In the era of the Network Revolution, the conflict of failed utopias has demotivated millions of citizens, invisible workers, and pixel artists. The situation of intermittent disputes and protests has led to strikes. Sisyphus stimulates the hysteria of a magic mouse in the matrix, at the click-and-click rhythm of the keyboard. It manages neoconceptual language with numerical values, analyses synthetic information index and speaks of an authentic linguistic renewal.

A headless chicken runs towards an immense editing table full of books, with scattered memory and the impossibility of storytelling. Without comforts or comfort, the chicken invokes hopeful fables for each inhabitant of the chairs. It is an oral flow generator from your computer’s cache.

The Experimental Echo Museum recently opened its doors in spaces as invisible as the gap between the refrigerator and the kitchen of major museums. The current post-photography and paracollecting exhibition is a collection full of supermarket items and medicines. The dance floor of the mobile disco is a meeting point for the audience, who found by chance truly grotesque moments. An annoying spectator who visits «The Refrigerator Is Empty», the important statue of Franco in a refrigerator, criticizes that the fridge was lost and becomes the banal project «fridge-with-cold-beer».

The mapping of a system of writing and spaces invariably evokes the complex map of an itinerary’s locations. The territory of a sort of dual detective, spatial and symbolic play. Drawing or text collage of a decontextualized morning personal cleanliness.

The Catalan Alicia Esteve Head takes a mass bath at Alhóndiga metro station as a cultural attraction. Make no mistake, the performance is also a tribute to the auca of Pietr Mondrian, full of scenes where a cop vandalizes the subway line with graffiti.

In the basement of one of Polanski’s ancient houses, there is an exact reproduction of his cell for taking chemical baths. It is frowned upon to have bath scenes in the living room, although it’s poorly camouflaged in his house, it never hurts an inflatable toilet that spits well while fucking on it.

Cocaine scene in the bathrooms of a gallery looking at a sort of mirage of Dalí, in his decontextualized morning hygiene, eluding erotic-visual feasts with his lobsters. Velázquez’s mirror acts like a distorting mirror of an already distorted reality.

Extra-sensory pejorative perception can be disrupted by creating different mirrors with decentralized optical illusions. The revolutionary reflection game uses virtually distorted hallucinations and mirrors that multiply the critical mental condition. It’s capable of sonically questioning the illusion of a hypersensitive subject, creating a symbolic garden multiplier of figurines and optical illusions.

A new generalisation of the Turing pinball machine is used to reform the out-of-the-case Educational Constitutional Act. Its TV technology supersedes the obsolescence of the command tower of the Orwellian pyramids. Designed to transform human cultural elitism, and foster post-digital thinking with cyborgs and fungi philosophy. Successful tools, in autonomous space-time centres, become a living future in the global landscape of code technologies.

The babbling of former President Plato has generated new narrative political conflicts in the Democratic Republic of the Orinoco, without his chain of command being successful in establishing an ethical art system. The supposedly democratic regime neutralizes the serious attempt to create the State of Congo Rose.
The phosphorite pink feather chimera sets a plot regression and turns off the Nintendo TV circuit with interactive stickers. We must engage a disparate debate to analyse and trivialize more serious territorial problems. LONG LIVE THE REPUBLIC of glitch utopias.

Sexualization of architecture has immortalized certain houses. The creator of Playboy famous home whose revolving bed has become iconic, has a fitness room, kitchen and office. And at the end of the day, he exploits architectural boundaries to practice heterosexual sex with the Chinese lucky cat curled up on the couch.

One of the pieces of the latest monographic exhibition on Marcel Duchamp is the work entitled Kim Kardashian with a moustache keeps his ass warm on a comfortable sofa. The institutional artistic context of globalised capitalism is characterized by the inclusion of overrated artists and works that offer no remotely original reading of the artist’s version of the urinal. I’d say Duchamp’s ghost might as well put a Monalisa emoji bow on it.

Gustav Metzger dressed in a suit jacket of African fabrics and elegant tie, dances holding a cup of coffee and relives a vital playful sonic experience associated with psychedelic dance. His sublime personal lysergic aesthetic is the opposite of feminist culinary experiences.

