2026
mantains its equilibrium
on worn-out bodies
Corporate melancholy is the affective imprint of a system that sustains its equilibrium through the continuous attrition of bodies. Late capitalism produces ruins even before it has finished constructing its spaces: provisional offices, obsolete protocols, subjectivities already born amortized. The working body is both infrastructure and residue, a functional component and a manageable surplus.
The machinery demands productivity alongside the capacity to absorb its own waste: excess data, disposable objects, unproductive emotions, fragmented time. Bodies operate as storage units for surplus, transformed into repositories of fatigue, into technologies for containing structural failure.
2025
The State exerts normative violence upon its own working bodies: the reduction of desire to productivity, the codification of affect as bureaucracy, the substitution of voice by protocol—while simultaneously producing an inversion of this violence: this same bureaucratic body, as an organic extension of the state apparatus, operates upon the civil body, surveils it, regulates it, sanctions it.
2025
Move forward as two
Synchronous automatisms
She is two-fold, subject and object. She’s both a girl working in the (algorithmic) factory, and the product of a factory that builds subjectivity and bodies. Factory Girl vibrates in the friction between the craftsmanship of haute couture and the cold repetition of heavy industry. Haute couture of subjectivity: stitch by stitch, image by image, a fragile and sophisticated self is constructed under the hammering rhythm of the assembly line. Such a factory is traversed and powered by processes that are extractive, ubiquitous, and outsourced at the same time. It is material and social, as the girl (understood here as a figure unconnected to her age) is a partner, lover, mother, keeper, and helper, loading the weight of the unspoken expectations about the role of a woman in society.
The Amphibian
2025
Is a fertile
Laboratory
Dysphoria, understood not only as an individual experience but as a transformative power, allows us to imagine relationships that exceed conventional human frameworks. It is the opening to the possibility of hybrid affections, new sensitivities shared with other species, and kinships that do not depend on traditional biology but on reciprocity and coexistence. The amphibious and the dysphoric are, in this sense, two sides of the same creative force: the ability to mutate, to traverse worlds, to generate new forms of intimacy and belonging.