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Víctor Albarracín Llanos


Selected Texts

Institut für kleines Licht
Los Angeles, CA

Víctor Albarracín Llanos

Selected Texts



Aurea Mediocritas 31. An Idiosyncratic Lexicon for a Crit Class 47. Some Aporia on Community 27. The Specter 19. Mastication 41. like 21. Image Credits 68. The Intrinsic Sadness of Art Careerism 15. Acknowledgements . The Man Without Qualities 45. Feign 46. Rap of Misfortuned Days 53. Biography 66. Perdonarás 37. Falling into the Void 65. Anthem for a Deprived Neighborhood 49. Foreword 11. The Power of a Smile 48.7.


The way you choose to approach and criticize this piece is not part of my business. if there’d be something worthy of being designated with the word “experience” today. but I can’t define it as beau. Then. Is not that I refuse to see the intrinsic mediocrity of this product. It was Marcel Proust who stated that “les beaux livres sont écrits dans une sorte de langue étrangère. Foreword This book is a compilation of writings from 2013 on. but is more that I’d rather stare at its whateverness. Unable here to write in Spanish. my broken English has to be assumed . under my consideration. when the crisis of the experiential has been the topic of a myriad of the thickest unread books and treatises ever. consciously positioning myself not only as an English speaker but as an Author in English. Therefore. since only what is whatever results capable. I decided to pretend I knew how to write in the Faulkner’s mother tongue. babbling.7. to generate some form of experience. I made this book as part of a solo show. and those coming words are never related to the specific (lack of) qualiti(es) of my writing. Most of them are school assignments. the rest. it has to be considered a piece.” I wrote this book in a langue étrangère. English speakers. mostly. since I want to feel I have some sort of communication with my potential readers. Other words come to my mind when I think about what I wrote. and my potential readers are here.

or an incense stick to remove the noisome condition of my writing. since this piece belongs to the category of written shits. is writing. The Author . results excessive and probably embarrassing for you. It might be that you were upset because of this residual condition. Roland Barthes. that “écrite. who wrote. any form of special protection. it might be that you could. i. la merde ne sent pas. I invite you to consider this sterilized shit as a piece of something else. maybe you already know it. use your time reading a real jewel from a real English author. VÍCTOR ALBARRACÍN LLANOS as a stylistic element of my prose and not as the notorious handicap of a crippled migrant. eager to have a place in the world.. So this piece can be located somewhere in between pretension and residue. but here I am. I invite you to get in touch with this piece of my shit. must. Learning the rudiments of English writing wasn’t something I did in a proper way.” Then. I just licensed myself to pretend I knew the how-to. completely different. so let me bring you a quote from this Proustian French writer. a mask. trying to tell you that written residues aren’t quite bad. But one thing is pretension and other. might.e.8. a little world created through the transference of my shit into your expectations of what a piece should be. Without gloves.

For quite a while I had been good for nothing. I am forty years old. The idea of inventing something insincere finally crossed my mind.. and I set to work at once..9. –Marcel Broodthaers .


I’m positioning my art career I’m politicizing every discursive practice. I’m improving my art career I’m criticizing the capitalist lexicon. I’m enhancing my art career I’m reshaping the ways of action. I’m advertising my art career I’m redefining the social contexts. The Intrinsic Sadness of Art Careerism I I’m escaping from ontological capture.11. I’m making my art career I’m collaborating with the amazed masses. I’m fostering my art career I’m deframing the art’s temporality. I’m socializing my art career So sad an artist without a career to caress So sad an artist without a career to care So sad an artist without a career So sad an artist So sad .

to be tagged. I just wanted to be an artist I regret my own production. I became aware of my opacity. I just wanted to be an artist I’d rather never have been tempted to make art. of my compromised position. it’s supposed that I’m an artist.12. I just wanted to be an artist I feel insulted to be defined. to be accused. I just wanted to be an artist I didn’t expect to have an agenda. VÍCTOR ALBARRACÍN LLANOS The Intrinsic Sadness of Art Careerism II I never wanted to make an art career. to be praised because of the shits I make. therefore I wanted to be an artist Now. since I just wanted to be an artist Long ago. of my bias. but what kind of artist did I become in order to be an artist? An artist fulfilling your whimsical ethics An artist illustrating your fashionable political fantasies An artist polishing the mediocrity of your shabby aesthetics An artist theoricing the radicality of your bureaucratized constructions An artist sculpting in bronze and neon the triumphant nature of your irrelevance . that’s why I wanted to be an artist I was told that art is freedom.

13. THE INTRINSIC SADNESS OF ART CAREERISM [I-III] The Intrinsic Sadness of Art Careerism III Success is waiting around the corner to bite the neck of the perennial loser Success is never this shit you pursue since it’s the hunter and not the prey These fake sparkles deluding assholes are just the crumbles after the fest success is silent and never public and it’s no matter to boast and tell I stay alive. without ambition my failure’s warm and sweet at night It has no fangs and no expectations but make good jokes each time I slip .


carved in the skin of this hand that shapes your days. the artist is throwing off some of the permanent weight he or she is carrying on his or her back. A territory under permanent construction and. King Midas. simultaneously. ‘Carpe Diem’ could be interpreted as “the day within reach of the hand. and is making new worlds. by making. is escaping from gravity.. .” but I’d rather translate it. the traces and the directions of your general destination. On a literal translation. for the fuck of it. and there it shall remain. the map where everything in your life is done. Everybody grasps the day. by working. in the hand that makes them. he or she is challenging his or her destiny. and artists are supposed to be so handy. Art is this touch of your hand. Carpe Diem. through hand making. You’re putting your hands to work everyday since you’re an artist. expecting to be a worthy one. maybe.” Everybody cherishes their lives. And.. operating the miracle of transformation by a touch of the hand. this touch that turns everything you touch into gold. by hand making. The artist. why should you work if everything’s already decided on the palm of your hand? That’s the question for an artist who thinks as an artist does. Work and fate. The Specter My faith is in the Specter. is getting rid of the weight of his or her life. artist.15. as “the fate in the lines of your hand. Carpe Diem.” You make your life by hand. You. the answer from this artist who thinks as an artist does could be that. and your hand-made days keep. –Royal Trux Everybody says “Carpe Diem.