A middle-aged white man, in a suit and tie, paints the colors of the Spanish flag on a flag of a transparent white aesthetic to wave in the wind the disused right-wing speech. The image is based on the creation of a cheap slogan of ideas and values.

Barcelona will be the only contemporary city that states as a real visual heritage of mediums. It’s uncomfortable the deliberate breakdown of the most privileged neighborhoods and districts in kites that will undertake a long shared excursion.

An international art fair is one of the most important tourist attractions. The symbiosis of fairs and amusement parks is reflected in the carousel of the fair, its main function is the creation of banana-flavoured products. Offering a fulminant banana, the contemporary banana will be served.

The femur of a Mexican elephant taking out a banana is a symbol of the nation’s identity. The principle of identity appears to be proven by the impact of a wild association, a big elephant and a banana involved in the construction of certain Latin American nationalities. This representation of fictitious identities that will eat bananas is a pre-established academic setup in crisis.

On the website of the Vatican National Museum of Artist Cars, there are a large number of electric racing cars. Rueda, a manufacturer of Hispanic-Swiss Tuned Flying Cars has converted crushed dishwashers and a kind of large communal hospital bed with neon headboard into a unique car ready to drive.

The aporetic spaces managed by the artists are a kind of double virtual art space, for a lifestyle and resistance to the temporality of the work. It is an immense gathering place, joyful and symbolic, which houses inhabitable structures and objects necessary for the reflection on the project. This is the domain of the third space between reality and the self-managed symbolic space, both in the same alternative space.
It’s not an empty intimate space. The artist’s capacity in this relational space is to place walls and relocate a mountain of Woolworths-branded chairs and furniture, and to activate dialogues with standardization, the effect of that dilapidated Ikea kitchen furniture to create another design furniture.

Migrant identity is a silent clock that articulates a subjective time to allow a look through the female body. There is also a physical body writing, showing us bleeding wounds from a complex map that now counts the operation of a non-terrestrial clock.

The model features an invocation of groups of apples on a work table filled with round plastic. Impossibility table or dematerialised art laboratory.

In a strange room of an old mansion there are true thieves who build their own reading of the images. The obscure discourse ignores that there is also a female body on the table.

Astronomical computers were developed in the field of cultural products for the management of the plastic vestiges of modernity. The industry in the sector has deployed a unique social political value in the plastic universe. The portable and deployable desktop device combines yellowish plastics sets, figures, tin soldiers, packaged beetles and a sort of gadgets. An effective demonstration of its skills is writing, singing, taking photos with an earpiece and making coffee-tea-juice.

Beneath the image of the stretchers of this large cloud of scissors, there is the hegemonic shadow of vintage checked jeans that never arrived. The proposal is currently being considered and released.

The umpteenth apocalypse is a persistent linguistic game, introducing the «meteorite, paper or scissors» deviation. Irony is a good companion in art’s playground.

In the semiosphere of applied nonconventional sci-fi, the rules of storytelling play with linguistic aspects and soundtracks of technology. Miss Borges protests marvellously against the old-fashioned and perverse rigor of religion, and the living scissors sound again on the solid wooden table. The origin of the pure sensations between taking hormones and practising art is a classic philosophical question.

Solid wooden scissors ride roughshod over Universal Human Rights to create a wide paper arch.

After years of cuts in contemporary culture, the 21st century is a nice canned shit.

Some pagan little green men dance, wearing bright suits seasoned with the wires of their built-in microphone, which invites them to overcome the milestones of Western democracy. Pretend you’re possessed, as a didactic tool of thought, hilarious, and educational.

A commentary on Johnny’s already celebrated home video dressed in a cheap vintage suit and Velcro tie, and his series of seemingly daily actions. All of his anechoic camera footage follows the same pattern. The toilet that spits smoke in slow motion, and the symbolic paraphernalia to mechanically document quite similar gestures with his teeth. The uncanny disturbance of the artist spitting in the mythical project of the rotten brush is obsolete. Show me your Teeth, Johnny, and extend the scope of action to the essentials of neo-Roman painting.

An army of Soviet workers jointly perform Lenin’s partisan anthem. Belgrade against the collapse of an era embodied by the precarious worker of socialist realism. They sing «I want a new toothbrush,» they wear a decently presentable cheap suit and their teeth are creepy.

