At least it was a fruit pie.

Regime IS is threatened by an alternative.
Also God believes in IS.

IS, OR & AND

I found Fernanda Eugénio’s (3) work as a reference to think about relational art concept. She’s an anthropologist. In her work I found a very interesting perspective on the policies of the twentieth century and their influence in arts.
She considered that we left behind the regime of ‘is’, where everything has to operate in the same way. In the last decades we’ve been through the regime of ‘or’, that starts in the period that we are studying and ends in postmodernism. It’s a regime based on counter-discourses, focused on interpreted alternatives. Finally her proposal is the regime of ‘and’, where she defends the co-existence of the other two regimes, and all their differences.

“Is a third image of thought – and of action, which in this case do not
oppose: an image of reciprocity. A third image that is not based upon the
presupposition of entity, of species, of a contour prior to encounters, but in
which we risk to experiment with the varieties of a relation, with the
differencialities of difference: and, and, and… a living mode in which we don’t
have to choose between a resigned existence and the resistance of tyrant
libertarianisms; in which we have to commit to a rigorous (though not rigid)
work of re-materialisation of both movements of the “de-scission” operation: a
decision to de-scissor, to do without entitarism, without the certainty (or
without the desperate search for the postmodern lost certainty) that “I am” as a
condition for encounters. To re-exist in each encounter, be the consequence, and
not the cause of the relation”

The regime of ‘and’ has a possible application in a micro-system like the space of theatre and performance.
The regime of ‘and’ appears as a massive structural change.

Discovering a new living mode is a problem that crosses both artistic and live in community. We never achieve this living mode. The avant-garde, whether political or artistic, is looking for a utopia world where “there are no spectators, no artists, and we are all (whether we assume that responsibility or not) makers of our own co-existence.”