RHIZOME PARKING GARAGE Int’l

November, 2019

“beneath the beach, seamless paving stones” is an oblique reference to the Situationists’ enigmatic graffiti “beneath the paving stones, the beach.”
The originary phrase suggests that Utopia can be formed from the pre-existing state laying just under our feet. Through the act of revolt, taking up the street, both physically in the act of throwing the paving stones towards oppressors in riot, and metaphorically dismantling the given structure(s) would reveal the materials for and the possibility of enacting a better future.
Our current era, (on/n the other hand) of post-truth, neoliberal, mass data politics, (or techno-military-industrial-hypercapitalism (not ot mention “white supremacist capitalist patriarchy”) our oppression appears like a beach, it is appealing and filled with entertainment and distraction, it mimics freedom, and seems so expansive; in turn the oppression is met with shrugs of indifference. Coupled with/to this, the apathy of the subject is placed within a history that acts like the ouroboros – constantly feeding on its self as it regenerates. It is the “end of history” and all we have to guide is is our hauntology. Radicalism(s) of Human & Civil Rights movements of the last century seem to have been replaced with digital activism, surveys/polls, and memes, more and more acts of revolt hold the exist completely within the bounds of the oppressor’s structures (and we all know that “the master’s tools will never dismantle the master’s house”). The surveyor and respondent are now one in the same, we are more and more becoming achievement-subjects, the self-oppressed.
The ability to disrupt and start anew seems less and less achievable, or even imaginable, the seams are being removed every day. Smoothness and sameness infect every inch of life. (It is important to note here that the seams in concrete are ‘expansion joints’ they are used to separate slabs of concrete from other parts of the structure and thus allow independent movement between adjoining structural members, minimizing critical cracking. This is to suggest that seamlessness also introduces an instability, a weakness, a greater likelihood of defect and structural collapse.)
The rhizome offers a radicalizing pathway, an alternative, a possible source of disruption, and allows for an avenue of re-organizational practices, modes of thinking and acting. The many portals and pathways in the multi-connected rhizome, as well as the dissemination of thoughts and knowledge, have the potential to disintegrate and devour the entrenched ideologies of the imposed structure from below/within.

The parking garage is a the “inferno of the same” (the agony of eros). It is a labyrinth in which the ceiling is often the floor, a schizophrenic environment that does not allow the face to be recognized. The(se) structures or modern functional ruins are a global phenomenon and in most cases duplicate a common design. In this way the parking garage can act as a portal, an access point into multi-linear spaces (this way amd/or that). All parking garages comprise a kind of universal parking garage, when we are in one parking garage we are in all parking garages.
The global effects of the internet have displaced direction and have effectually erased all horizons. The rhizomatic connections of the internet, a(nother) decentralized and/or multicentered domain. The parking garage when empty is a blank and timeless space, each floor or level a duplicate of the prior and the next and each parking garage a duplicate of the last and the next. In this way it represents the equalizing malignancy of capitalism in its attempt to make everything exchangeable. When occupied by workers and/or consumers the fixation of individu(aliz)ation (masking/obscuring the sameness) can be seen with its dehumanizing forces in oneโ€™s wandering and being lost (with)in the labyrinth, a maze in which objects and surroundings lose their distinctions, and collapse into one (another). That which was once an extension of the self (the fetishized/fetishizing vehicle) is seen to be an extension of the apparatus (society, other(s), the prevailing order and systemization of the economy, the so-called self, the endless lines of communication) that which individuals are inseparable from and immanent within – eating and being eaten; the ouroboros.
(an ouroboros with many heads and many tails, all devouring and being devoured by one another, multiple tenses at once)
This is the beginning of what will be an ongoing experiment, to test and/or investigate some of the observable limits, a cutting away at the present (past & future).
The parking garage acts in this way as the representation of the timeless and distanceless space that we inhabit (online & IRL), while the internet acts as its rhizomatic companion of transmission/distribution and presentation (communication).
Each participant or group in the project will take their respective works to a local parking garage of their choice and take documentation of said work in the garage using the space as a double / doppelganger / representative of and for the universal rhizomatic parking garage. We will gather all the documentation and release it as a group show. Each participant will also take a google earth photo of the work in the garage to pin In google earth.
The first show will have the theme(s) of the Rhizome & the Ouroboros. Let me know if oh have any questions.
Thank you very much for your time.

