ABSTRACT

This article offers a reflection on the authors’ curation of (Dousos and Ieropoulos) and participation in (de Senna and Pfützenreuter) The Garden of Dystopian Pleasures, a performance festival that took place at the Athens School of Fine Arts in 2018. Dousos and Ieropoulos present their thoughts around the need to curate such an event in the first place, discussing the context within which they operate, the Athenian art scene, while making the case that ambiguity as a political and poetical tool must not be surrendered to the right. De Senna and Pfützenreuter discuss their experiences in creating and performing right-wing personas that blur the lines between what is real and what is performed; engaging in strategies of overidentification, they initiate a discussion around the ethics and role of critical artistic practice in response to contemporary right-wing radicalisation and aesthetics. Mirroring the curatorially experimental nature of the festival, the contributors speak from multiple positionalities. As such, the structure and tone of the article attempt a destabilisation of the form of a conventional academic paper, avoiding an overall, singular summing-up of the positions presented, and allowing for shifts in register.

摘要

这篇文章反思了作者对（Dousos 和 Ieropoulos）的策划以及对（de Senna 和 Pfützenreuter）反乌托邦欢乐花园的参与，2018 年在雅典美术学院举办的表演节。 Dousos 和 Ieropoulos 首先围绕策划这样一个活动的必要性提出了他们的想法，讨论了他们运作的背景，雅典的艺术场景，同时说明歧义作为一种政治和诗意的工具绝不能屈从于右翼。De Senna 和 Pfützenreuter 讨论了他们在创造和表演右翼角色方面的经验，这些角色模糊了真实与表演之间的界限；他们采用过度认同的策略，围绕批判性艺术实践的伦理和作用展开讨论，以回应当代右翼激进化和美学。反映了节日的策展实验性质，贡献者从多个位置发言。