Breathless from the strain vigilance, breathless from the oppressiveness of the stuffy night-air - Hermann Broch, The Death of Virgil


The soul is the relation to the other, it is attraction, conflict, relationship. In the history of capitalism the body was disciplined and put to work while the soul was left on hold, unoccupied and neglected. What the workers whished to do with their souls, their thoughts, language and effects presented no interest for the capitalist of the industrial times. Eight hour a day (or nine, ten, twelve) the body is force to repeat strange, alienated, hostile movements. The soul is muted until it rebels; then the body refuses to submit, interrupting its services, breaking the chain and blocking the productive flow.

The alienation of the soul from the body was seen as the greatest disgrace by idealist humanism, yet it can finally appear as a form of power. Once alienation becomes active estrangement, the animated body recognizes its distance form capital interests. Then human being rediscover their intellectual and psychological integrity, refusing to submit to wage labor and beginning the foundation of a community that is aware and free, cohesive and erotic.

The overcoming of the body’s submission to domination became possible precisely because the soul remained separate from it: language, relations, thoughts, all cognitive activities and effective faculties remained distant from the labor process and therefore they were free, despite the body’s enslavement. Assembly-line workers, while forced to repeat the same movements, still had brains that through freely, at least until their energies were available and fatigue and sadness did not prevail. Despite the machine’s clanking, it was possible to discuss and start processes of autonomy and revolt. But in Semiocapitalism, the soul itself is put to work. This is the essential point of the postindustrial transformation that we experienced in the last decades of the twentieth – century.

Franco Bifo Berardi, The soul at work. From alienation to autonomy. SEMIOTEXT(E). THE MIT Press. 2009
speech, speed (...)
2020
Centro de Arte Condeduque Madrid
Three sheets of polystyrene
2014
polystyrene, dirt, red paint. 50m2, PS1 Sculpture Building Royal College of Art, London 2014 The installation is formed by three found sheets of foam that rotate 360 degrees, at different speeds and direction in the room
¨el sol y la muerte no se pueden mirar fijamente¨
2021
serie I, 50 superficies sobre pared. 2020/21
Lightduress
2021
limited series, extra clear glass reliefs. 68 x 106 x 10 cm 2021 - ongoing
12/2000
2016
series II folded Tv plasma screens La Casa Encendida, Madrid. ES Funded by Generaciones 20216 Fundación MonteMadrid, ES.
La imagen proviene del interior de una fábrica
2023
Glass plates engraved placed over a rigid grey foam base. Measures vary from 1.10m x 75 cm / 31cm x 41cm. Series of unique pieces. The number of pieces on display varies depending on the specificity of the space. Espai Rampa, La Capella Barcelona.
3'31''
2021
Digital composition, duration 3'31''. Short Cut online exhibitions, Fundació Suñol Barcelona 2020 - 21
MEHR FANTASIE
2018
Super HD, 00:20:04 Stereo Yamakiwa Gallery. Toukamachi-shi, Niigata, Japan 2018
Es war Erde in ihnen
2019
series of prints, plastic surface. 58x38cmx4mm Edition of 100 2019 - 2021 Exhibited: Restless image, unresolved gaze. Belgrade Cultural Centre BCC, Belgrade, Serbia 2020 Compulsió, Galeria Joan Prats, Barcelona 2021
Folded plasma Tv screens
2016
series I Pinsent Masons LLP London, UK Curated by InSitu, an independent art consultancy founded by Maggie O'Regan
Back to Top