Guerrilla against the Unceasing Hostilities of the Living

"Guerrilla against the Unceasing Hostilities of the Living" is a year long series of interviews – curated by Michele Bertolino as part of the Research Department of "The Institute of Things to Come". The programme focuses on zombies as metaphor and gnoseological filter to understand subjectivity and anti-subjectivity, conscious and consciousness beings, body and political agency. Zombies are post-human beings that project alternatives and enable us at redefining conceptual and visual categories. "Guerrilla against the Unceasing Hostilities of the Living" is a journey into post-humanism and post-capitalist critique, anti-social queer theories and post-porno productions.

As a complex begins, zombies are body without a mind and human without agency: sub-human and slaves. Since Romero’s "Night of Living Dead" (1968) – zombie’s first appearance in western cultural domain – these one dimensional beings stood out as oximorical individuals: living dead with no consciousness able to dismantle the founding principle of society, the distinction between life and death. They deconstruct the criteria through which one recognized humanity, they demystify human rationality by revealing the endless pursuit of jouissance of human flesh. They are creatures of the real, pinpointing the corpse that we will be. They existing through their very dissolution: their hunger is the only drive.

Zombies jeopardize our imaginary by proposing another world. A world in which individuality and subjectivity have disappeared, in which each being states its mortality, embraces its negativity. After the fall of capitalism, zombies are everything we have left.
Zombies have been frequently referred to as functional and symbolic equivalent of the otherness: they served as images for the slaves and their rebellion (starting form Haitian revolution in 1791), they represent the alienated workers in fordist and post-fordism capitalist production and the consumption of the self in the neoliberalist society of the immaterial labour. They have been mirrors of the AIDS plague that occurred in the ‘80s and, on the other hand, images of new kinds of social bonds.
Mostly, they stand for their contingency: the capacity to disrupt an oedipal linear time and the adhesion to the here (queer) and now. The subject has dissolved, only jouissance is left, thereby compelling a radical re-conception of the political action.

All the interviews will be published on Nero Magazine

Kate Cooper, "Symptom Machine", 2017. Courtesy the Artist