Good things, bad things. The good ones sometimes followed the bad ones, and this, against all odds, gave the impression of an actual improvement in collective desire. Poetic utterances can anticipate scientific advances by decades apparently. But this is never an obvious consequence, neither is it a direct effect of poetry. There must be salt... and there must be people who read the poetry... others who learn it by heart, some who write those verses again, with a few variations.
The best artists don't ever repeat themselves, they start over and over again from scratch, uncertain with each new attempt precisely where their next experiment will take them, but suddenly, spontaneously, and unaccountably, there comes something which your instinct seizes on as being for a moment the thing which you could begin to develop.
The Pandora project is a collective artifact which started with a group of artists, poets and cultural producers, as they suddenly began to talk to each other from different angles, unusual positions, far from the couch. - poet Isidore Ducasse once wrote “do not succumb / under-lie / move away from that couch.” - he was right.
These talks expanded each time these artists met, as they were bringing in their new friends, their greatest antagonists, their demonic persecutors. They became a long long series of dialogues, which were later collected on the soft fibers of a papyrus roll. Suddenly it became clear to them that, while talking, they were also transforming their mutual discourses, as well as the necessity that laid behind them. With the flow of the roll they were actually creating an artifact – a Pandora Box – a mischievous gesture that for as tiny and unassuming it was, could as well be capable of emanating extraordinary sounds and powers, redeploy the order of things, set free the anguish of their private, earthy mythologies.
So, this is just another story from a Pandoras box, and there is no better way to introduce it to you than by opening the lid.
Content is copyrighted to
Susanne M. Winterling
Federica Bueti, Francesca Lacatena, Alain Siboni, Antonia Lotz, Chiara Figone, Archive Books, Susanne Pfeffer, Silvia Federici, Gayatri Chakravorty Spivak, Elisabeth Povinelli, Franco Berardi Bifo, Suzana Milevska,
Parts are supported by
The research fund of Oslo National Academy of the Arts