As a ghost. There’s no health. a shovel of mud. Come here and hold our hands together to make the magic happens. Such a precarious and naive notion. One day. As a symptom. artist. She scarcely . you. what a cliché this idea of people holding hands together.16. a square of land. mutually paralyzing their hands. disabling their hands in ‘community’. As a trace. Hi five everyone! Let’s make us just one from our shrapnellike beings. evidently). a gipsy woman refused to give me a palm reading. to create something shiny and beautiful. But. I consistently dissolved my own life by the action of my hand. It’s perhaps I’m not artsy enough but. relationships and exchanges making crisis and only made possible as a permanent crisis. A world of crippled people scared of those ones who are holding no other hands than their own. guys. is just that I think about myself as an ersatz human being. this golden idea of everyone holding every other’s hand. the sculpting of this whole set of contingencies. a turd (of shit. even more. Not only an object. A world of crippled people holding other arthritic hands. even after I offered her a big tip to do it. you know better than I know all these things said about the crisis of the object. More in the fashion of a Benneton ad. can take a grain of sand. this shiny communion is totally fake. scared of anyone who’s not right by their side. Hey. Just communicate our tormented artselfs through the power of our hand-made art lives. relations and thoughts. I don’t even have to say a word about art as an object.. but then the object of your making could be your life. and my life could be described as its own hand-made dissolution. VÍCTOR ALBARRACÍN LLANOS You. What a silly world this one of a bunch of people holding their hands as a mass of hands. the objective crisis of your life.. works and efforts. Not as healing. little Manzoni.

For the sake of our pact for standardized verbal communication. it’s just that. rankings and tags. Days ago. where this cop who represents all bare-life and justice and brutality. I should give up and surrender before the established English Freudian lexicon. I thought about one of the last scenes from one of the Nicholas Winding Refn films starred by Ryan Gosling. replacing the German word ‘unheimlich’ with the English vocable ‘uncanny’: this thing which is not familiar anymore. defined as a set of predefined agreements and concessions to keep your own life out of the reach of your hand. ‘siniestro’ defines this thing I’m trying to define. the hand becomes sinister.17. A sinister hand. Unfortunately. but now I look at my hands and sometimes I suspect that there’s not enough humanity to read something on it. I’m sorry. Uncanny. cut with the clean coup of a sword both hands of Gosling’s . ‘sinister’ is not the word I’m looking for. I won’t say sinister at all. Only God Forgives. THE SPECTER muttered she was tired. A sinister hand. it might be just because I used my hand to sign more contracts and agreements than punching noses or plowing the soil or caressing the faces or the hands of my beloved ones. lack of belonging. And. unheimlich. but is not yours anymore as you resigned to it by signing a set of general and specific contracts. Life. this slight deformity that makes you hesitate to touch this life-form that used to be yours. if I’m lacking humanity. Unfamiliar is your life in the extent that the familiar nature of human interactions was replaced by the rigidness of uncountable tacit and explicits norms. in English. Once signed the contract. A sinister hand. in Spanish.

Amputation as a suppression of the action of fate. VÍCTOR ALBARRACÍN LLANOS character. no destiny. But I’m too weak and too lazy and specially too coward to cut my own hands. pretending there’s something in the way. in a ritualized scene where we can see Gosling’s character’s agreement to have no hands anymore as they were evil (should I say ‘sinister’?). All fake. The hand is nothing without a haunting ghost. humans pretending there’s fate. pretending their lives deserve to be called ‘lives’. As coward as humans other than Ryan Gosling are. No hand. A faithless pretension. . as well as my contract. The suppression of the action of fate as an act of faith. I’m one of those humans with hands. or to ask someone to cut them. pretending they’re making their lives by the touch of their hands.18. So I’m trying to invoke one before I got forever trapped in the formality of being merely an ‘artist’. This writing is my hand. no destination. it is my sword.

like like a douchbag without entitlement like an angerless Black Panther like an unemployed undocumented worker like a cop without a poor to kill like an intellectual without structures like a crippled activist like an utopianist without hope like a soulesss romantic dreamer like a fraternity of autists like a monkey in the zoo just like .19.


as a taking-place of the false. false in the sense “my” life.” Truth cannot be shown except by showing the false. I am complaining about life. The Coming Community [. Life and Action One But. which means “to open” and is linked to spatium.. What I am trying to state here is that I complaint about my life as I consider it empty. however. according to the etymology of the verb patefacere. –Giorgio Agamben. improper. about the nature of life. which is not. provisionally defined as a narrative of my own “experience” –having into account that the very idea of experience implies to reach the border of death– is totally incapable to tell a tale from which I can extract any sort of reflection.] A practice is not possible except where action is possible. as an exposure of its own innermost impropriety. and action is not possible except where life is. what is “life”? What does it mean that something is “alive”? How can I know that something could be potentially considered an actual “living form”? Usually.. –Michael Thompson. This is the meaning of the ancient philosophical adage according to which “veritas patefacit se ipsam et falsum. Some Aporia on Community Ethics begins only when the good is revealed to consist in nothing other than a grasping of evil and when the authentic and the proper have no other content than the inauthentic and the improper. because I feel my life as false. On the contrary. cut off and cast aside somewhere else. truth is revealed only by giving space or giving a place to non-truth –that is. designed within the margins of a blank .21.

e. I have been experimenting a series of dramatic changes in the structures and beliefs on what I used to call “my life. The recent re-reading of Kierkegaard’s Trembling gave me some hints on the value of ‘resignation’ and ‘faith. VÍCTOR ALBARRACÍN LLANOS page that seems to require so many formats to fit the basic conditions for a life that deserves to be called “life. I need to learn how to surf entropy. so I just don’t know how to say something alive or vivid under the format of a 500 to 2000 words paper about (i. as form. In order to be responsible of any new route I am passing by. Thus. we can introduce as many narratives as we want. I consider form as an affirmation on the impossibility to predefine or categorize subjectivities and ethics–. in the course of past week. Acceptance of the general void and of the lack of sense of my living experience.22. I don’t know how to live but living. Usually. in order to try a new route. And step aside from that sensation of permanent fall and fail. I am referring to the specific modes or modalities of every particular being as well as their circumstances. I can see the formats of life everywhere –basically intended as a set of disciplinary actions taken over individuals in order to efficiently incorporate them in the most general social structure– but. . without any single pretension to be truth. I can’t express in 500 or 2000 words what I really think when some thoughts about my relation with the word “community” randomly sound inside of my head.’ notions that I would like to relate with the Buddhist idea of ‘acceptance’. because of the formats.” this warm core of affections and belongings where I used to turn back to when I felt lost.” since the form of my life is not susceptible to fit any format. I miss the forms –and. we can produce and draw ourselves out by using metaphors and fictions. But now I have to realize that I am. Nevertheless.” Simultaneously.) “the experience of entering a community as a social practitioner.


