• 

  limits of representation

  • How do you relate the film as an organization of perception and the role of changing technologies of perception in the organization of war?
  • The film opens with the text: “This is not a documentary on situation of women in Afghanistan”. Then, what is it?Why it is important to introduce the film with this statement?
  • Money shot v. Eyaculación femenina
¿Porno es la historia de un falo, postporno es la historia de un dildo?¿Qué comentarías sobre el uso de las prótesis, cuál es el papel da la cámara al respecto?
  • Auto-representación y acción directa
  • “This is What Democracy Looks Like!” deconstructs the mass media representations of the protest in Salzburg; the gesture consists of exhibiting a mediality, of making a means visible as such. What can you tell us about the image of cobble stones? Who filmed it and how this material was used as a counter-argument to the police accusations on the news report?
  • How do we make the representation activating in order to open up real social processes?
  • Where are the limits in the representation of the social?
  • How do you problematize the concept of representation?What role do performative tactics play in “Passing the Rainbow”?What can you comment on the re-enactment scene of women’s demonstration?
  • How can we critically intervene to subvert the logics of simulation? What is the potential of making images against images?
  • What does it mean to Make Films Politically today?
  • How does the relation between form and content operates today?
• 

  performativity

  • Multiple names
  • What can you comment on anonymity as one of our protest tactics?
  • What is the use of fiction and popular culture in the articulation of protest?
  • ¿Cuáles son las características de la performance postporno y que relevancia tiene la performance hoy en día como táctica de la intervención política en el régimen pornográfico, político y económico heteronormativo?
  • What is the critical potential of performative embodiment in different characters which you created in MAIZ to disrupt hegemonic sexualized and racialized body regimes?
  • Super puta
  • Madam Cloe
  • She heroes
  • Minister of Internal Organs
  • Eating Europe _MAIZ procession. Why and in what way do you use the concept of anthropophagy in articulating the protest through performative interventions?
  • “We Demand Our Rights!” In what way this statement changed the position of the refugee struggle and what can you comment on the importance of self-organization of this movement?
  • The toilet brush became a viral image, the new symbol of civil disobedience in Hamburg. What was the power of this image within the context of protests?
  • Lampedusa refugees, Welcome!
  • We decide!
  • Schwabinggrad Ballett
  • ¿Qué formas simbólicas tienen hoy la capacidad de orientar en sentido emancipatorio el imaginario social?
  • Carteles de la memoria

  • What can you tell us about the Occupy Tape and how does it function?
  • ¿Cómo surgió el eslogan “Si no hay justicia, hay escarche popular”?
  • Clandestine Insurgent Rebel Clown Army
  • The Laboratory of Insurrectionary Imagination
  • In what way the carnevalesque political irruption of the street parties prefigures the forms of protest within the rise of alterglobalisation movement?
  • The Five Finger Tactics
  • Volx Theater Karawane
  • What role do performative tactics play in Empire St.Pauli?What is the relation between actions and activities in public space that took place during the protests and the film?
  • How do you relate artistic practice and activism in the struggle against racism and sexism? What role do performative tactics play in order to intervene into the space of the sensible and visual?
  • GAC_grupo de arte callejero
  • In what way this repetitive performative mechanism is related to de-politicization? How the process of de-politicization function in global capitalism?
• 

