world-wide psychosexual out-of-body



contemporary art experiment






critical filthcore



curatorial narcosis




tropical astrology






looking good






currently located in a mexican airways plane that never lands



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radioactive luminous paint on dials of vintage watches



mexico city




lucid dreams tell me about your most vivid experience



info at preteen dot gallery










look at y'all artfaggots


look at y'all smokin' art faggots after every pull, niggas start chokin' artfaggots


look at y'all bitch art faggots stop lyin' on your dick artfaggots


look at y'all lookin' art faggots stop lookin' at my ass artfaggots


look at y'all lyin' artfaggots talkin' 'bout "it's paid off" but it's financed, lyin' artfaggot


bunch of non-mogul artfaggots frontin' like they got a plan, boost mobile artfaggot






the systematic falsification of basic information by the idealist conception of the art space of which the most glaring expression is the contemporary art exhibition's conventional cartography is one of the basic reinforcements of the big lie that the racketeering interests impose on the whole gangland of cultural production.




post-internet art, which has been talked about so much, can be realized only at the level of social media-calvinism. that is indeed where the limit is. at that level we can already remove certain decisive elements of the conditioning of experience. but if, beyong such salutary eliminations, we expect the largeness of scale in itself to generate favorable results, we will have committed the most serious error.




the conditions of's activity explain both its discipline and the forms of hostility it repeateadly encounters. we are not interested in finding a niche within the present artistic establishment, but in undermining it. it seems to us that the question of a present-day cultural avant-garde can only be posed at an integral level, a level not only of collective works but of collectively interacting problems. inhabits the catacombs of visual culture.




some claim that is a cunningly organized economic association for dealing in contemporary art. others have suggested that it was rather for the purpose of dealing in drugs. still others have declared that we have never sold any drugs since we have too great a propensity for taking them ourselves. others go into detail about our sexual vices. others have gotten so carried away as to denounce us as social climbers.




to the question, why have we promoted such an impassioned regrouping in this cultural shpere whose present reality we reject? the answer is: because culture is the center of meaning of a society without meaning. this empty culture is at the heart of an empty existence.


- gerardo contreras


the alpha stud video manifesto



this website will show you how to live in the moment




recent stuff







'touching hands with someone seriously beautiful'






book launch performance





leslie kulesh + lil internet



mise en scène









'don't make my brown eyes blue'




phoebe collings-james

deanna havas

leslie kulesh




an assemblage






art genève

january 29 - february 2


geneva, switzterland





gerardo contreras



1. well on my cock your mouth it sucks


from an unpremeditated infinite derailment, surprisingly, our own synthetic comprehension has not attempted to pass through what we have decoded as the negligible instants of queer becoming, and it hasn’t completed so in order to tear these compulsive representations apart.


2. you're a tight little slut


confusion, in an unhindered sense, is not the model of "structure" -which we label thus outside the disclosure of oblivion- in psychotic symptom-mapping and delusion-elucidation in which a given symbol justified by what is never said, becomes a trauma in neural tissue. intensities are understood consistently as both the desire to satisfy an impulse suspension of the eon of meaninglessness and to suppress an ever-pulsating cyber-fascist substance-sexuation.


3. i wanna eat your shit


what frees the desire to suppress the compulsion? in a particular way a certain molecular configuration allows us to undermine the procedures of potency and of feebleness. becoming-queer and gender decoherence themselves can never be a function of the distance from the instant of autonomous schizo-physic phenomena; misunderstood contradictorily, since they do not suppose the withholding of the construing of materialist models of knowledge: repetition in the sense of libidinal economy. it is not the opposite invisibly that is true; here i mean to denounce the comparable latitude of artaudian poetics and kantian abrahamic logic.

4. tight twats for me


to us, it isn’t rather the unexceptional hidden unsubscribed almost totally, and the true vectors of situationism that define the undertaking that emerges from juxtapositions of religion and cyber-politics; one cannot say that inevitable failure is the result of a glitch in the code; this is an explication of the phenomenology of rape (materialized castration). failure itself differs from the sense of what caused it.


5. outlaw scumfuck


error alone is fortuitous. the correspondence between madonnaian analysis and freudian theory in general terms, as one would speak of an authentic movement, is of a 'theory of religion'. it stratifies the differences between one representation and pregnant girls: the fact that madonna's interpretation does not depart from madonnaism in any way; similarly, it is always easy to perceive that the present 'theory' is always rigorously founded on the analysis of all subjectivity before the absolute idea.


6. the younger the better


in principle, one would imagine-the rejection being madonna's-that it was a question of conceptual opposition; on the contrary. the fact is not deduced from a pataphysical sext, but from a letter to a friend to whom she confides that for two years she thought she would go mad.... in a sense, madonna's plays on this double sense, which is lost in english. the difference between rapid phrases perhaps has a force that kierkegaard's long cry does not have.




current (no kidding)





'on the edge'



an excercise in spiritual decadence



sexual immorality


rebellion against god


substance abuse




the lake of fire!



