the PARADOGMATIC WALL of the SEGREGATED HERD
	a research project (april/may 2020)

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A virus is a parasite of the collective. Because it is only in the collective that the self-replicated code starts to come alive. The virus introduces itself at a single point and then spreads through the herd. When incubation is slow, the effects become visible when change is irreversible. A pandemic isolates the individual. Social distancing reduces the mobility of the swarm to near zero, and the economy drops like an eagle with its wings shot off. Pandemic as an affect is a feeling that starts with a little unease but soon spreads exponentially through the nerve system and puts the entire body on edge. The virus is at the same time a giant splitso-machine, as well as a universal unificator. It is a paradoxical affective amplifier that amplifies the fear for contamination as well as the desire for physical contact. It forces the swarm to recalibrate and coordinate on a different plane and along alternative lines of communication. The corona crisis has put upon the world a series of restricitive measures. As any artist knows, restrictions can also be made into use to produce interesting results. In an effort to reunite the collective under the constraints of a pandemic we started with building a wall. A wall may be a primitive way to unite a nation against a common enemy , but there is also the so-called Lennon walls that are the binding agent in the Hongkong protests. And lets not forget how the wall turned Berlin into the hipster capital of the world.

possible protective measures/ constraints :Because of risk of contamination, artists cannot work in the same space at the same time. They have to work on the wall in different timeslots :To prevent the energy that is accumulating under the constraints from flowing to online platforms, artists can only communicate about the project within the physical space of the project. :The project is an experimental improvised collective assemblage or exquisite corpse and builds up in time. All rules can be changed when insights about the risk of contamination change :

Collaboration with Erik Tlaseca

Thinking about 'Exquisite Corpse' as organizational practice- Trying to activate all agents in the project by addressing them directly in the work- Trying not to fall back too much on personal styles and routines- Trying to understand other participants contributions as an effort to communicate, Trying to formulate a reply by incorporating, processing, paraphrasing, reframing etc. these contributions to provoke a response- Trying to allow the endresult to not be predetermined by expectations or excessive planning but to be the product of all interactions-

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