Dystopian still-life

Kaiser TV, Fernando Bryce, 2008| Bronze (Kaiser Wilhelm II bust), books, monitoring camera, screen, vitrine.

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We

From ‘We’, by Yevgeny Zamyatin:

‘And then to myself: Why is this beautiful? Why is dance beautiful? Answer: because it is unfree motion, because the whole profound meaning of dance lies precisely in absolute esthetic subordination, in ideal unfreedom. And if it’s true that our forebears abandoned themselves to dance at the most exalted moments of their lives (religious mysteries, military parades), it means only one thing: the instinct of unfreedom is organically inherent in man from time immemorial, and we, in our present life are only consciously… ‘

‘Simply by turning this handle, any of you can produce up to three sonatas an hour. Yet think how much effort this had cost your forebears. They were able to create only by whipping themselves up to fits of ‘inspiration’- an unknown form of epilepsy.’

‘She wore the fantastic costume of the ancient epoch: a closely fitting black dress, which sharply emphasized the whiteness of  her bare shoulders and breast, with that warm shadow, stirring with her breath, between … and the dazzling, almost angry teeth…

A smile- a bite- to us below. Then she sat down and began to play. Something savage, spasmodic, variegated, like their whole life at that time- not a single trace of rational mechanical method…

Yes, epilepsy, a sickness of the spirit, pain… Slow sweet pain- a bite- and you want it still deeper, still more painful. Then, slowly, the sun. Not ours, not that bluish, crystal, even glow through glass bricks, no- a wild, rushing, scorching sun- and off with all your clothing, tear everything to shreds’

‘we, however, know that dreams are a serious psychic disease.’