ItalianoCyberZone
CyberZone
CYBERZONE n. 23
CYBERZONE N. 23
Visionary Periodical Magazine
N. 23 May 2019
Dimensions cm. 17 x 22
130 colour pages
Texts in english and italian
Bisso Edizioni Palermo
The greatest philosophers of the imagination and the most visionary artists on the planet wonder about the future of humanity.
Thirty years ago the Berlin Wall fell. Meanwhile other walls have been erected. The predilection for walls - racial, social, economic, cultural - is the passion of those who preach the way of profit and robbery, who give honors to the rich and death credit to the poor. In fact, he is a former president of a global finance giant - Google - to remind us with cynical arrogance: "We are proud of our system ... We have no intention of paying more taxes. It's called capitalism. We are proudly capitalists. I have no doubt about this". And he continues: "We have exploited all the incentives that the governments have offered us". This, briefly, is the world scenario in which Cyberzone resurrects. It is not a good time to be born after a long break. Since its first appearance (1996), Cyberzone has spoken the language of heretics. It will continue to do so (including translation into English) with the work of monitoring changes that have occurred in recent years within creative practices and antagonistic thinking. This issue raises an assumption that has marked the life of the magazine: the imagination is the seat of multiple, fragmented and contradictory positioning and compositions of the individual, in relation to the indistinct magma of the social. In this sense, Cyberzone has a fixed idea to which it does not give up: low fidelity. Spurious materials, extraneous to the institutional frameworks of the art system, and theoretical irreverence (authors and texts of free, undisciplined, anti-academic thought), with critical interventions on the present, they will form its path. This number is like a big syncopated phrase. If they have something in common the articles that populate it, it resides in the fact that in them there is curiously a strategy of subtraction. This planet suffers from the "too much" impulse and the saturation of every living space: material obesity - a cynical mirror of hyper-consumption - affects individuals to the point of determining strange forms of life and appearance. Such as the Cyclops in cover of the great Hungarian artist Istvàn Horkay, whose body is the revolt against excess, which is transformed, pataphysically, into a new post-human being: the ego to come is that of catastrophe, not of a crisis. In other words, the articles do not "add" anything, they have nothing more to say - the market of sense is saturated. I to come is without a country, without borders, it is decomposed: a king (capital and narcissism) who devotes himself (Jappe); Alzheimer's disease affecting the avant-garde (Macaluso); the fetishism of meaning cultivated by the reactionary category of the conformist (Maffesoli); forms of survival to the metastasis of the "development" and its social drifts (Latouche); the emptiness as a device against substantialism and identity (Faletra); experimental practices of transient ontology (Pedretta); minimal self-government strategies (Scardovelli); the post-ecstatic screen of the subject of Bavari; the anarchic graphics of Pistola; the seductive attempts of Lillard to tear the same to the same; Di Grado’s post-pataphysical collages. I to come is also the ambush of metamorphic disorder in the heart of subjectivities, as happens in the images of Semenov that Cyberzone presents in world exclusive. Here, I to come is a dramaturgy that uses experimental masks projected into an orgy of zoomorphic creatures. Cyberzone in this issue publishes an unpublished text by Paul Virilio, who died in September last year, who was a contributor to the magazine's first season. This revival of Cyberzone was possible thanks to a raw material, the courage of its sponsor: Dario Bisso. And courage, in spite of our period, is not in a hurry. It enjoy the fruits of his passages, in a face to face with I to come.
Visionary Periodical Magazine
N. 23 May 2019
Dimensions cm. 17 x 22
130 colour pages
Texts in english and italian
Bisso Edizioni Palermo
The greatest philosophers of the imagination and the most visionary artists on the planet wonder about the future of humanity.
Thirty years ago the Berlin Wall fell. Meanwhile other walls have been erected. The predilection for walls - racial, social, economic, cultural - is the passion of those who preach the way of profit and robbery, who give honors to the rich and death credit to the poor. In fact, he is a former president of a global finance giant - Google - to remind us with cynical arrogance: "We are proud of our system ... We have no intention of paying more taxes. It's called capitalism. We are proudly capitalists. I have no doubt about this". And he continues: "We have exploited all the incentives that the governments have offered us". This, briefly, is the world scenario in which Cyberzone resurrects. It is not a good time to be born after a long break. Since its first appearance (1996), Cyberzone has spoken the language of heretics. It will continue to do so (including translation into English) with the work of monitoring changes that have occurred in recent years within creative practices and antagonistic thinking. This issue raises an assumption that has marked the life of the magazine: the imagination is the seat of multiple, fragmented and contradictory positioning and compositions of the individual, in relation to the indistinct magma of the social. In this sense, Cyberzone has a fixed idea to which it does not give up: low fidelity. Spurious materials, extraneous to the institutional frameworks of the art system, and theoretical irreverence (authors and texts of free, undisciplined, anti-academic thought), with critical interventions on the present, they will form its path. This number is like a big syncopated phrase. If they have something in common the articles that populate it, it resides in the fact that in them there is curiously a strategy of subtraction. This planet suffers from the "too much" impulse and the saturation of every living space: material obesity - a cynical mirror of hyper-consumption - affects individuals to the point of determining strange forms of life and appearance. Such as the Cyclops in cover of the great Hungarian artist Istvàn Horkay, whose body is the revolt against excess, which is transformed, pataphysically, into a new post-human being: the ego to come is that of catastrophe, not of a crisis. In other words, the articles do not "add" anything, they have nothing more to say - the market of sense is saturated. I to come is without a country, without borders, it is decomposed: a king (capital and narcissism) who devotes himself (Jappe); Alzheimer's disease affecting the avant-garde (Macaluso); the fetishism of meaning cultivated by the reactionary category of the conformist (Maffesoli); forms of survival to the metastasis of the "development" and its social drifts (Latouche); the emptiness as a device against substantialism and identity (Faletra); experimental practices of transient ontology (Pedretta); minimal self-government strategies (Scardovelli); the post-ecstatic screen of the subject of Bavari; the anarchic graphics of Pistola; the seductive attempts of Lillard to tear the same to the same; Di Grado’s post-pataphysical collages. I to come is also the ambush of metamorphic disorder in the heart of subjectivities, as happens in the images of Semenov that Cyberzone presents in world exclusive. Here, I to come is a dramaturgy that uses experimental masks projected into an orgy of zoomorphic creatures. Cyberzone in this issue publishes an unpublished text by Paul Virilio, who died in September last year, who was a contributor to the magazine's first season. This revival of Cyberzone was possible thanks to a raw material, the courage of its sponsor: Dario Bisso. And courage, in spite of our period, is not in a hurry. It enjoy the fruits of his passages, in a face to face with I to come.
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