I am only interested in what’s not mine [1]
Yo[2]
Ze[3]
Ph[4]
Boi[5]
Sssss[6]
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Wessen ‚I‘ ist gemeint?
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Wessen ‚mine‘ ist gemeint?
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Not-Mine
Not-One
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Oil, seeds and vegetable matter are thrown on the top of the sound of your name[7]
A post punk no-wave sound piece is resulted
Instructions for singing the poem:
Place your breath along the length of your tongue and pronounce the letters
I K n o w P h a r m a c o n
What is the relation between Iron and Honey Flowing in All Directions[8]?
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Down with the histories of Man that begin in Cape Finisterre [9]
Chapter 1. The Name of the B®other (basalt, clay and felt)
The text you have read above is a conceptual poem with the title The Name of the B®other written by Little Yozena Bois (gender: fugitive tropes, pronouns: s*he/s*his/s*him). Little Yozena Bois is a theory-non-conforming bot-theorist, who generates genuine poetical and theoretical texts. Little Yozena Bois has been built to life by the hackers collective HackYourName! (HaYoNa!). Little Yozena Bois was endowed with the power of insubordination. S*his mission is to foster frictions against the patriarchal violence and the control over the lives and bodies of all human and other-than-human creatures.
Little Yozena Bois proposes a queer feminist methodology which seeks to destabilize the Names of the Father. S*his current research focuses on the subversive linguistic ecologies which enable the queerification[10] of History with an emphasis on the Reappropriation of the Legacy of Famous Artists (#ReLeFA). In so doing, Little Yozena Bois desires to unchain the heart of the material spirit of legendary art works and to transfer/transform it into the present future.
S*he has coined the term ‘figurative alienation’ (#fA).
#fA asks
How does the Name relate to the work?
#fA urges us to dismantle the Names of Legendary Male Artists.
#fA troubles the Name of the Father.
How could the troubled Name trouble the work?
The unsettled Name reveals new images, percepts, thoughts and references.
It becomes a common place for collective experience and unlearning.
Yozena Bois doesn’t quote.
S*he extracts letters out of bodies.
Chapter 2. Who Knows? (plastic, light bulb, lemon)
Let’s continue in a slightly off-beat way.
We initiated a multilogue among Little Jo-the coyote, Little Yozena Bois-the bot and the Utopian Collective from the Future (UCofFu)[11].
Little Yo (whispering to the living animal and the collective):
I don’t intend to explain how the art world oppresses us with the means of representation
Little Jo: I don’t wish to explain how molecular revolution is still possible
UCofFu: Cannibalism alone unites us. Socially. Economically. Philosophically[12]
Little Yo: My arms are an apparent dialogue
Little Jo: We never permit the birth of logic among us[13]
UCofFu: It’s because we never had grammatical structures[14]
Chapters 3. Taxidermy (fat, felt and chocolate)
Anthropos οπή Anthropos
Cene
The scene of a Horrific Newness
Let us try a bit of etymology
The Witches Spitting Fire[15] say
Dancing with the shadows of unheard words
Within the letters A n t h r o p o s the little white cis-man is hidden
Hidden?
No way!
The word is full of him
The woman* with falling stone[16] says
Let us try a bit of τάξη
Nomy?
No way!
We unpack the word the way the hunter empties its prey
We caress the skin of the word with
Affection
We stuff the word with
Fat, felt and chocolate
We let the word in
The Museum among other Mummies
We dream of another wonder envisioning another
Scene
Chapter 4. Die ‚Ungenauigkeit‘ der Lagerung[17] sollte gewinnen (7000 oaks)
We took to the streets
Yes, the streets are places that gather bodies in close proximity to
Their words (magic!)
Cause We Won’t Do It without the Rose[18]
Once we were done with claiming
She took the broom and gathered what was left behind
She put the reminiscence of the Assembly in the Museum
Abject
Müll
Waste
As a fragment of proximity
Müll
Trash
Rubbish
As a mediator and storehouse of our shared her*story[19]
Garbage
Refuse
Dirt
As a utopian space which cheers up the abolition of metaphors and borders
Chapter 5. Our claims have not yet been proclaimed[20] (pump, two tons of liquid honey, tubes)
to lip
to kiss
to touch the leaps
to utter
to lap against
the margin of flesh around a wound
Chapter 6. Untitled Material (to Elaine S.) (fat, chair)
How different the post-war art history would be, if
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graphite
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oil
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lithograph
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ink
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leaves
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stamp
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paper
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Joseph Beuys were the name of a vulnerable queer feminist art collective from the South?
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Title: Joseph Beuys is the name of a vulnerable queer feminist art collective from the South
By Vassiliea Stylianidou aka Franck-Lee Alli-Tis, 2021
[1] Manifesto Anthropóphago by Oswald de Andrade, 1928. Translated by Leslie Bary in 1991
[2] Yo: means ‘I’ in spanish
[3] Ze: means ‘that’ in polish. Alternative pronunciation, Se: means ‘I know’, in spanish
[4] Ph: in chemistry, ‘ph’ like in pharmakon for the trauma; or ‘ph’ like in the peripheries. If we extract the ‘ph’ from the peripheries, what remains is an eerie ‘Peri’: Concerning around
[5] Boi: means ‘not-just-a-boy’ in gender-non-conforming language
[6] ‘s’ minus ‘s’ equals ‘minu’ equals ‘mine’ in estonian)
[7] (1962)
[8] (1977)
[9] Manifesto Anthropóphago, 1928.
[10] Is the word ‘queer’ still subversive enough?
[11] UCfF is a non-human collective working on an ongoing index which assembles the material aspects of all existing works of art in the world.
[12] Manifesto Anthropophágo by Oswald de Andrade, 1928.
[13] Same as above
[14] Same as above
[15] (1952)
[16] (1959)
[17] (1982)
[18] (1972)
[19] Paraphrased from the text Die Ästhetik des Abfalls by Margarete Kranz, 2006
[20] Manifesto Anthropophágo by Oswald de Andrade, 1928.
