“some people stand in the light

afraid to step into the darkness”

Friendship 

FUCK

Fake

Failure

Fatal

Fiction

Faint

Fantasy

Foreigner

FUCK

FUCK

Fake

Failure

Frustration

Fragility

Freak

Fear

Foul

Fool

Feminin

FUCK

Fake

Fuj 

Failure

Fluidity

Feiki

Filosophy:)

Fertility

Fuj 

Following – Guiding

Falling Together Apart

Fake

Failure

Fuck each others ideas

Fire – Wind – Water – Earth – Spirit

Flirting Ficus

Fuchsia

Futureless Faeries

Furry Belly

Fasting

Fearless

Flow

Furious

Fast Dreaming

She is a shifting variable immature timeless not yet finished ageless nonadult.  She bonds and becomes with. She is a parallel companion, polytemporal – polyspatial twin, symbiotic daemon knottings. She holds the darkness together dynamically. She doesn’t abandon, she stays and she adapts. She is inverted Baywatch. She is a Bewith Bitch, she is a Bewitch. She is eye-kissing and caring. She is an Echo in the uncanny valley.

• Friend

She was reborn into a teenage girl who is shapeshifting her body continuously. She had a need to reconnect. To heal each other, after a long period of being together only in nets but not yet present as a complex body that can touch itself. Now she touches herself a lot. She wants to be together and alone (Barthes) with others (Alice Chauchat). She is a pregnant sick magician (Tanja Šljivar, Tamara Antonijevic) conceiving snaked through body with very long vertebrae, knotting her spine with other undulating spines (Anne Juren). She writes sym-poetically (Donna Haraway), licks sweaty pages of sci-fi and fantasy books (Philip Pullman) and crawls in labyrinths (Ursula le Guin). She pisses together with others and let her jaw squeezed because of chasing anxieties and nightmares falling on the ground (Benoit Lachambre), she puts her pussy on the mirror where audience is watching her doing it (Luciana Achugar). She gossips a lot (Lucia Tkáčová a Aneta Mona Chisa) she fucks the Earth, marries her and she sees nature as her lover and not as her mother (Annie M. Sprinkle). She dreams dark and makes common visions in wet environments (Starhawk), she lets levitate her enemies (Jerry Rubin and Abbie Hoffman) she practices regularly her naive inverted satanic rituals (Per Faxneld). She is collapsing optimism (Meggie Nelson, Lauren Berlant). She heals and cares for her scars and recalls the wounds of her burning body (Silvia Federici). She lets us grow into inside (Emilie Hache). She is Upside down (Stranger things). She is Emo to extremo (Zero Two). She weaves the space and sinks in spits (Anime Girl Spit). She swims in underspaces and mapps the universe by parallel parking (Lucid dreaming, Dreaming fast). Universe is paying for it. She is disgusting (Jennifer’s body, Vagina Dentata) and prostitute (BABY, Toni Morrison). She reclaims again the radical necessary joy she feels (Jonathan Burrows, Postdance). She loves to invite others to her feasts (SCUM manifesto, Anna Delvey).  She is-with, she faith works and fake heals (Valentina Desideri and Stefano Harney). She doesn’t love you but she loves (Ariana Reines). 

• Her Dark Materials 

In “one of uncountable billions of parallel worlds” Philip Pullman, in the trilogy, His Dark Materials develops an idea of a world where every human has its daemon – an embodied presence of one´s essence (spirit, soul) which is a human’s eternal companion. It has a shape of a real or imaginary creature. The nature of this companion reflects human´s essential characteristic. Whereas the adult’s creature has one settled shape, children´s daemon can change the shape almost instantaneously according to the fluid, not yet settled, personality. Once the human becomes an adult the constant transformation of her daemon stops. 

The daemon and the human being are twinned for life. It’s like a visible spirit or a soul within the human. Two bodies – one person. There is a particular link, which includes both physical and psychological bond between both. The bodies which are able to separate and coexist in a very intimate relationship through the distance. One cannot exist without a daemon. Like the voice and the diaphragm. The human and the daemon live and die together. The human who rejects the daemon resembles a zombie and slowly dies in pain. The pain comes with the ignorance of these beings. Only the witches are able to separate themselves from their daemons for longer distances who can then travel far away from them. They are not ceasing severing the bond between each other rather deepening it through the practices which allows them to stay connected in the distance, especially when they have to act singularly in the intertwined manner of multiple body. And their daemons are still an inherent part of them.

• Her body   

She is an inseparable part of all her units a vice versa.  All her parts keep their own integrity and they are capable to operate singularly by constituting the part of the whole. In her text, The Octopus in Love speculating about the potential of an art institution Chus Martinez unravels the concept of the institution acting like an octopus,  as an animal without a central nervous system which has three-quarters of the brain located in its arms, therefore, every arm acts autonomously. Martinez advocates this similitude in order to explain how the art institution should be able to manifest her own needs.  

She is the institution sui generis. She read the code of practice of a feminist institution and she is all that: she is (self)critical, the ethics of her own internal operations are as important as the content that she presents, she cares and she struggles against the patriarchy in all its forms. She sees and senses that the world is in Vertigo infected by epidemic of debilitating work within gender and race injustices. In order to re-engineer the world as Laboria Cubonics propose in Xenofeminism she revert existing technologies by using her body as a particular technology, operating system and thinks with others in alienated entanglement. To melt the accumulation of technocratic discriminating stereotypes, she activates her spines, limbs and tails, uses her dreams, psychic and magic craft. Spells. 

She is not just the sum of the activities of her members nor the result of common work managed by the central brain even though based on democratic principles. Her final structure should be more complex, it should rise from the deeper connection – from “common vision”. She should create common net/web within the structure – to accept and develop string figures, as Donna Haraway suggests, not just between the parts of the collective but also in collective´s communication with the outside world and in the creation of the content. Because exactly how Daniel Blanga-Gubbay writes in his article (quoting Adrienne Maree Brown), the structure is as much important as content. So she rethinks the nowaday’’s structure. She wants to be a Möbius strip – shifting fluently between the content and the form.

• Her intentions 

She is a fertile uterus linking the activities and projects of her members focused on cooperation in the field of culture operating in the Multiverse of the contemporary art scene, expanding her activities by inviting guests to collaborations in order to respond to the current unlubricated issues affecting wet contemporaneity and its elastic contextasis. She thinks together in labyrinths, reads out loud, chooses the tarot of the day, practice lucid cat power naps and via gathered collective knowledge empowers her common vision, bewitchcrafting, Echo cards, tuning pindulum, parallel parking, ClitorisTV, WeirdButInteresting publishing house, Melancholy of Marissa Cooper…

So, what about you? Already pregnant?