I am currently stretching myself on the permanent tension between
my own subjectivity and some intuitions about the possibilities of
a public life, about community and the conditions under we frame
our experiences. I have been talking repeatedly about these specific
concerns, receiving different feedbacks and opinions, even having into
account the dispersive and elusive nature of my ideas.
The reason for my preference to talk, to speak and deriving in the midst
or the borders –or perhaps inside of the permanent vortex originated
by the chaotic interaction of those ideas about life and community,
colliding against the walls of my fake living narratives, unlike the average
situation of writing, even when I am not committed to comply with
any academic or professional purpose– is that, by saying, talking, and
speaking, it’s easier to feel my own voice cracking and dissolving into
the surrounding noises. There is no thesis neither argument in my usual
speech since I prefer –knowing beforehand the negative connotations
that my preference has in an academic context– the pure performative
dimension of that dissolution.
It is well known, as it is part of the John Cage’s readings for Indeterminacy
included in Silence, an anecdote about Daisetz Teitaru Suzuki’s classes
on Zen Buddhism at Columbia University:
Suzuki never spoke loudly. When the weather was good the
windows were open, and the airplanes leaving La Guardia flew
directly overhead from time to time, drowning out whatever
he had to say. He never repeated what had been said during the
passage of the airplane. Three lectures I remember in particular.
While he was giving them I couldn’t for the life of me figure out
what he was saying. It was a week or so later, while I was walking in
the woods looking for mushrooms, that it all dawned on me.


Perhaps the reason I would rather talk than write right now, in a
foreign language that increase the sensation of my own fakeness and
improperness, is that I am giving space and time to the sudden dawn
of action, an action beyond the words that I am trying to let go with the
wind. I am not stating any privilege of the voice over the written sign, this
is not about the metaphysics of enunciation, it is, simply, a matter of
pure operative comfort.
I am wrong. It is supposed that the main reasons to be here, enrolled
on a Public Practice MFA program are to understand the notions,
and to apply strategically the methodologies (to, about and with)
the Public sphere and the Social Practices. I am wrong as I pretend to
find my own way to approach these notions and to generate absurd
techniques to face the Public Practice as a professional. Despite I
am capable to understand the general scheme of socially engaged
art as a set of historicized gestures –based both on contingencies
that have been raised to the status of valid methods, and on theories
taken and implemented from extrinsic contexts, in general related
to the humanities that developed a critical narrative for the correct
consideration and evaluation of those methods– I have to declare
myself completely incapable to embody this notions and gestures as the
only way to produce forms of practice.
I am pretty aware of the notions of “constitutive outside,” “otherness,”
“community,” “dialogical practices,” “relationship,” and other
instrumental concepts developed in order to skill and professionalize
the social practitioner by creating a specialized language that frames
and outlines the desirable outcomes from Social Engaged Art endeavors.
Nevertheless, my experience to this constitutive outside, to otherness
and alterity, to community, to relationships, and to dialogical


performatives is one of permanent dependence to a more confuse set of
questions, namely as Michel Thompson listed: “what is to be done, how
to live and how to live together.” I firmly believe that the answer to these
questions is impossible as I believe that a permanent reflection on these
aporetical structures results fundamental to formalize any possibility of
real life.
By living the fake, by saying the wrong, by using theoretical shrapnel
to enunciate my rejection to the fake and the wrong as part of my real,
irreparable living experience, I am trying to deploy a space to guard and
care the other side of a social practice in which I am more interested as
I announced repeatedly during my life as a student of the program:
the intimate spaces of general exchange for ourselves, members of a
community, school, experimental platform, space of indoctrination
or whatever has to be the best motto to designate this or any other
MFA program. Perhaps, what I am trying to do, in a desperate and
not so clever way, is forcing us to reconsider our positions, aspirations
and commitments within this small society of the Otis Public Practice
MFA, in order to move a couple of steps backwards to think about
our particular interactions as a group, before pretending to insert our
practices in the life of others –who are living under really complex and
vulnerable conditions, showing an outstanding panache as practitioners
of their own lives– who don’t deserve a professional intromission in
their lives just for the sake of art.
This writing emerged as a permanent failed attempt to produce some
form of reflection on the specific situation of entering community for
the first time, as an aspirant to social practitioner, and, afterwards, as a
being who is trying to configure a new space for learning and living.
By assuming I am surfing the void, I consider passivity an important ally

’ . and my failure assumed the form of the lack of these passionate interactions with the community. the word ‘sentido’ designates at the same time the meaning and direction of a gesture. but I think it is because I am on a different situation now: confronting the void and the fakeness of my own experience. I think the english word resonates a little weakly). implies small gestures continued one day after the other. reducing my expectations to the vital basics and building acceptance or ‘resignation’ in the way Kierkegaard defines it as a previous requirement for something that really deserves to be called ‘Faith.26. thought or circumstance. Passionate passivity implies more time than ability. I have to say. this call to passivity is not intended as indifference but as the slow and pervasive effect of the passions grown within a specific relationship with others. Unfortunately. VÍCTOR ALBARRACÍN LLANOS in the production of sense (in spanish. In this sense. implies to be able to do nothing or almost nothing. I know I failed.

27. Aurea Mediocritas The mediocre result of a mediocre structure The mediocre evidence of a mediocre existence The mediocre manifestation of a mediocre ambition The mediocre judgement of a mediocre judge The mediocre villain of a mediocre village The mediocre but pervasive erosion of a mediocre individual The mediocre style of a mediocre story The mediocre narrative of a mediocre soap opera The mediocre modernism of a mediocre post-modern The mediocre palliative of a mediocre catastrophe The mediocre commitment of a mediocre conviction The mediocre antagonism of a mediocre struggle The mediocre success of a mediocre aspirant The mediocre capabilities of a mediocre device The mediocre awareness of a mediocre believer .

VÍCTOR ALBARRACÍN LLANOS The mediocre veredict of a mediocre specialist The mediocre correction of a mediocre mistake The mediocre routine of a mediocre adventurer The mediocre ruin of a mediocre monument The mediocre division of mediocre unity The mediocre misconception of a mediocre intelligentsia The mediocre trajectory of a mediocre projectile The mediocre resolution of a mediocre conflict The mediocre symptoms of a mediocre disease The mediocre misunderstandings of a mediocre conversation The mediocre imposition of a mediocre regime The mediocre panorama of a mediocre screen The mediocre inspiration of a mediocre muse The mediocre charm of a mediocre bourgeoisie The mediocre indefension of a mediocre proletariat The mediocre members of a mediocre community .28.

