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which join, create, accumulate, because nothing is fixed, because everything undergoes permanent construction and demolition. In this manner, the idea and the desire for consensus, static form, is not merely an illusion, but a very real trap. The Back Dorm Boys are a symptom of something entirely new, but who use totally old procedures, at once a joke and an act of violence, art and consumption, the market and politics. Jacques Rancière: “So, what is at stake is the common capacity of this great virtuosity, its common capacity to shift places, identities and competences in order to reframe the given situation: the capacity to produce a new configuration of the visible, the intelligible and the possible by implementing the capacity of anybody. That is the kind of universality politics is about: the capacity of anybody. The political subject is not a part of the social structure, an element of the process of production (…) This has sometimes been misinterpreted as the power of the excluded. But what it truly means is the power of anybody, no matter who; the qualification of those who have no specific qualification. I think that the investigation of this power is perhaps more fruitful for the cause of artistic and political invention today, through the endless denunciation of the power of the beast. The endless unmasking of the ghost”.2 As Wei Wei and Huang Yi Xin, the Back Dorm Boys, like to say, albeit through the voice of yet another disposable western band: “Don’t lie!”
Marcelo Rezende is co-curator of the exhibition Communism of Form. He is the author of the novel Arno Schmidt (Planeta, 2005) and the essay Ciência do Sonho – A Imaginação Sem Fim do Diretor Michel Gondry (Alameda, 2005).
1 Lütticken, Sven. “Secrecy and Publicity – Reactivating the AvantGarde” (New Left Review, October 2002). 2 Rancière, Jacques. Misadventures of Universality. The Second Moscow Bienniale of Contemporary Art. March 2007.
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