V.I.S.A. functions as a collaborative body equipped with individual specialties, skillsets, experiences, and habIts, which work to create, not a perfect image, but a multiplicitous and at times precarious image of different perspectives occurring simultaneously, while focused on a subject. For this exhibition V.I.S.A. teams up with Amanda Horowitz (a new media artist working in Baltimore, MD) to consider the politics of fan fiction: A style of “haunted writing” which she defines as the process of being hosted by a body of culture/text. The results of this collaboration, are We Are Lesion; A Socio-Political Fairy Tale.


We Are Lesion; A Socio-Political Fairy Tale is a reproduction of gospel being rehearsed by a children’s acting troupe. The child actors are laboring towards the final scene of their play, a terminal act of violence against the former US president Ronald Reagan, however, the act has yet to be performed. The exhibition stops at the precipice of the assassination of a esteemed political figure. Like a sham lesion, or the placebo procedure that duplicates all the steps of a brain lesion except for the one that actually causes the brain damage, the exhibition is adocumentation of the rehearsal and peer review that occurs before the damage. It is an imaginary story questioning the role that imaginary politics could play in a socio- economic landscape of privatization and in-equality.

  Like the children, tweens, and teens that perform in it, the play exists on the verge of establishment, caught in the midst of a bipolar politics obsessed with choosing which hand will rule the other for the next presidential term. The defeated party is forced to seek out alternative mythologies, temporarily joining children in fantasy, where like children, their feelings don’t exist yet. This political see-saw assumes that the fundamental ideas of politics have transcended the human, arriving to the people through spirits rather than growing out of their subjective form(s).



  We allow the child to be irresponsible, impressionable, and openly schizophrenic, they promise possibility while imposing a limit or absolute taboo. The essential child, appears alongside or at the head of the train of blind, deaf or mute subjects whose implications for subjectivity and sheer humanness provoke crisis. Eventually, these children are pressed into service, donating their bodies to an ideological system whose violence is embedded in the everyday. Cornered by cultural demands, the child is consumed into a political organism that is at once savaging and civilizing.


  The play offers an alternative, like the child or a work of fan fiction the script is indecisive and incomplete, remaining in a constant state of rehearsal and peer review. However at the moment the characters assimilate into a political frontier their bodies are released to the public, offering a politics for the people. The play ends as the multitude is unleashed to perform, construct, and proliferate its own political mythologies, in an emergent environment which resists bipolarity and top down control.

“Politics exists when those who have no right to be counted make themselves of some account.”


“So,  we have feelings, now what?”


        Images not to be used without permission