its vocabulary terms such as struggle, rebellion, power, and potency, and regards them as contaminated. ✔


FEMINi̶s̶m̶TC taps terms such as: discourse, dialog, symbiosis, synergy, cooperation, recombination, network, differences, tolerance, and change. ✔


FEMINi̶s̶m̶TC stands for accessibility and content and does not intend to remain just an academic endeavor. ✔