I LOVE YOU (or whatever)

9 - 19 April 2022 Beijing
#Love #manifesto #emo #pure love 
#machine #sweetsorrow #photography
The distinction to be made is not at all between exterior and interior, which are always relative, changing, and reversible, but between different types of multiplicities that coexist, interpenetrate, and change places- machines, cogs, motors, and elements that are set in motion at a given moment, forming an assemblage productive of statements: “I love you”(or whatever)
 Deleuze and Guattari, 
Capitalism and Schizophrenia:A Thousand Plateaus
The title of the exhibition, "I love you (or whatever)," comes from a passage in A Thousand Plateaus in which Deleuze and Guattari describe the concept of "Assemblage." "Assemblage" is the central antithetical subject of this exhibition.
"Assemblage" means, by definition, "many," e.g., four people are an assemblage, five mediums are an assemblage. In short, the world is a network of innumerable assemblages linked together, each with its multiplicities and its collective unconscious. The concept of assemblage, in particular, emphasizes the fact that within a series, its internal compositional relations are never stable and constant; on the contrary, each of its internal components can be replaced by the internal components of other systems. This is what Deleuze and Guattari mean by the nature of exogenous connections of things. In these unceasing movements and changes, assemblages interpenetrate and form a productive statement at a particular moment in time. And, all statements are the product of a mechanistic configuration of an assemblage, i.e., the agent of a collective elaboration.
"Each of us is caught up in an assemblage of this kind, and we reproduce its statements when we think we are speaking in our name; or rather we speak in our name when we produce its statement."
This exhibition is a productive statement. In fact, any exhibition is a productive statement and never needs a specific subject of enunciation. In a fluid social structure, the very meaning of the exhibition is to uncover plurality and question any will with personality. The artistic practice of the two artists as a dangerous collection (human, social, and technical machines, organized molar machines; molecular machines with their particles of becoming- inhuman; Oedipal apparatuses; and counter-Oedipal apparatuses, variable in aspect and functioning) adds to the logic of semantics the data feeling of the aliquid. It gets entangled in the spring of Beijing, in this space, and then deterritorializes and thus becomes, by accident, this romantic or cruel statement:I love you (or whatever).