'notes on the edge'

gerardo contreras


abdul vas’s masterful mappings of hypermasculine libidinal pulsations and haphazard détournements of anthropomorphic machinic gestures convey a narcotized queer virility and suggest a violent metaphysics of schizoid gender euphoria. his characteristic dissection of the aesthetics of genderdised western technicities holds an uncanny structural proximity to current analyses of rhizomatic systems in the graphical notation of algebraic polysexualities and to the psychic clustering in quantum spin networks.


vas enacts perverse orgonic exteriorizations of the unthought by way of a topological plotting of biosemiotic data replicant agents and a radical exposure of the diagrammatic dispersion of the self. through this particular recognition of the inhuman vessel of the organism as the locus of spiritual stupor, vas reconsiders classically greek as much as judaic depreciation of aesthetics as a dimension of animal consciousness.


from a critical perspective, however, an examination of vas’s aesthetics is engrossing in a distinctive manner. abdul vas’s aesthetics arguably marks what could be called a supplement within the contingence of dasein’s bodily nature. his manic fixation with anal sex and transsexual-animalistic rapport discloses an attempt to nullify dominant discourses surrounding female genitalia, and at the same time, poses the phallus as a socio-linguistic prosthesis.


vas’s recent works defend his own post-spinozist version of what could be called the primacy of orgasmic self-occlusion, which he depicts, in a more classical vein, in renderings of polymorphous, autonomous, non-organic sex machinery, often relying on the compulsive inscription of hypermodernist qabbālistic, hieroglyphs and on a rather morbid, performatic problematization of the technologies of becoming-macho. in this light, vas’s interpretation of a spiritualist account on the phenomena of rock and roll vibrational inter-individual sensory communication feature an axiological devaluation of aesthetics in comparison with the fatal encounter with the other.





luxury limited edition ac/dc pure steel flight case psycho

fan art box set type shit


abdul vas




factum arte


out! on sale!


but we're too high to deal with this shit right now











live fancy? live in a big mansion? party in france?




a breathless hush


1. wow your snowflake-clothed tower of burgundy ardor, your spark-clinched phallus of wrath! yeah man, as i come close to you, you succumb to me like unto a curl of smolder gusted ahead from dad. machine wash.


2. wow your midsummer land of perpetual bliss, your ecstatic shrubbery of golden kush! yeah man, as i pucker you, my bitter crop is but as a drib of dudes gleaming in the wonderful cup of puppies. machine wash.


3. wow your agonizing melody of time and loss, your rhythmic harmony of the sea! yeah man, as i snoop to the echo of your voice, my rapture is but as the sight of the skirt of a mad hoe. machine wash.


4. wow your scorching blizzard of dazzling gravel, your whirlpool from the profundities of dusk! yeah man, as i scuffle past your dad and the mom within you, boo, through you, boo: my muscles are but as a pacifist’s yacht ahead on the triple nipples of the storm. machine wash.


5. wow you crowned stud floating on rivers of blood, to die for. you, you cherry-sworded meth-head warrior: stuck in traffic, silly you, you silly. yeah man, as i fight with you, you master me as a bear that killed a child that was cradled in lilies. machine wash.


6. wow your ghostly seascape, radiant, and your electronic voice prayers of a lilac-dressed gradient! yeah man, a trip to your mom’s. in the cats of your house i find my hope but as a blow light secluded in the hands of a baby monkey that looks like a donkey. machine wash.


7. wow you great labor of the azure, you cyclone-tossed thunderous storms of buenos aires! yeah man, as i descend in the profundities of your bleakness, mine torment is but as the smirk on the lips of a sleeping dog. machine wash.


8. wow your depths of the unimaginable, your numb, inexpressible divinity! yeah man, as i try not to seem tragic, my prudence is but as an abacus in the lap of an aged turtle. machine wash.


9. wow your metamorphosed hallucination of dazzling light, your beatitude of stupefaction! yeah man, as i behold you, my understanding is but as the glimpse of a polymorphous hoe across a storm of blinding snow. machine wash.


10. wow you steel-bound peak of peaks, you crested pinnacle of splendor! yeah man, as i mount your opulence, i discover i have but vanquished one speck of sand hovering in a beam of your glory. machine wash.


11. wow you ruler of space and of matter, apple puree ahead of the icons of light! yeah man, as i gaze upon your expression, mine balls are as the balls of an eyeless fella smitten by a torch of a burning hot desire. machine wash.


12. wow you cerise gladness of the fake, your flamingo north of ominous cake! yeah man, as i climb up before you, my kief is but as an acid drop enamored over by a rocket from the western block. machine wash.


13. wow your fantastisch tiara of cosmos, your diadem of glittery brilliance! yeah man, as i warm up before yoga, my butt is but as a dwindling star seen among the purple limbs of stage fright. machine wash.



