This is a slightly edited version of an essay that was published in The Black Book of FYTA, ed. Athanasios Anagnostopoulos & FYTA (Athens: Nefeli, 2017), 34-40, a collection marking the fifth anniversary of the conceptual audiotextual performance duo FYTA. It was written in February 2017 and revised in April. Think of it as bits of the year gone by. Thanks to FYTA for the invitation to write this, and to Jordan Osserman for useful chats.
In their performance/situation entitled ‘nEUROlogy’, presented at Geneva’s Bâtiment d’Art Contemporain in October 2015, FYTA attempted a far-right medico-theological resuscitation of the European project. The performance was staged in a confined room that FYTA describe as ‘something between the basement of a cult and Clockwork Orange’s reform clinic’—perhaps as apt a description as any of the contemporary European Union as seen from the perspective of its more disgruntled members. In Part I of this triptych, entitled ‘Eden’, FYTA assume the role of the high priests of the European right. Dressed in the red robes of cardinals, they stand before the altar of ‘Europe’, performing the rituals and incantations on which its very sustenance seems to depend. The soundscape of the performance in this segment is revealing in the way FYTA give voice to the utterly banal sentiments of xenophobic nationalists (‘Our environment is our home, our blood is what connects us to the soil, earth is our blood; when we defend our land we defend our blood’) against a disorienting musical backdrop of what sounds like Mongolian throat singing—as if to draw attention to the naturalisation of the arbitrary that is constitutive of all nationalisms. In Part II (‘The Garden’), Europe lies prostrate on a stretcher, covered by her flag. She might be dead, although the beep of machinery suggests life support. Here FYTA appear in the garb of medics who, even as they mill around the patient to no great effect, intone ‘we must remain free’. On the wall hangs a sign that reads ‘Rester Frei!’, the unfamiliar linguistic mashup seeming to gesture at the discontents of Franco-German alliance (or maybe this is just how the Swiss speak). Who killed Europe? On this question the cardinals are unambiguous: barbarians, cultural relativism, immigrants (‘how many people can you fit in the smallest of all continents!’), Islam. On the ground lies a pile of blood spattered posters—mass-produced, as if for a large protest—that read ‘Je suis Voltaire’. Beethoven’s ‘Ode to Joy’, the Anthem of Europe, ushers in Part III (‘Hell’). One thinks of the orchestra of the Titanic playing music to calm the passengers as the ship sinks.