  resistance

  • General Strike: 29th of March 2012 Barcelona
  • Refugee Protest Camp Vienna
  • What possibilities are opening for a common articulation of our struggle between different activist groups against the European racist politics of exclusion?
  • ¿Cómo hacer el cortocircuito con el sistema capitalista aleatorio de los valores fluctuantes?
  • ¿Qué quiere decir una revolución sin sujeto, de proliferación de singularidades, de identidades post-identitarias? ¿Por qué hablas del cognitariado, cómo defines este concepto en relación al capitalismo y resistencia?
  • ¿Cómo pensar el poder y la resistencia en la esfera recombinante? ¿Cuál es el potencial de las tácticas de la acción política, más en concreto, de los movimientos sociales que surgieron en el último año?
  • Within the postmodern persistence of post-dialectics you return to dialectics; so how do you define dialectics today and in what sense do you think it still presents, as a method, a radical potential for emancipation?
  • ¿Cómo acabar con el mal? How to end evil?
  • In what way “creative activism” presents the possibility for social change?What is its capacity of transformation?
  • Occupy movement
  • Activism before the Internet
  • How and in what way the politicization of use of the new media technologies can be useful today to organize resistance of the connected multitudes in the network society?
  • Forms of protest on film/Film as a form protest
  • ¿Tiempo libre, ya no existe?¿Cómo resistir?¿Cómo no ser gobernado de esa forma?
  • La intervención en la imagen / La intervención en la calle: ¿Cómo está articulada esta relación en tu vida/trabajo?
  • What were the reasons for organizing the demonstration which took place at the end of December 2013 in Hamburg? Can you explain briefly the context in which it took place, which activists groups came together and what happened?
  • Refugee Protest Camp Vienna / A few days ago the refugees “occupied” the Academy of Fine Arts. Why? What is the present situation of the refugee protest movement?
  • What possibilities are opening for a common articulation of our struggle between different activist groups against the European racist politics of exclusion?
  • In which way the Borromean knot opens up the possibility for social change?
  • Could you speak about the necessity of building gendered coalitions across the post-socialist space and point out some examples? What does decolonial feminism attempts to do and in what way it presents the new critical potential in the struggle against racism, sexism, homophobia and transphobia?
• 

  capitalism

  • What can you comment on the role of social networks and network economy?
  • Along with colonialism as a specific socio-historical configuration you point out that we need to speak of global coloniality, which as you say marks today’s ex-third-world, ex-socialist and western subjects alike. How does global coloniality function and what does it mean to be a void in the global coloniality?
  • As you point out, liberal and marxist thinkers, political theorists and economic experts alike, all accept that current global economy is capitalist, but a decolonial thinker would be with neither of those who save capitalism nor with those who criticize it from the post-leftist stance. The core analytic concept of de-colonial thinking is not “capitalist economy” but the “colonial matrix of power”. How do you define the colonial matrix of power and its diversification through its reproduction today?
  • ¿De que manera postporno responde a la mercantilización del cuerpo en la sociedad capitalista?
  • Globalization as a process/Globalization as an event. In what way thinking globalization as an event makes us understand the way capitalism operates? How this can be seen from the “privileged” position of Eastern Europe?
• 

  transfeminism

  • ¿Qué relaciones existen entre los artistas, activistas, colectivos en cuanto a la producción y visibilidad del postporno? ¿Podríamos hablar de una red de acción e intervención política a través de las prácticas postporno, o hay la intención de construirla?
  • Generatech_
para un agenciamiento de género en la tecno-cultura audiovisual
  • “Fuck Your Queer White Supremacy Celebration!” is a title of one of your recent performances. What can you comment on this title in relation to your critique of the reproduction of white supremacy within queer politics, discourse and movement?
  • MAIZ, Autonomous Center for and by Migrant Women
  • Sex as work: demanding the rights for sex workers
  • ¿A quién mata Jeanne Dielman al final de tu video?
  • How do you define the binary gender matrix (the colonial femininity and masculinity) from your border position and in relation to the need of decolonization of mind? What can you comment on the sensibility of non western cultures about the comprehension of intermediary transcultural and transgender concepts?
• 

  politics of positioning

  • “Mi sexualidad es una creación artística”
¿Cómo se materializa el binomio personal/político en tu documental?
  • Which theoretical references shape your aesthetic theory and practice and what does it mean to actualize Brecht’s methods for the present-future? What is its political potential?
  • Where do you position yourself in analyzing this specific spatiotemporal experience and how do you explain the crisis of the Left nowadays, particularly regarding the Soviet/Russian context? Where has communism gone and what do you mean when stating that we are always already postcommunist?
  • ¿Cómo explicas tu posición teórica y activista en relación a lo político y epistemológico?
  • The conscious position that you have chosen as an internal and colonized other of the Russian/Soviet Empire is border thinking and border epistemology. Can you explain to us what is border thinking and border epistemology and why it is necessary for us to think in this terms?How do you theorize the temporal-spatial fractures that border position articulates?
• 

