[in'habit]ing was an artwork which presented itself as the effective action of emptying a living space, an apartment in San Francisco city, where at the moment two persons were living and working.

 

[in'habit]ing was a place-specific event which presented itself as the colliding point of a space of thought, being-void and presentation gathering situation, into one.

 

By using the raw material of the void and the political choreography of emptying a space, [in'habit]ing was not meant to be a durational performance nor an action of radical immateriality. It was way more simple than that.

In a way it was a theoretical and practical conceptualization of our state of dissonance with the current conditions of art production. It ensued a language beyond ready-made dialectics and surplus manifestos, rather than becoming recognizable or illustrative, inhabiting was an indiscernible, invisible, an irrelevant. A space of evident production as production of non-production.

 

The emptiness was used as a materiality for subtraction in which the political is not the content, but the form. This form, as substraction, was a way of enunciating a dissidence against the fake universality of Capitalism, against its permanent new forming. Inhabiting became a point of multiples. 

 

Inhabiting was a sort of secret agency for the enunciation of actions of cut, rupture and invisibility in the current realm of production. Throughout this action what we were enunciating was a trace of dissonance, an action which cannot be named, cause it has no name and it does not intend to have one, as it was enabled outside the language of Capital, unfolding itself in its margins. 

 

The fact of assembling our desires collectively, gave us the possibility of assuming multiple and generative instances for thinking and reflecting on this action. This often meant points of departure and not points of arrival.

 

It meant providing a self space of exhibition, a self institution, a self reflection on a material action.