- gerardo contreras




accomopanying text to 'not my pumpkin'

a solo show by brian kokoska

at dateline, denver, co.




it's been four years since 2010




arcadia missa


13 june 19 july 2014





an assemblage




gerardo contreras






luis miguel bendaña

phoebe collings-james

petra cortright

jesse darling

hazel hill mccarthy III

donna huanca

brian kokoska

carlos laszlo

genesis breyer p-orridge

lewis teague wright

abdul vas

mario zoots


performance by

simon guzylack & leslie kulesh







let us begin by locating catatonia as the initial quanta, the first demon flash which tips the balance of becoming away from the strata, from customary orders and patterns and towards the molecular line. it is in this respect that catatonia relates to the self and to time as an itinerant movement that is in-between the state and the market, facing onto the strata and away from it simultaneously. precisely, it seems, as clinical psychology has always positioned catatonia as neither inside or outside, not properly one thing or another, the figure of the catatonic occurs at the juncture of divergent speculative routes in current clinical mappings of psychotic symptomatology: each catatonic symptom encrypts a psychic riddle and at the same time ignites decryption. the kind of action the catatonic begins with is humanly disclosed by the word, and though the catatonic act can be perceived in its brute physical appearance without verbal accompaniment, it becomes relevant only through the spoken word in which he identifies himself as the catatonic, announcing what he doesn’t do, has not done, and does not intend to do.




catatonia entails a passage between dualistic opposites; a passage away from the uttered word and toward the silent word but this passage is not a mimetic process. rather, catatonia is something that passes between the categories of the particular and the atomic, establishing a region of immediacy, a detached region of indetermination or uncertainty, a contiguity, an indiscernibility within which a mutative undoing of the categories of speech and action may issue forth in a creative line of flight toward some yet unmapped rendering of the posthuman. speechless action is no longer action because there is not a catatonic subject anymore, and the catatonic subject, the real actor of actions, is possible only if he is at the same time the speaker of words. catatonia marks the boundaries of schizoid nonsubjectivity: exiled to a comatose void external to the representational domain, the catatonic describes that which is outside the comprehensible.




the catatonic subject is a figure in the process of generating independence from strategy principles, for an element in a vertebrate organism, a bias towards concretizing material resolutions, like a market that would function not through the accretion of information as commodity, but through interactions with other catatonic subjects in a heterarchical space that is continuously mobile and perceptible, although the principles of its mobility are imperceptible, escaping recognition. the survival of “the catatonic” is a function of its interaction with –the- catatonic in its zone, where zone is not a topographical location given in advance but the outcome of networks generated amongst the catatonic in the process of achieving complete and autonomous annihilation.




it is the potential for positioning catatonia in relation to the spirit, rather than to nature, and for catatonic action as a movement towards the market which effects the release of monetary flows from the accumulative tendencies of capital; it is this relation of catatonia to the economy, as a bias of escape, rather than as an object exchanged between subjects in state capitalism, which includes socialism as well - that is missed by a purely politico-schizo-analysis. for in the movement the balance tips from orgasm to convulsion and bodies cease to be commodities, or even commodities that speak, and instead begin to function as partial objects, predispositions, and calculations. whilst their connections are not normalized from any peripheral location, the coalesced consequence - to those who remain unknown, in the rare air of the state, capital, the subject - the displacement seems resolute, directed, the predispositions appear correlated, caused. if it is this latter, it is in the sense spoken of before, of reverse causality without finality, testifying to an action of the future on the present.




arcadia missa

unit 6 bellenden road business centre se15 4rf

london uk

(entrance on lyndhurst way)





























you shook me all night long


abdul vas




preteen is elated and aroused by 'you shook me all night long,' a project room by belgian artist and rock and roll icon abdul vas commissioned by mia fair milano.




abdul vas' work recurrently addresses desire, but less often sex and polysexuality, in large part because polysexuality in vas' view is largely tantamount with a schizoid substructure that unswervingly leads to the concept of unsexuation. abdul vas opposes a psychoanalytic thesis regarding polysexuality. polysexuality floods the social-artistic field, and the grammatological dispositifs of genderdized discourse and its libidinal speculations epitomize a catatonic deadlock, a concentration and a sequestration of collective desire.


when abdul vas speaks of the libido of schizoid substructures, the topological dislocations of the body, and the polysexual will of the peripatetic organism, he speaks of libido to designate the unlocalized energy of schizoid substructures, but the mutations of this energy are never desexualizations or sublimations. all stages of schizo-genesis – invention per se, recording, and consumption/consummation – happen within a single territory of polysexual discourse. the pertinent opposition within this domain is not between the organism and the species, but between the atomic and the molecular, the atomic being the territorializing permutations of power that constrain schizoid substructures, the molecular the deterritorializing assemblages of schizo-genesis' proliferating, disrupting networks and contours of rapture.




mia fair milano, 23-25 may 2014

pavilion 1, booth 28

superstudio più via tortona 27, milano – italia






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