  free culture

  • ¿Cuál es la relación entre la cultura libre (el software libre) y la sexualidad?
  • ¿Qué potencialidades y límites, problemas y desafíos encuentras en este desplazamiento del mediactivismo, de la producción alternativa de plataformas contrainformativas, guerilla de la comunicación, Telestreets, a la experimentación con las redes sociales privadas?
  • How did you produce these three documentaries and in which way do you relate the forms of presentation to the context in which you present your work?
  • ¿Como distribuyes tus trabajos?Cuál es tu posición frente a cultura libre?
  • Has estado invitado a la famosa cena y después escribiste el artículo “La cena de miedo”. ¿Cual ha sido el proceso de escritura de este texto?
• 

  decoloniality

  • “Fuck Your Queer White Supremacy Celebration!” is a title of one of your recent performances. What can you comment on this title in relation to your critique of the reproduction of white supremacy within queer politics, discourse and movement?
  • Refugee Protest Camp Vienna
  • What is the relation between decoloniality and art, how do you define decolonial aesthetics and what is its critical potential? Why it is necesary to develop decolonial “communities of sense” and what does this mean?
  • How does decolonial option position itself in contrast to the majority of postcolonial discourses in order to radically question the existing system of knowledge and disciplinary spheres? In what sense does decolonial option attempt a conceptual denaturalization and what are the problems of its concern?
  • How do you articulate the relation between history, politics and intervention in the exhibition space of art institution in this work to expose the violence of institutional racism and everyday racism that people of color and black people are facing here in Europe?
  • In what sense Decoloniality presents a new political position and why it is necessary to think in this terms? How do you relate Decoloniality to Art?
• 

  institution/critique

  • Eating Europe _MAIZ procession. Why and in what way do you use the concept of anthropophagy in articulating the protest through performative interventions?
  • You have been criticized for the lack of direct engagement in political struggles. Why do you distance yourself from social activism and why rather not from the existing art institutional context? What are the problems in articulating this relationship between art and activism in political struggle?
  • You defined certain principles under which conditions to produce and relate to the art institutions, and pointed out the necessity of hybridization of museums and social centers. How do you resist the cooptation/neutralization of the critique and resistance within the system of art institutions today?
  • How would you define the term “political art”?
  • What role does the institution play nowadays?
  • How does decolonial option position itself in contrast to the majority of postcolonial discourses in order to radically question the existing system of knowledge and disciplinary spheres? In what sense does decolonial option attempt a conceptual denaturalization and what are the problems of its concern?
  • How do you articulate the relation between history, politics and intervention in the exhibition space of art institution in this work to expose the violence of institutional racism and everyday racism that people of color and black people are facing here in Europe?
  • Queer theory and activism has failed to address “race” and racism as integral parts of the queer discourse, relegating black queers and queers of color to invisibility. How the queer space is functioning, regulating the queerness? In which way do you elaborate your performance in order to expose this problems from within the queer space?
  • What can you comment on the category “political art” in relation to your work? How can we resist the dynamics of co-optation and neutralization without abandoning the art institutions?
• 

  bio/necropolitics

  • To demonstrate its power, the government of Hamburg declared the state of exception and established three zones of danger. What can you comment on the relation between democracy and the state of exception declared during the protests in Hamburg?
  • Necropower: to let live and make die 
. To “make live” and to “let live” present two different biopolitics.
  • Biopower: to make live and let die
  • How theory, art and culture are related to bio/necropolitics? What is biopolitics, what is necropolitics?
  • Along with colonialism as a specific socio-historical configuration you point out that we need to speak of global coloniality, which as you say marks today’s ex-third-world, ex-socialist and western subjects alike. How does global coloniality function and what does it mean to be a void in the global coloniality?
  • Achile Mbembe gave us the possibility to re-politicize biopolitics. How biopolitics and necropolitics work together in the European context?What are the new modes of governmentality and why do you inscribe them into the necropolitical?
• 