29. AUREA MEDIOCRITAS The mediocre abuse of a mediocre authority The mediocre radicality of a mediocre conformist The mediocre consideration of a mediocre circumstance The mediocre limitation of a mediocre emanation The mediocre conjunctions of a mediocre sentence The mediocre opposition of a mediocre resistance The mediocre agreement of a mediocre subaltern The mediocre proliferation of a mediocre variety The mediocre liability of a mediocre decider The mediocre bleakness of a mediocre house The mediocre solidarity of a mediocre coexistence The mediocre liberation of a mediocre captive The mediocre agnosticism of a mediocre skeptic The mediocre probability of a mediocre resurrection The mediocre expectation of a mediocre success The mediocre mediocrity of a mediocre mediocre .


in so many different contexts and situations. lost the war. what “perdonarás” means and the way it means what it means. by giving their gold and trusting this faith thrown to them from Europe as a pest. “perdonarás” is a word used in my country (in “my country. schizo and exquisite philosopher in the whole history of my not so philosophy-driven country and. won the war by not offering resistance. human and natural landscapes.31. so they are. the Civilized. It’s curious. as ferocious and dangerous. following professor Mazzoldi’s teachings. neither a series of seminar notes nor even an audio recording. and dangerous because it was also packed of amenable aborigines that. kneeling and saying “perdonarás” each time they start talking to anyone. perdonarás that I didn’t tell you before. I apologize for drifting away from my tale to follow absurd pathways . especially in the South West regions of it.” It’s curious. the Christian. baroque. today.” huh) since decades ago. just in the zone where the three huge mountain systems that cross and divide and define the territory violently emerge breaking the land in a series of diverse cultural. Perdonarás Perdonarás. This submissive indians won the war by incorporating the Other. mixed and invisible. teachings that I unfortunately lack in the form of a printed article. probably the most important. The uses and ethical implications of this simple word has been studied and established by professor Bruno Mazzoldi. by accepting the invader. in my country. complex. the Noble. Well. in the end. but only in my elusive memory brought to the present from 15 years ago. A place depicted by the Spaniards. a word used since decades ago in so many different contexts and situations. Ferocious because it was packed of savage groups of warriors that.. I say. well. the White. but “perdonarás” means “You’re gonna pardon me. after long and horrible battles. when I was working on my undergrad’s thesis project with him. centuries ago..

if I remember. – I’m not begging you pardon.” it doesn’t means “I apologize. exactly. “you’re gonna pardon me. but as a conjunction of individuals. so I introduce my speech by throwing the word before any defined topic emerges to the surface of the conversation.” It is really challenging this way to perform an ethical relation built on the basis of the permanent fault addressed by this word. as a school of particularities.” (in the plural) as I don’t want to talk to you as a grey and predefined mass. Instead. Guilt is what I’m made of. then. You’re someone like me so. “perdonará. as if I don’t. this communion between all of you and I. it’s not contextual. I am guilty beforehand and I recognize my guilt in every situation. That’s to say. the teachings by professor Mazzoldi. that: – I recognize myself as subject of permanent fault. Guilt defines the structure of my own being.32. and it’s not derived from specific actions. apparently. to be forgiven for. – I say “perdonarás” and. what I wanted to say since the beginning. even when I’m willing your pardon. My guilt is not defined. VÍCTOR ALBARRACÍN LLANOS as I apologize as well for making complex something as easy as it is… ok. “You’re gonna pardon me. I’m creating a common base for communion. this thing that since the beginning I wanted to say is that “perdonarás” means. I’m not saying either “perdonará” neither “perdonarán.” because the first of these forms in Spanish implies a conversation between two individuals in a similar power position… I assume you’re not someone above me in the social hierarchy. for this communion on guilt.” What “perdonarás” means is.” It doesn’t means “pardon me. not so usually. . once again.” it doesn’t means “I beg you pardon. so I say “perdonarás” even when I have nothing. I know you’re as guilty as I am.

your alwayscoming forgiveness will be handed here and now. Never materialized. as a bunch of faults. as a fair judge. in the future of every present. . dysfunctional bowel. at the same time.33. I know I bug you with my secondhand existentialism and I’m totally aware that most of my sentences here could be easily transformed onto a mime line. I recognize you. as a murmuration of virtues. as a gang of hesitations. PERDONARÁS as a pack of separations.” so your forgiveness is my only possibility of a future. I’m not expecting that just by stating. is a certainty in the future. possible as a constantly renovated promise of itself. When I say I’m made of guilt is because I honestly think this way. I’m not taking your absolution as something given. non-resolved tension in which I’m already included as an agent or as an organ (can I be your bowel?) – But. but the heart or the brain of this bodiless body in which I’m the clumsy. as a flock of reasons. Your forgiveness is always in the way. as a flamboyance of subjectivities. the faulty and the bad. even before I had the honor to meet Bruno Mazzoldi. the other part in the conversation. Excuse me. I’m facing you all as a collective. I could keep talking about the shades of this idea as it has been nested in my head for years. never commoditized. I characterize you as this empowered entity allowed to concede forgiveness since you are the better part of us.” Even before I was able to conjugate my guilt in different tenses. even before I was able to communicate the subtleties of the word “perdonarás. – I don’t say you already forgave me. Your forgiveness only exists in the haunting future of my perennial faults. You’re not just the liver nor the kidney. My faults are the continued disaster of this path I called “my life. The better and the best part in this exchange in which I am always the weak.

there’s nothing defined. therefore I’m alive. there’s not a cornerstone of my guilty consciousness. as fault comes as natural as breath. . I’m guilty. what are you gonna forgive me for? What are the reasons and the matter of my willing confidence in your unavoidable forgiveness? I have to say there’s not a what.34. VÍCTOR ALBARRACÍN LLANOS But.



I used to repeat: “Useless teeth thrown over the useless time. I remember how irrelevant the topics resulted to me. around the pile of gum. as the students we were. Mastication I don’t have to tell you what is this. but I remember as well my disposition to talk with all of you for hours. I remember our shared time around the table. You know perfectly what I’m showing you here. surfing the whateverness of the conversations. on social practice. as a project in itself. in the middle of the general discussion. began to be taken as a work of art. I still could feel the warmth of your thoughts and your voices. rich in artificial flavors. The discussions about whatever. it could be possible that the general plot for each one of you have a different order or another sense. talking about our projects. I remember how I felt the passion of your arguments and the inflections of every single interaction between us. I think about our conversations. Nevertheless. And. started to loose its privileged whateverness. digressing about our points of view on life. when I used to bring gum to the class. Every time I see this pile. I was never interested on the additional layers of value that this pile of gum started to incorporate. I’m not gonna say that I wasn’t pleased because of the many colors and the forms of this collective interaction. I know you remember those days. That’s totally acceptable here. as a piece. growing as a little mountain from week to week. Under my perspective. this gesture was good enough as a humble monument of our shared time. I remember the chewed gum on the table.” quoting José Lezama Lima’s sentence about the irrelevant rumination of the students. but let me tell you what’s the sense of this story when I think about it.37. By that time. on art. on community. . I have not to say alot about this modest pile of gum. But the pile. You don’t have to masticate this story as you already chewed it. we had such a colorful rumination.

