company indeﬁnitely, with little chance of saving money in order to pursue a better future elsewhere. Then we read a completely diﬀerent story, namely that of the Voyager Golden Records from the 1970’s, which involves NASA sending into outer space records containing audiovisual samples of life on Earth and human culture. Meant as a time-capsule of life on Earth, these records are on both Voyager spacecrafts launched in 1977, and instructions on how to use them are engraved on their surface. Voyager 1 is now beyond our solar system and travelling away from the sun at a speed of 61,000 km/h.
Representation reduces ﬂuid processes into rigid descriptions —a procrustean mutilation of interconnected events and entities. According to Peter Eramian, what these stories have in common is representation —or rather “the failure of representation” and “what escapes representation, which is always aﬀect”. Made-up currency that facilitates slavery is thus connected to golden disks travelling through outer space with the hope that they’ll accidentally bump into aliens. Particularly in the second story, it’s very clear how dogmatic this projection of representation is; it also reveals its crushing reduction of ﬂuid processes into rigid descriptions, a procrustean mutilation of interconnected events and entities in order to ﬁt a sentence, a plaque, a record. In other words, what exists as open is folded unto itself and rendered closed, much like a mushroom is cut from its mycelium and packed to be sent to the supermarket. The four stories Peter Eramian picked for his project were also given to four writers with the instruction to write their own texts in response, but without any other explanation of what this project would be about or the ﬁnal format of the ﬁnished exhibition. These four texts by Maria Kassianidou, Christopher Rey Pérez, Evagoras Vanezis and Emiddio Vasquez Hadjilyra were then published as a booklet released on the night of the opening.