  agency

  • ¿Qué quiere decir una revolución sin sujeto, de proliferación de singularidades, de identidades post-identitarias? ¿Por qué hablas del cognitariado, cómo defines este concepto en relación al capitalismo y resistencia?
  • What constitutes our possible commonality, how can we think and act as commons?
  • Who is the political subject today? Who are “we”?(multitude, precariat, indignados, 99%…?)
  • ¿Qué constituye hoy lo común que nos permite pensar y actuar juntxs?¿Quienes somos nosotrxs?
• 

  autonomy

  • ¿Qué significa la autonomía hoy y cómo podemos construir este espacio mental y social separado definitivamente del económico? Es la autonomía una posible vía de escape de la relación inmanente de poder-resistencia?
  • As Marazzi argues, autonomy is not only a political project, it is a project for existence. How do you understand the concept of autonomy as a confrontational practice in relation to the dominant forces of cultural production and within the process of capitalist deregulation nowadays?
• 

  history/memory

  • Carteles de la memoria

  • ¿Cómo surgió el eslogan “Si no hay justicia, hay escarche popular”?
  • Civilizing mission: Western Europe decided to teach former Eastern Europe
  • How are the historical hegemonic mechanisms of divisions related to the present mechanisms of inclusion/exclusion in Europe?
  • In the enfolding of global modernity/coloniality you speak about Soviet modernity: In what way it refashioned the rhetoric of modernity and reproduced the logic of coloniality? How do you explain the darker colonial side of Soviet modernity and the racialization processes within Russian/Soviet space?
  • Along with colonialism as a specific socio-historical configuration you point out that we need to speak of global coloniality, which as you say marks today’s ex-third-world, ex-socialist and western subjects alike. How does global coloniality function and what does it mean to be a void in the global coloniality?
  • How do you translate Benjamin’s idea of the author as producer to the present conditions of production in global capitalism?
  • How can we think of avant-garde and its dream of transforming life through the power of art, in relation to the logic of capturing life itself today?
  • What influence does the historic legacy of independent documentaries, militant films, video activism have on your work?
  • How do you articulate the relation between history, politics and intervention in the exhibition space of art institution in this work to expose the violence of institutional racism and everyday racism that people of color and black people are facing here in Europe?
  • The previous work to this performance was “Iron Mask, White Torture” which is related with the book by Grada Kilomba entitled “Plantation Memories, Episodes of Everyday Racism”. How do you relate in this work the history of colonization through the legend of Anastácia with the struggle against racism and sexism and the need for critical intervention today?
• 

  gentrification

  • How do you represent the problems of gentrification and what tactics did you apply within the process of making Empire St.Pauli?
  • Against speculation, action!
  • What were the reasons for organizing the demonstration which took place at the end of December 2013 in Hamburg? Can you explain briefly the context in which it took place, which activists groups came together and what happened?
  • Your film Empire St.Pauli set the impulse to create the socio-political network Recht auf Stadt (Right to the city). What can you tell us about this inititative and how did people get involved to participate?
• 

  precarity

  • ¿Cómo relacionas el título “Tiempo real” con la producción inmaterial?
  • How do you organize your life entangled in total work; waged labour, unemployment, art, activism and personal relationships?
  • ¿Cómo la patología prevaleciente de carácter psicótico-pánico esta relacionada con la capacidad de la intervención crítica? ¿Qué significa la pregunta por la felicidad como desafío político?
• 

  commons

  • What constitutes our possible commonality, how can we think and act as commons?
  • ¿Qué constituye hoy lo común que nos permite pensar y actuar juntxs?¿Quienes somos nosotrxs?
• 

  subjectivity

  • Politicization of Life: It seems that there is no way out, that the “enemy” became part of us… Does the production of subjectivity become a terrain of the central conflict and our struggles?