rhumbas of rattlesnakes. I loved the idea of those pure subjectivities. I already mentioned it somewhere else. An interaction between subjectivities never co-opted by the illusion of homogeneity. but I found meaningful all those names. chewed. adjacent to the specific circumstances of other subjectivities during this long. To me. towers of giraffes. customized for each group of animals.’ the most it was accused to be a piece of art. generations of vipers. The most I declared the pile extrinsic to my general ‘art practice. a conspiracy on our conversations.’ Let me tell you how fascinated I was then. I couldn’t consider anymore the pile as a collective French kiss of our grouped subjectivities. with the way starlings fly together in these humongous masses of flying little things conforming a collectivity called ‘murmuration’ and defined more by the action of the shared flight than by the mere condition of . of those individualities. flamboyances of flamingos. dissimulations of birds. among so. wisdoms of wombats and cohorts of zebras. Let me tell you how obsessed I was with the flight of birds. cultures of bacteria. Yes.38. when I started learning the animal collective nouns. strings of ponies. colored gum referred to some particular moments of specific individuals under determined circumstances. every single piece of that sweet. relied on the fact that the colors of those pieces of gum reflected the colorful discussions we had about whatever else that wasn’t necessarily the pile of gum in itself. adjacent to each other and never reduced to the simple idea of being something as primary as a ‘community. Those fascinating names include troops of apes. since then deprived of the possibility to be considered sincere. my real pleasure. a piece of white/evil art. destructions of cats. shared timeline. VÍCTOR ALBARRACÍN LLANOS But my pleasure. as if all of them deserved a richer name than the dry and limited words we use to refer to human groups. so many others.

a flamboyance. ‘Archipelago’ is. but us. not to produce any false expectation to redeem ourselves.39. I want you to destroy the world constructs all together and each one by their own. the Inuit of social engagement. MASTICATION being a group of poor stupid birds. whoever you are. a much better word than ‘community. I want you for the last supper. I don’t want any community. or an order. instead. or a squad.” I like chewed gum because is rich and futile. to demolish the social structures of our alienation. I don’t consider that any human organization deserve such a shallow name. Why we cannot define ourselves as a murmuration. a school. look honestly crippled and mute every time we say “community this” and “community that. a destruction. for the fireworks in Versailles. Those are the reasons I also love language. for the afterhours. to drop bombs of new sense. or as a destruction? It’s known that the Inuit have dozens of words to give names to all the different forms and circumstances of the snow. a murmuration. or a bunch. I would like to see you. or a horde.’ . or a troop. all alone and all together as an archipelago. or as a flamboyance. I want a gang. indeed.


A shattered image. Deceptive piece by piece. Sonic Youth’s handmade t-shirt owner in 1987. cassette-recording maniac. If this is a man. Ritalin-driven. Day after day. but constantly finding that cool was always slippery because of his own excess of anxiety and his seductivelessness working class condition in a social context of middle-high class misfits pretending they were the most radical thing any city ever had seen. some clarifications are necessary to catch the ball.41. our hero has important assets as a procrastinator. These clarifications come from the tales of a shy. CHAPTER II: “I Made Him Know His Name Should Be” Sunday Always before Monday. his life occurs as a continuum of things to be done ASAP but never concluded –I should say “started” in order to be honest– . perpetually looking for something cooler than his life. identical to every other from a person of his generation. the story of our hero is one about a kid who built his identity on the basis of mimicking every other’s. resulting in an unresolved pastiche of cultural mismatch and emotional precariousness. The Man Without Qualities A Never Produced Thesis Project TABLE OF CONTENTS CHAPTER I: If This Is a Man Having the story of our elusive hero as an excuse to produce an art project. Communist Youths affiliate. then our hero is.

but because he spent years to build his only solid construction: a baroque fortress. but open to experience. To him. he’s always freaked out because of the imminent coming of a labor day.” The Aristotelian doctrine of the “Middle Mean” (Aurea Mediocritas) claims for critical distance both from excess and deficiency. everything has been done. “In a world where every single ambition results in a mediocre production”. VÍCTOR ALBARRACÍN LLANOS on time. never receptive to the bullets of uncountable enemies. he says.42. this mellow possibility of austerity sounds ideal for this guy. since the beginning of Time. but never colliding against the schizophrenia of passions. “talent”. as a man resting on a permanent Day of the Lord should be. there always has been someone else capable to make it on a better way. trapped. not only because he’s always stressed and appalled for the irreparable situation of his always expired deadlines. practice and life. in circles of never-ending arguments and always-fragile emotions. “ambition”. . this guy experiments what is like to do so many things on such a mediocre way. an so on. if not. so it has to be good. “discipline”.” A life without project. CHAPTER III: A Magic Mountain Made Of Golden Mediocrity “You know what?” he utters with conviction: “It comes from the Old Greeks. By living in a never-ending “I would prefer not to” cliché. Keeping a healthy distance from the neurosis of reasoning. namely “production”. Always guilty. and. “the assumption of mediocrity as a desirable way results fundamental to generate a space available for action.

or communist. etcetera. Agamben considers being as a permanent whateverness. destroyed with the efficacy that creates specters. reproducing. but the fact that it is here and there. or fat. A MAN WITHOUT QUALITIES CHAPTER IV: The Man Without Qualities It was Giorgio Agamben who spoke about being in disregard of its modalities. creativity. misunderstood and. or a good cook. originality. Being without qualities implies that it is no longer important. Irreparable and irreplaceable but. to worry about the standardized notions of quality. or he thinks so. transformed. for our hero. . as it’s not important anymore. or that’s what he wants to make us believe. undifferentiated from every other’s other.43. at the same time. palpitating. coherence. or grumpy. the qualities of the mass and the mess of this or that specific entity. open to be absorbed. Far from the idea of being good. different to every other. technique. production. why not. growing. remodulated. interpreted. one besides the other.


45. Feign Feign I was making music to make music Feign I was making art to make art Feign I was a writer to write this writing Feign makes Fakes Fake Fake exists as not fake does its existence is not necessarily different than the one of what is said legit Feign the fake to make it double fake and then reveal its utmost truth veritas patefacit se ipsam et falsum Truth is marching on in all its Ghostly Glory .

An Idiosyncratic Lexicon for a Crit Class The phenomenological The misrepresentation The performativity The pedagogical The architectural The participatory The aspirational The conundrum The irrelevance The abstraction The installation The apparatus The sculptural The construct The furniture The fictional The shallow The bullshit The portrait The staged The sloppy The liminal The value The work The prop The use The US The us The U The I The .46.

