Exuding (Black Hyperbox)

A point alienates from itself and becomes a line. A line alienates from itself and becomes a square. A square alienates from itself and becomes a cube. A cube alienates from itself and becomes a hypercube. Black Hyperbox is a dimension of productive alienation from concepts through experience and from experience through thinking. Black Hyperbox is a productive lie, a future-oriented spatiotemporal ruse, where the conceptual horizon is mutilated through doing and the horizon of imagination is mutilated through thought. In Black Hyperbox, any known can be black-boxed and the unknown can turn out to be most banal.

This was the text that announced Black Hyperbox, initiated by Florin Flueraș and Alina Popa in 2015. Black Hyperbox started as a frame for performance and text based on the alienation between practice and conceptualization. Meanwhile, individual artworks, mostly performances, emerged from its process. They are circulating sometimes independently, sometimes together. Now Black Hyperbox is also a book, the outcome of the discursive section of the project. Its contributing authors were immersed in Black Hyperbox or gravitating around it, at least conceptually. In the book, Black Hyperbox comes forth as a place that holds incompatible conceptual zones and spatiotemporalities together: Old World and New World, theater and jungle, jaguars and AI, prehistory and futurism, the earthly home and the alien space,Mecca and the North Pole, spaceships lost in cosmos and the politics of Isis, Malevich’s black square and the moon travel, thought and hallucination.

Contributions by: Florin Flueras, Alina Popa, Ioana Gheorghiu, Ștefan Tiron, Gabriel Catren, Irina Gheorghe, Garett Strickland, Sina Seifee, Bogdan Drăgănescu, Eleni Ikoniadou, Cristina Bogdan, Cosima Opartan, Nicola Masciandaro, Ben Woodard, Blake Victor, Adriana Gheorghe, Gregory Chatonsky, Dorothée Legrand, Georges Heidmann, Matt Hare, Larisa Crunţeanu, Dylan Trigg, Ion Dumitrescu.

Edited by Alina Popa and Florin Flueras
Design by Radu Lesevschi and Alexandru Andrei
Published by PUNCH
With the support of AFCN and CNDB


I remember posters in the Parisian subway: the green and desaturated image of a mineral egg. It had been the talk of the month on the news. There was an eighth passenger, of whom we knew nothing. A newsman prompting the audience to keep the secret hidden. Suspense had to be maintained for the sake of others. I was eight years old. I didn’t see the movie at the time it was out, but this is my first memory of such a striking communication campaign for a film – the first steps towards a cultural globalization. Of course, there was something terribly enticing about this non-visible zone. My brother would tell me imaginary tales surrounding the film, that he hadn’t seen either. Every day, this self-taught author had the possibility to rearrange narratives, and this transformation had a tremendous power over my own mind, as I struggled to articulate chaotic fragments of a broken story line. At age of thirteen, I was finally able to see Alien on a hacked VHS. Because it had been taped so many times, the picture had lost its clear quality, as if the image had been veiled, conferring an uncanny documented reality to the film. I found myself at home within this film, feeling uneasy in a yet so familiar place. I already knew it all, the infinite space and its cold silence, the plot twists, the dusty corpses, the unleashed beast, the bodies collapsing from the inside, the breathtaking fear, I had known it all along (…)

Translation : Audrey Petit-Trigg