¡For the love of Hirst! Tinder’s love, disposable; feudal love, so stormy; love and hate, the creations of a dark god; a segment of the affective mediation market that traffics in Shark posters and round holes.
Diamonds are the Hannibal Lecter of art, the absurd trademark of the house.

A simple meme gives rise to a colorful orgy of shoes and chocolate cakes. But perhaps our minds seem to be dolls and don’t process perpetual meme. LOL is the only laugh that mitigates the oppressive ass, enhancing that merely tolerant mentality.

Predicting the future is the big deal of the present. By performing, we investigate the rarefied present ridiculing a typical Greek statue.
Meanwhile, my eyes meet a huge blue Klein stuffed animal, and the near future rises into an ironic dystopia dumped in a container.

In the archive of German art historian Aby Warburg, his research on the statues and monuments of imperialism and colonialism has been recovered. It proposes postcolonial laws and universal rights of nature, the dismantling of statues of hunters and animals, and the collapse of the statue of Columbus, the statue of Franco and the statue of liberty.

The forbidden books chamber contains the best science fiction books. What would you call the conversion of the red book into an illustrated Bible full of notes from a punk-rock trend? Atomic bomb! It brings together narrative conflicts from other latitudes and injects sex, rock and violence into a full-blown communist iconography. The original bird flies over surprisingly decorative post-nuclear landscapes.

The vast political map, scene of protests and revolts in Libya, is a compost, the high mountains explode in rubble coordinates. It is a sort of dispersal of rocks, stones and birds of the variety zebra diamond.

The virality of the perras project has already become history. A prophetic hi-fi female figure, vigilant with obsessive male gaze, relegated to the shape of a white dog whoever associating women with decorative beauty.

A photograph that looks deep inside itself and documents the emergence of the cinematographic genius. Buñuel’s innocent Andalusian dog had already announced on several occasions its desire to turn his death into his masterpiece. Dissenting and starving, it explains criticism and engaged art in a kind of contemporary Zeitgeist.

We are doomed to the entropic landscape of deserts, and the sound experience suggested by the landscape of trees has become the extended figuration of a horrendous giraffe carrying a string of sausages.

It is bleak to recreate the beauty of the look at electronic sheep in the field. The permanent position of the camera, undisciplined and vigilant, suggests a performance in search of the most fundamental stratum of the potential pastoral landscape of the desert.

The documentary Save a White Elephant tells a fascinating story of struggle and retrieval. The apocalypse of the hay industry and technological catastrophes are leading to a systemic planetary collapse, an extraordinary catastrophe for elephants.

Critical writing entail visiting the tree of wisdom which only exists between art and life, attempting to dive into a kind of «matrix» of the battlefield called project. But before arriving, recharge the batteries in the nursery that provides feral content well watered by cultural workers and other fauna. Find a contemporary tree and consume TV or political criticism of fruity language.

A blank white square on a black background is a promotional or austere cover photo. By going through the letters, one finds bodies that act and matter. Messages from real figures and situations. The speech makes the dancer’s body talk.

The government of the city and its inhabitants sink Chanquete’s boat, which was later accepted at the foot of the Madrid mountains into a fish tank containing raucously restless water. The subservience and servility of the authorities made the contextual know-how tremble.

Mathematics Bombs of Destruction have engulfed in the rubble the houses of the marginal suburbs in the plastic magical mountain. The photography of a sailboat becomes the auratic image of the destruction of those worlds and the end of the Anthropocene.

Natural pools of May cold water and hot rust water; spectral sea flows; volcanoes that throw underground layers of large igneous rocks from a new geological age; non-inert rocks of basalt, granite and time are part of an upward spiral audiovisual palimpsest, typical of dry stone beings.

The giant artificial beaches advance, exchanging biodiversity for a barren landscape dubbed post-apocalyptic. At Chile’s borders, technological culture’s data mining footprint is shaping a vast desert. Extraction chains and the illicit sale of beach boards are the horrific reality of salmonling and other users.

The seed of endless narrative is the sound of snow. The scene of an impeccable musical country making its polyphonic exhibitions activates the script and, some ramps intervened when painting with hammers or axes, had covered it with other acrobatic situations. In the next scene, a crack of great expressiveness once again wipes out the story.