47. Social Art Practice in progress. The Power of a Smile The community: a workshop for poor kids a picture of poor kids smiling The artist: a 10.000 dollar grant a picture of poor kids smiling (for a further application) The Non-Profit: a 1’000.000 dollar grant a picture of poor kids smiling (for a brochure) A Government Institution: a donation of some tens of millions from a corporation a picture of poor kids smiling (for their Annual Report) A Corporation: a billionaire tax exemption a picture of poor kids smiling (for a full page ad in magazines and newspapers) Smile with us. .

let’s look for a new one . we’ll open gluten-free cafes with organic coconut milk Deprived neighborhood. we’ll move close to you despite of you Deprived neighborhood. we’ll map you. we’ll work hard for you Deprived neighborhood. you’ll realize deprived people has gone Deprived neighborhood. we’ll raise the prices of property Deprived neighborhood. we’ll discover your hidden magic Deprived neighborhood. we’ll quantify you. we’ll bring some friends with us for a tour Deprived neighborhood. we’ll make cool workshops for kids and moms and junkies Deprived neighborhood. Anthem for a Deprived Neighborhood Deprived neighborhood. we’ll analyze you Deprived neighborhood. we’ll improve your future Deprived neighborhood. we’ll create prosperous economies Deprived neighborhood.48. you’ll be no deprived anymore Deprived neighborhood.

49. days when the body cracks. days when my bones all hurt. These days of feeling so broken. days of having no tokens. of my basic misconceptions. . of my failed expectations. days when all that have been spoken reveals itself just as false. Rap of Misfortuned Days Days of feeling like crap. days of knowing the absurd of the general situation.

50. .

51. .


The storm irresistibly propels him into the future to which his back is turned. This is how one pictures the angel of history. as well. Falling into the void. as an active process. The angel would like to stay. His eyes are staring. awaken the dead. This storm is what we call progress (257-8). some artists explored the notions of negativity. In this vein. his wings are spread. revisited in literature and philosophy by several writers. From Duchamp’s 1917 Fountain to Eva Hesse’s 1970 Untitled (Rope piece) to almost any other significant work produced during the past 100 years. vulnerability and failure as a rich source of materials for art production. His face is turned toward the past. from Soren Kierkegaard’s 1843 Fear and Trembling to Henri Bergson’s 1900 Laughter and to Walter Benjamin’s 1940 “Theses on the Philosophy of History.” where he makes a complex depiction of Paul Klee’s 1920 Angelus Novus etching by saying: [It] shows an angel looking as though he is about to move away from something he is fixedly contemplating. The act of falling has been. the last century saw Yves Klein falling into the void. his mouth is open.53. Twentieth century art history could be said as a general exploration of negativity ‘in the expanded field’ –abusing the notion coined by Rosalind Krauss–. while the pile of debris before him grows skyward. and Xu Zhen’s frozen falls of Chinese immigrants. But a storm is blowing from Paradise. it has got caught in his wings with such violence that the angel can no longer close them. becoming a methodology to draw out failure as a constitutive part of human experience. and make whole what has been smashed. Where we perceive a chain of events.” Falling. we can attest the outcomes of a general vision of a world went “out of joint. deploys a basic analogy to express negativity. Bas Jan Ader and the Miracles of Faith During the past century. Ana Mendieta’s fallen body silhouetted in the ground. . he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. Gary Hill falling and eroding himself against language.

Nonetheless. we open eyes and mouth to try the void penetrate us. we can say that fall is a contingency that affects substances without altering the essence. on one hand. People fall because they fall. The act of free falling is. something capable to stop the catastrophe that wait for us in the pavement. There is no history nor is there progress. at the same time. but we have no elements to know whether it is falling from sky or. incorporating its nothingness in our body but. There is no premeditation as there is no will. as absurd as it can sound. the angel seems to be incapable to stop its perpetual falling. a real fall implies the own suspension of will. Is there any reason for a will to fall and a conscious way of falling? It would be a real fall to fall this way since I have just defined falling as opposed to will? I am not capable to produce answers to these questions. the collapse of the structures that define individuality. I wonder about the will to fall. if its mouth is open and its wings are spread. it can occur to anyone who stands or walks. resisting the gravity forces. into the sky. as I’m referring to an angel). VÍCTOR ALBARRACÍN LLANOS I would like to describe the picture on a different way by reducing the elements of the image to its basics: there is only an angel and a void. as the diving champions do. I am curious about that suspension: a suspension of being during the fall in which the body expresses its fragility by the tension between acceptance and rejection. an exposure to openness: while falling. The image depicts the way an angel falls. Quite different to leap. it is just because it is falling (I’m consciously using it. stretched infinitely and infinitely postponed. and you know –as everyone knows– that there is nothing else in the world when falling than you and your own fall. If its eyes are staring. This is the usual way to fall. Suspended in a permanent absence of material context. there is only an accident. accident is indifferent to its subjects. As an accident. we desperately refuse it by stretching our arms and legs as an attempt to catch something solid. In that sense. but that questions are themselves subjacent to this .54.

after all. to the understanding this having is no absurdity. by virtue of the absurd [. and this he grasps by faith.. Kierkegaard places his notion of faith in the realm of absurdity. but this having. humanly speaking. The knight of faith realizes this just as clearly. I am intrigued by the tension established by Soren Kierkegaard in Fear and Trembling between the notions of ‘resignation’ and ‘faith. If it is in virtue of the absurd that faith only emerges. The absurd does not belong to the differences that lie within the proper domain of the understanding. someone who “makes one more movement even more wonderful than all the others. that usually implies a rejection of absurdity as absurd implies a threat to the pretended meaningfulness of discursive practices. It is not identical with the improbable. Kierkegaard introduces the figure of the ‘knight of infinity’.’ As I read. and only then can one speak of grasping existence by virtue of faith” (46). but. and he had sufficient energy to think it.. he can be saved only by the absurd. the unforeseen. Nevertheless. The moment the knight executed the act of resignation.]” (46). for he says: Nevertheless I have faith that I will get her—that is. consequently. how we can have some faith in art? . the unexpected. Contemporary art practices are usually defined by a complex relation with discourse. FALLING INTO THE VOID small narrative. by relinquishing it [resignere derpaa]. so that anyone who has not made this movement does not have faith. he was convinced of the impossibility. “infinite resignation is the last stage before faith. for only in infinite resignation do I become conscious of my eternal validity. that was the conclusion of the understanding. that is. as for him. and art today seems to be impossible outside of discursive practices. for the understanding continues to be right in maintaining that in the finite world where it dominates this having was and continues to be an impossibility. as a counterpart.55. But in the infinite sense it was possible. mostly produced on academic platforms by specialists. is also a giving up.

