MH Sarkis degree Show - thoughts

With the advent of objectivity, the intellect departed from the body and assumed a masculine form.

PΛNΛCΞΛ (2021 -) revolution;

CGI trip - visual poem.

The body, labeled as impure and inherently feminine became the vessel for cultural and social impositions.

By creating distance between the masculine and the feminine, dynamic objectivity and pure reason permeated the masculine mind, therefore injecting control and surveillance into the Other.

Into the body.

A journey post-apocalyptic

cityscape environmental crises

visceral sensations

collective inner turmoil. Interactivity aided by machine learning,

'choose your own ending'

(Digital video, 2021)

How can we hack this system?

Parasitic relationships of power - evident.

Interactivity - radical, revolutionary.

ΞXIT (2021) - tapestry, digital machine weave.

J. Butler affirms that social constructs are inscribed on the body. Therefore, bodies can mutate (Butler, 1990).

LIMΞRΞNT translucent torus  hangs,

encases metal

All You need is a parasite.

Powerful - persuasive.

Be it “noise, guest, leech” (Schehr, vii, 1982) the parasite is understood as an interruption of a signal - a curse and an invader. The parasite moves always, strictly, in one direction, like an arrow. (Serre, 1982).

There are many parasites acting on this body.

Derived from origami,

in space missions,

someone stands beneath...

In this world, where art and technology intertwine, different readings of the human and non human condition are encouraged.

Unfolding across different media,

giving life to works that are

technically and conceptually aggregated, MH Sarkis develops such mutations.

Power dynamics, hauntology, destruction, necropolitics and the cultural effects of reproductive technologies.

Essential, demands attention and action.

The result is a well studied choreography,

a dance,

a poem...text.

Going back to question the language and its inscription on bodies,

its oppressive origin.

Promotional video - Digital video, 2021 - unknown.

Extraordinary ability: trespassing - (every)body -

to go beyond,

to sabotage the patriarchal language and the mainstream feminist language

that draws upon stereotypes.

Challenge dehumanising structures, fetishisation, and homogenisation of minorities in a neoliberal world.

Antrum (2021) housed the Human,

modelled from scratch - reconfigured twice

How can these (other) bodies re-inscribe themselves?

What is this body-intellect?


Successful embryo transfers,


female body - excavated.

Wacjman states that “sex preselection, in-vitro fertilization and surrogate motherhood are scientifically possible in privileged Western terms” relatively common.” This arises a question of access that goes beyond the biological.

Actor-network Theory (Latour, 1999)

Assemblage Theory(Farías & Bender, 2009; Law, 2004)

After the game, there is only one winner.

Together x...

Taking a body, a subject, an idea, an event in time, etc;

out of their context.

Pour it into another space,



The uprising gathered the attention - intermediaries between humans and the outside.

Her careful analysis enables the kind of understanding we need at this moment in time.

Nothing but forms of intuition.

We begin with an idea of the distance between any two bodies; this would presumably involve an idea of these two bodies as being in different places.

Feminist approach.

Chart the way forward.

Besides the fierce determination of the incarcerated bodies,

the majority of actions generally remain


A hundred years later those who had rebelled were transferred into restrictive units.

Many people prefer to be controlled than locked away.

Digitisation of information;

Proliferation of interconnected networks of computation;

Automation of industry;

Robotisation of labour;

Potential - fictional archive.


Bodily state of noise - 

(politics of frequency)

As the pandemic urged us to reinvent how communities operate, the need for the integration of new networks of communication in both the private and public sectors has given emergence to a “refreshed” political enthusiasm.

Curiously enough, viral participation in the political debate has not only originated within a network of cybernetic interactions, but as part of a cross-communication assemblage made of bodies. However, as these networks demand more and more commitment to keep up with the accelerating nature of platform capitalism (demanding constant user engagement/phagocytising data), the organisation of bodies within these spaces turns out to be more inaccessible than ever before. 

Culture is good at pointing at things, but not so good at describing the RELATIONSHIPS between things. By exposing parasitic relationships  between bodies, it is possible to unmute the mind and reclaim space in an open ending process of knowledge production.

Drawing from the tension that exists between the re-inscription of the body as pure text (Butler, 1993) and the materiality and locatedness of bodies (Bordo, 1989),  an unwanted guest - the parasite - will  help us face the following quandary: How can we re-code language?... 


Hacking: will not take the criminal connotation firstly described by Paul A. Taylor in 1999 his book Hackers: Crime and the digital Sublime. Here, the term will be used to describe methods of trespassing, that aim for the organization of bodies for institutional change. Also: sabotage and/or positive noise.

Intersectionality: Coined in 1989 by professor Kimberlé Crenshaw to describe how race, class, gender, and other individual characteristics “intersect” with one another and overlap. (Coaston, 2019).

Hacking spaces --> where development takes place. 

Deterritorialization - reterritorialization. Firstly introduced by Gilles Deleuze and Felix Guattari in their work Capitalism and Schizophrenia in 1972.

Parasite/noise: Be it “noise, guest, leech” (Schehr, vii, 1982) the parasite is understood as an interruption of a signal - a curse and an invader. The parasite moves always, strictly, in one direction, like an arrow. (Serre, 1982).


Teresa Margolles, Estorbo (Obstruction) I, 2019


The artistic production of Mexican artist and photographer Teresa Margolles (1963, Culiacán, Mexico) centres on the experience of loss. By processing the relics of death, the artist exposesnormalisation of violence in contemporary culture. Indeed, well known works such as Aproximación al Lugar de los Hechos (Proximity to the Scene), 2020, and La Promesa (The Promise), 2012, incorporate actual material from murder  scenes and/or remains from demolished buildings into sculptural installations.

Estorbo I (Obstruction I), 2019 is a process-driven installation about the Venezuelan migrant workers in Colombia commissioned by the Museum of Modern Art of Bogotá (MMAB).

In 2018, the artist travelled to San José de Cúcuta (Colombia) and interviewed hundreds of carretilleros (porters) that cross the border from the Venezuelan city of San Antonio de Táchira on a daily basis. She bought the men’s t-shirts - soaked in sweat and labour - and took them back to the MMAB. During a performance, the windows of the gallery were “cleaned” with these t-shirts and subsequently labelled, encased, and engraved - with each of the men’s initials - in blocks of cement.

Estorbo, a Spanish word for obstruction, alludes to the “unwanted” - here, mirrored through borders as places of misery and loss. This work differs from most of the artist’s body of work by not dealing with a specific act of violence. Instead, the pain inflicted is continuous to the point of becoming chronic.  Margolles’ portrayal of the men’s garments as relics is disturbing. It makes one reconsider the entire concept of mourning by eulogising over living people as if they were not.  


On MH Sarkis - Limerent

(approximately) 7 minutes

A Voight-Kampff-like-test.

Interactive art and the potential of interactive media.- Limerent makes me question the relation between gender and technology -. -Is an invitation to take up its social and aesthetic interventions -.

‘You will incite the change’- If you want to know me, I want to know you too.

Motion-sensing technology. Can it feel me when I step into its chamber? I can feel it descending over me, encompassing my body with its body. Our presence is one. It’s dissolving the barrier between this human and this machine. We are becomings, one-open-system.

Limerent is a dynamic deconstruction of coded relationships. Its pseudo-organic aesthetics play a part in this experience that is  happening here and now.

I like it. It’s truly personal and scary. And, in those 7 minutes it is for me, and it knows me.  During that moment, I feel embarrassed yet safe, when I let myself be open/opened.  


Monday Nov 5 2018