๐Ÿ—บ๏ธ

Adam Vackar
Adam Vackar
Adam Vackar
Adam Vackar
Andrew Rutherdale & ZH Fevek
Andrew Rutherdale & ZH Fevek
Aniara Omann
Ben Sang
Bob Bicknell-Knight
Szilvia Bolla + Lล‘rinc Borsos
Botond Keresztesi
Botond Keresztesi
Claude Eigan
Claudia Dyboski
Claudia Dyboski
Claudia Dyboski
Coleman Mummery
Coleman Mummery
Coleman Mummery
Deirdre Sargent
Esther Gatรณn
Esther Gatรณn
Iain Ball
Iain Ball
Inside Job
Ittah Yoda
Ittah Yoda
Katja Larsson
Kawarga
Kawarga
Kawarga
KOTZ
KOTZ
Matthew Cangiano
Mikkel Carlsen
Nico Lillo
Philip Hinge
Pinar Marul
PLAGUE
PLAGUE
Riccardo D'Avola-Corte
Riccardo D'Avola-Corte
Rolf Nowotny
Rolf Nowotny
Rolf Nowotny
Rolf Nowotny
RPG/Moscow, Dasha Kuznetsova
RPG/Moscow, Vitaly Bezpalov
RPG/Moscow, Ilya Smirnov
RPG/Moscow, Ilya Smirnov
RPG/Mulhouse, France, Pablo Stahl
RPG/Mulhouse, France, Pablo Stahl
RPG/Mulhouse, France, Neckar Doll
RPG/Mulhouse, France, Neckar Doll
RPG/Mulhouse, France, Neckar Doll
RPG/Mulhouse, France, Neckar Doll
RPG/Mulhouse, France, Neckar Doll
Sean Downey
Sean Downey
Tahmine Mirmotahari
Theo Triantafyllidis
Underground Flower, eva l'avasseur
Underground Flower, Justine Aubrit & Ava Phen
Underground Flower, Leif Pan
Yannis Voulgaris
Yannis Voulgaris
Yannis Voulgaris
Youri Johnson
Youri Johnson
Youri Johnson
Youri Johnson
Youri Johnson
Youri Johnson
Youri Johnson
Youri Johnson

RHIZOME PARKING GARAGE Int’l

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ย ๐Ÿ™‰๏ธ Adam Vackar ๏ธ๐Ÿ•ฏ๏ธ Alireza Mohammadi ๏ธ๐Ÿฆ  Andrew Rutherdale & ZH Fevek ๐ŸŒฑ๏ธ Aniara Omann ๐Ÿ’ธ Ben Sang ๐ŸŒณ Bob Bicknell-Knight ๐Ÿ† Szilvia Bolla + Lล‘rinc Borsos ๐ŸŒš Botond Keresztesi ๐Ÿงซ Camille Soulat ๐Ÿฅฝ Camille Yvert ๐Ÿค Claude Eigan ๐Ÿ€๏ธ Claudia Dyboski โŒ› Coleman Mummery ๐Ÿฆ‡ Deirdre Sargent ๐Ÿ‘ผ๐Ÿฟ Dennis Rudolph ๐Ÿ‘ฝ El Pelele ๐Ÿ”ฅ Esther Gatรณn โœ–๏ธ Iain Ball ๐ŸŽญ Ian Bruner ๐Ÿ—๏ธ Inside Job ๐Ÿ™ Ittah Yoda ๐Ÿฆ– Joshua Goode ๐Ÿ”„ Katja Larsson ๐Ÿ„ Kawarga ๐Ÿคฎ KOTZ ๐Ÿ—ก๏ธ Livy Onalee Snyder ๐Ÿฆ‹ Matthew Cangiano ๐ŸŒฌ๏ธ Mikkel Carlsen๐Ÿคฐ mrzb ๐Ÿข Nico Lillo โœŒ๏ธ Noah Travis Phillips ๐Ÿˆ Philip Hinge โœจ Pinar Marul ๐Ÿ›‘ PLAGUE โœˆ๏ธ Rachel McRae ๐Ÿ Renรฉ Wagner ๐Ÿ’€ Riccardo D’Avola-Corte ๐Ÿš‚ Rolf Nowotny ๐Ÿ˜‚ RPG/Moscow ๐Ÿ—ƒ๏ธ RPG/Mulhouse, France ๐ŸŒซ๏ธ Sean Downey ๐Ÿš Sebastian Burger ๐Ÿ•ฏ๏ธ Simin Yaghoubi ๐Ÿ”— Sophia Oppel โ™Ž Tahmine Mirmotahari ๐Ÿฆ Theo Triantafyllidis ๐ŸŒ’ Thily Vossier & Gaspar Willmann ๐Ÿบ Tomasso Gatti ๐ŸŒฌ๏ธ Underground Flower โ™จ๏ธ Yannis Voulgaris ๐Ÿ—ก๏ธ Youri Johnson

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โ€œbeneath the beach, seamless paving stonesโ€ is now on view as a pavilion in the 2019-2020 The Wrong Biennalle

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RHIZOME PARKING GARAGE Int’l

The Wrong

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