where movements use to flow slower than the original gestures do. the absurd gesture gets slightly stretched. as it is shown on a slo-mo way. starts with Ader sitting on top of his house roof in Los Angeles. The black and white silent film presents the situation on a slowed but fluid motion as if it was recorded on high speed. Broken Fall (Organic). filmed in a forest in Amsterdam. shot in a path that leads to Westkapelle. as the fall in itself would be considered a slapstick but.” (86) . from 1971. losing its “natural way” and taking the viewer on an uncomfortable position in which he has to laugh at a joke he already knows. from where he falls in a way that we can define as “theatrical:” his fall is not the product of an accident. from 1970. as Jörg Heiser (85) describes it. Holland –a lighthouse depicted by Piet Mondrian on a series of early paintings– is entitled Broken Fall (Geometric) and shows. as he throws himself from the chair to roll over the roof pendant and then fall behind the bushes of his garden. shows “the artist hanging from the branch of a tree until his strength fails him and he falls into the narrow ditch beneath. “the artist falling sideways onto a sawhorse and into the bushes. Dutch artist Bas Jan Ader produced a series of silent films where he shown himself falling on a varied set of circumstances and places. The first one. VÍCTOR ALBARRACÍN LLANOS Is faith in art a significant condition for art today? Even more.56. shows nothing else than Ader riding a bike directly to one of the many city canals where he finally sank into the water. This speeding down of the image generates a double consciousness on the viewer. The second one.” One more from 1971. in the fashion of contemporary music videos or advertising. filmed in Amsterdam the same year. The third. is art resigning faith in its own in order to grow faith in something else? Between 1970-72.

of Jackass. an individual and an action. In this sense. with the slight difference that. his will emerge as the absurd factor that makes room for faith: as absurd as it is. The actions. but remains real. we trust in the artist’s fall as he clearly removes any contingency from his experience. His fall is produced. changing a leap into a walking. I can see Ader purposely falling as if he was this knight. for him. as a vehicle for a mimetic relationship with their witnesses. each time I watch to the Johnny Knoxville/Steve-O show. it is a joke. But. It must be obvious for every contemporary viewer. falling is in itself the sublime expression of a tragic will. present throughout all Ader’s work. Kierkegaard depicts his character of the ‘knight of infinity’ as “one seems to stand and to walk. to change the leap into life into walking. we know Ader will fall. under my perspective. Since the very first minute. namely contingency. have been commented by other authors. Once and again. I can see clearly the Ader’s falling resonance. Then. transplanted to the pure core of stupidity. that Ader was the precursor of Fail TV.57. familiar with contemporary art. undoubtedly. this double bind is one of the conditions of a tragic narrative that uses its reverse. In that sense. of Krazy Videos shows and. at the same time. addressing out not only the conflictive concurrence of the artist’s tragic and comic vocations but the unsuitability of his means and ends. All of the situations are carefully produced to create a tension with no space for surprises. How Ader’s actions combines these two structurally opposed narratives of the Romantic hero and the professional jackass to produce a slapstick placed in the core of the tragic or a Greek tragedy in the mind of the trash TV viewer? This aspect. absolutely to express the sublime in the pedestrian” (41). Heiser’s commentary makes a point by placing the artist in a crossroad: . and. FALLING INTO THE VOID One can attest the artist’s resolution in each one of his falls. presented in clear general shots are limited to its basics: a place.

Ader is not simply a parodist. for sure. It is clear for me that the constitutive structure of Ader’s work is located in the middle of the Christian ideas of communion and redemption. as it is clear for me as well that Ader himself is an embodiment of Christ. In this respect. But again. VÍCTOR ALBARRACÍN LLANOS Ader’s enquiry into the ‘bohemian bourgeois’ steers clear of overt comic effect –there is no acrobatic grotesqueness in his movements or facial expressions. just faith– and obviously. this chasm between romanticism and slapstick at the heart of his work echoes the chasm between Europe and America: between the European school of thought leading from nineteenth-century romanticism via Freud to auteur cinema –the concept of psychological depth and singularity– and the American deadpan concern for repetition and social interaction that connects early slapstick with late Modernism (88). His use of failure in co-dependence of empathy production is a cornerstone for the most precarious forms of social interaction and communion: that one of a YouTube generation united in the . rather than separated from. of a permanent vocation to embarrassing himself. Ader’s evocations of melodrama: both employ the genre traditions of an outmoded medium –silent film– as a means to destabilize the (then relatively new) stereotype of the Conceptual artist as a stem hero of critique who never embarrasses himself. in virtue of his will to fall. in a Kierkegaard fashion. as a Dutch artist based in Los Angeles.58. If Bas Jan Ader accomplishes the idea of being simultaneously a “knight of infinity. of the acceptance of his vulnerable nature that enables an absurd faith –or a faith in absurdity.” a rationalist and a jackass is. quite the opposite: there is seriousness in his actions. or simply. isolating and exposing the romanticist strain in the comical mishap as a means to isolate and expose the relation between failure and empathy. Rather. the slapstick works are intricately linked to.

FALLING INTO THE VOID contemplative breakdown of humanity expressed in the form of millions of videos or skaters failing their leaps. of pedestrian accidents and of idiots challenging death with an enormous faith in the value of their slapsticks. Ader is not representing Christ. and this embodiment of the void opened a space for faith. Some paragraphs above I was wondering on the possibility of faith in contemporary art. it is clear that his will to fall into the void made the void real.59. and this statement ended up producing a series of social consequences which have been silently pervading the nature of human understandings on belief. so I can state now that faith is only possible once we assume the absolute vulnerability of our experience. I can see the absurd nature of my statement. Bas Jan Ader falling is ‘the universal character’ of individual breakdown. I can recognize that is in virtue of the absurd of the nothingness that it is possible for Ader to make a statement on the nature of faith. by falling beyond representation –as I defined the act of falling as not susceptible to be represented– that Christ takes possession over Ader and makes possible this communion. . Nonetheless. Observed through his actions. While in a tragedy the individual actor represents the universal character he plays. in the case of Ader and his repeated falling that. Following the general structure of faith in Kierkegaard.” So is.” Slovenian philosopher Slavoj Zizek (217) explains that this passage “is about overcoming the limits of representation. On a description of the Hegelian “passage from tragedy to comedy. is not producing an illusion of communion and is not pretending to produce something that could be named ‘a community’. in a comedy he immediately is this character. of car crashes. but is in virtue of the absurd that I decided to increase the bet. Johnny Knoxville is the philistine prophet of a future global community of people whose only faith remains in the void of a world in which there are only free falls.

60. When such large displays of incompatible artists are received with equal interest and appreciation. Art is so well received because it has lost its sting. and –what is the most amazing thing of all– find himself exhilarated by both. But all of us are still falling. Coyote is absolutely right: There is no death by falling. it is clear that those who visit these exhibitions have acquired a strong immunity to them. he can see a comprehensive Picasso show in London one day. making a radical statement on the impossibility of progress and a lucid commentary on the permanent failure of art in society. The legacy of Bas Jan Ader is faraway from the art sphere. Ader’s parable functioned as a response to the end of Modernism: it is no possible anymore to believe in the idea of progress. So we are ad portas of transformation. Just focused in the comical character of his gestures. To be in a permanent search of the miraculous implies that Willie E. It is not meaningless that Bas Jan Ader used the Westkapelle (the same Westkapelle used by Mondrian) as a background for his 1971 Broken Fall (Geometric). They used resignation as a tool to show the world as an infinite series of fallen bodies. If a man has the time and the means. and so much of different kinds. We are much given to art. It was hijacked by the media in an unconscious way. VÍCTOR ALBARRACÍN LLANOS On a metaphorical view. but it touches us lightly. broadcast producers were incapable to see the transformative nature of this permanent void. and that is why we can take so much of it. one of his Reith lectures from 1960. and permanent fall is shaping our lives. and the next a comprehensive Poussin exhibition in Paris. . As Edgar Wind brilliantly pointed out in ‘Art and Anarchy’ (8).

