Nostalgia/Trauma Under the STATE Apparatus – Tommasso Tanini

Without an element of cruelty at the root of every spectacle, the theater is not possible. In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds.

 

By Brad Feuerhelm, ASX, March 2015

”Without an element of cruelty at the root of every spectacle, the theater is not possible. In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds”. – Antonin Artaud

“Often The Mere Appearance of Guilt is a Crime”- Image is identity and therefore distrusted. Its mechanical employ is a strike against the STATE and its people.

“Found effects of (induced) fear”-Fear is product affect of otherness. Here there is no need for other. The STATE is a conduit of moral/emotional ONE-ness. The STATE is strength. One must not abrogate this condition.

“Everything Points at you”-You are the well-intended condition of the STATE, its strength and resolve.

////Circumference and pain of speculative observation////

Paranoia creates the document of self-becoming/criminality. This must be avoided at all costs. The happiness of the STATE and its people resist the criminal act of otherness and paranoia.

A:
Destiny’s manifest behaviors are to be collated and arranged into a panopticon of systemized surveillance under the notion of socialized STATE norms.

B:
Conclusion: secular tradition abandoned. Culture disregarded of intent. Bodies in the apparatus pushed against brick and steel. Echo of a dog’s barking. Ferocious conditioning. Negation of Self. Discipline of STATE.

 

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Tanini’s book is vey very uncomfortable in all of the right ways. It crosses over between a forced archival narrative with images of the pre-existing DDR image condition and photographs that he has shot, which exhibit the trace memory of trauma that still exist under the decayed apparatus of the previous state.

 

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A:
Olfactory product of fear. If you shirt clings to your body in wetness, you may have produced treason, unless it is from work for the STATE. These observations are calculable. The STATE’s discourse and judgment are final.

////A treatise on the removal of windows. Privacy abandonment/STATE caretaking////

Classification system
1) Archietektur

Objektiv. Systemized practice. Assessment of intelligence of foreign bodies
Removal of windows.

Negated data. Personnel access to subject must be permissive and unencumbered

Removal declined.

Systemische. Conditions applied for construct. Ident. Neue condition.

2) Im Wald. Growth removal. Hidden system of potential threats abandoned. Corollary measures of hereditary removal and infiltration system.

Removal Approved.

Tanini’s book is vey very uncomfortable in all of the right ways. It crosses over between a forced archival narrative with images of the pre-existing DDR image condition and photographs that he has shot, which exhibit the trace memory of trauma that still exist under the decayed apparatus of the previous state. The images that he has taken/made hint at East Berlin’s difficult history. Images shot through windows, portions of fences melding with trees, interrogation rooms, and most strikingly, images of people who grew up (or down) through the years of a torrential surveillance statehood. The book is about loss. The book is about the miasma of declined emotional being under the aegis of a progressive ideology precipiced, geo-specifically, on the cusp of where two conflicting worldviews met. The pinnacle of which, shelved its people into an unnatural slavery that cannot ever be truly abolished in their lifetimes. It is a disturbing and painful journey across lives lived in pain, and in this…. I become a secondary voyeur to their pain. Their pain however, is co-operative now and the search for understanding and emoting has a healing potential. Tanini’s work is an exemplary and thoughtful investigation into the effect of Stasi conditioning and the clash of ideologies.

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Tomasso Tanini
H. Said He Loved Us
Discipula Editions

(All rights reseved. Text @ Brad Feuerhelm. Images @ Tomasso Tanini.)

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