In the parallel world of skateboarderrs, building acrobatic display ramps and creating new possible routes, from London to Tokyo, means understanding the globalised world that surrounds us. Skateboarding culture orbits industrial music, intervened skateboards and cellulose snow. And the old abandoned factories are devices full of ramps, scenarios equipped with spiral choreographic material, connected cylinders and atonishing ramps.

Google’s panda constantly travels on the stationary bikes from a New York gym. Its guttural outbursts will fill your streets and establishments with a noisy ambient sound. This spring it will make nine stops between Istanbul and Mordor. Then everybody will watch their screens synced to Street View.

The recent airplane crash made scientific observation very difficult during a perfect eclipse. They constantly work with planes and satellites that flutter in memory of the artist disappeared in an offset between the real sun and the fictional sun.

Poor communication during prime-time live tv in a shopping mall at a major international airport. It’s a great roar because of an accident on the final corner of the runway. The behavior of planes and satellites fluttering in ecstasy over the farmland of bees and other insects is once again a killing device. Turning off the television is the communication sentence that accompanies the row of hardworking ants that disappear scattered.

I remember an intimate conversation on a small bench in a playground of seemingly domestic architectural prototypes. Oral readings of drunks listening to trivial initiatives of collectivism and group skills. At one point in the conversation, Burnt Corbusier proposed a much more interesting phrase. Perhaps there are no typologies of public and domestic architectures.

Most museums have art collections. There are natural science museums and noble plants from history museums. To decompile the visitor by creating new museums, the idea is that the claustrophobic interior of a museum is a delicate turquoise botanical garden with psychoactive plants, magical plants and many palm trees, an observer chair and even a camel.

There’s a little story in a photograph. A car was on fire in a corner of a crossroads of New York streets, heroin and unidentifiable people with shitty language. It is an example of the reality of the street, an area of monumental catastrophes that have been used by photojournalism.

Here reality is captured without modesty, it is a fire roll declared by Trump, which reproduces in the mouth full ambivalent words of puppies eating dunes of medieval people. He was chosen to mount a carnival of attacks, censorship, outrages and arrests. At popular parties, 500 volunteers use shovels to displace Donald Trump’s presidency, until it completely melts into the resistance fire.

The critical social body is supposed to be a transformed but empty body. This functional body and its affections are rarely present. They are digital gazes and voices that suffer. How can they break with the hierarchy of the political body? Occasionally, she says «stop!» and the image freezes.

An alternative image to the slogans of our capitalism and neoliberal schizophrenia, now dominant short-term and global. Capitalism of anal, viral, inhuman, aggressive and spectacular anxiety. Pure hyper-specialized capitalism on the emotional static plane of a red light whose duration extends beyond unconditional love. Kill them and cook them! Capitalist love thriller.

A strange illuminated display tunes into a subliminal porn show. It is the first public signal to flash with an electronic GIF. The texts hide claims from porn workers that generate a supreme ejaculation of road traffic.

Let’s convert the street into a vast community Epicurus garden with a small planetary citrus orchard and carbonated water in the main streets. A symbolic Garden will remodel the streets from top to bottom to transit through the organized crime-owned irrigation systems that were dead. Earth is a small planetary garden.

When he reaches the nave’s door, the director of the International screams. The show is a way to deal with how little it costs to leave the king headless to behead. This space houses a group of people who have been dedicated for thirty years to healing power structures. We’ve inherited a resistance initiative. Long live the dead king.

The exiled manly community pays homage to the Hundreds of dead of the Syrian war. Trapped among many hidden surveillance cameras, webcams, Leicas, Sony video cameras, TVE, tiny GSV. They heard many indiscriminate shots from the paraphernalia of cameras, photographs and frames.

The King Kong Theory begins with feminist guerrillas posing real problems, standing in a struggle with gorilla clothes and speakers in hand.

On the walls of a room reigns a visual system of the leaders of history, based on important people involved in power. Solar center of our ideological system or representation of an interconnected operating system.

Even the deserts are full of life. Kinships that are not determined by blood-relationships. Human presence that critically questions the ecclesiastical monopoly of market spirituality by the commodification of relationships of suffering. Biopolitical movement or traditional human rights mutiny. Mr Satan and Doppelgänger distribute the consciousness cake.

Montse Carreño y Raquel Muñoz