–Giorgio Agamben (55).61. to make itself whatever. of matter that does not remain beneath the form. but surrounds it with a halo. . FALLING INTO THE VOID The being that has reached its end. that has consumed all of its possibilities. is the tiny displacement that every thing must accomplish in the messianic world. This imperceptible trembling of the finite that makes its limits indeterminate and allows it to blend. thus receives as a gift a supplemental possibility. but mixed and dissolved in a new birth with no residue. insofar as specific form or nature is not preserved in it. Its beatitude is that of a potentiality that comes only after the act. a fusional act. This is that potentia permixta actui (or that actus permixtus potentiae) that a brilliant fourteenth-century philosopher called actus confusionis.

1969. 1-16. London: Whitechapel Ventures Limited – MIT Press. Death is Elsewhere. 2007. pp. Bas Jan Ader. edited by Jennifer Higgie. 1993. pp. 253-264. “Theses on the Philosophy of History” in Illuminations. 85-89. Jörg. Edgar. pp. VÍCTOR ALBARRACÍN LLANOS References AGAMBEN. KIERKEGAARD. London: Whitechapel Ventures Limited – MIT Press. Soren. 2013. 1985. The Coming Community. VERWOERT. BENJAMIN. DUMBADZE. In Search of the Miraculous. 216-220. New York: Schocken Books. edited by Jennifer Higgie. Jan. “Curb your Romanticism: Bas Jan Ader’s Slapstick” in The Artist’s Joke. ZIZEK. Alexander. Fear and Trembling. Slavoj. “Art and Anarchy” in Art and Anarchy.62. edited by Hannah Arendt. Chicago: Northwestern University Press. 2007. 1983. Giorgio. HEISER. pp. 2006. . London: Afterall Books. WIND. “The Christian – Hegelian Comedy” in The Artist’s Joke. Minneapolis: University of Minnesota Press. New Jersey: Princeton University Press. Chicago: University of Chicago Press. Walter.

The struggle was to accept that.63. to coexist with the forces of my own uncertainty. Desperate as I was for a resolution. I had to understand that it might never come. –Paul Auster .


BIOGRAPHY Víctor Albarracín Llanos (1974) is a Colombian artist. through the amateurish use of different cultural mediums. As a writer. between 2005-2009. From 2000-2013. with a long history of bands. writer. he received the Colombian National Art Critic Award. Latin America. disenfranchisement and estrangement. Canada and Latin America. Víctor currently lives as a Fulbright fellow in Los Angeles. and Materials for a Makeshift Shack. and the US. magazines and websites in Colombia. a music freak and an inept musician. where he floats like a ghost between the Public Practice and the Fine Arts MFA programs at Otis College of Art and Design. including music. www. a volume from conversation pieces with art field agents in Bogotá. As an artist. reviews and articles on contemporary art and culture. a seminal artist-run space in Bogotá. In 2009. lyricist and . he released El tratamiento de las contradicciones. He’s a good cook. His work generates fictions and conflicts to create situations of vulnerability. Germany.victoralbarracin. the US. on books. In 2013. he taught at most of the art programs in Bogotá. literature and video. gigs and solo projects. Víctor has exhibited in Colombia. curator and teacher.65. he has published narratives. CA. He was co-founder and member of El Bodegón. a book of selected writings. and institutional critique. literature.

IMAGE CREDITS 10: Still from 2066. 14: Still from Carpe Diem (2014). a video project by Alma Sarmiento (2014). Courtesy of Alma Sarmiento. Courtesy of Google image search 50-52: Stills from The Persistence of Tears (2015). Courtesy of Víctor Albarracín Llanos 30: Still from It Never Rains in Southern California (2014). Courtesy of Google image search 44: David Banner turning into the Hulk. Courtesy of Víctor Albarracín Llanos 40: Casper. that weed emerging from the cracks. Courtesy of Víctor Albarracín Llanos 20: Still from Beggin’ at Paradise (2014). the friendly Ghost. Courtesy of Google image search . Courtesy of Víctor Albarracín Llanos 35-36: Stills from Mastication (2014).66. Courtesy of Víctor Albarracín Llanos 69: Groundsel.


and Colfuturo. If I survived. I also would like to say thanks to all you guys at the Otis Fine Arts MFA. it was only thanks to the generous support of those who gave me a word. Finally. ACKNOWLEDGEMENTS I have no words to express my gratitude to each one who made possible. Margarethe Drexel. Sara Daleiden. I wish the best for you. there is no way I could make it without the general support and the sponsorship of the Fulbright Program in Colombia and the US. Thank you. Benjamin Weissman. not only the precarious existence of this book but my whole life in Los Angeles during the past two years. Frida Li. .68. Thank you for bringing light to my days. who generously accepted me as part of your days during my darkest season. Corazón del Sol. and Carolina Caycedo: horrible would be the story without your loving souls close to mine. Consuelo Velasco Montoya. Karen Moss. and a chance. a hand.


the editors. Plagiarizing books from Sternberg Press is nothing different than a failed hommage to one of our favorite publishing houses. Printing: L. designers and publisher. from the Institut für Kunstkritik. and the evidence of a fantasy to be part.A. Our respect and admiration to the original author. including the right of this book to exist. The original design of the series was created by Pascal Kress and Markus Weisbeck at Surface. Selected Texts Editor: Ghost Writer Series Editor: Staff at Institut für kleines Licht Publisher: La Parte Maldita © 2015 Víctor Albarracín Llanos. Cover: Classic linen Dust jacket: Solar white matte Inside: Classic Crest natural white La Parte Maldita Víctor Albarracín Llanos . Berlin/Frankfurt am Main. of their catalogue. La Parte Maldita No rights reserved. Frankfurt am Main. editors.Víctor Albarracín Llanos Feign. even in this inappropriate way. Press Printing Inc. This book plagiarized the template of Kim Gordon’s Is it My Body? Selected Texts. edited by Isabelle Graw and Daniel Birnbaum.


Lux Triumphans. Different pulsations of the same chord. .One of the sparks is the Big Bang. To Lorena. a little light against the nightly sky. to Chispa. the other one.