As if fleeing alone isn't suspicious enough,
it's regularly accompanied with futher vocabulary from the arsenal of denunciation found
in military language: flight means desertion, fleeing means betraying.
But in appropriating the concept of betrayal a radical reassessment takes place,
a radical shift first of all concerning the object of betrayal:

'We betray the fixed powers that try to hold us back, the established powers of the earth'.

Fixed and established powers do not form an outside;
they traverse our bodies, our relations, our worlds.
The traitor therefore betrays her own realm, her own gender, her class, and her majority.
To betray one's own majority means to drop out of one's own dominant normality.

'For it is diffucult to be a traitor; it is to create.
One has to lose one's identity, one's face, in it.
One has to dissapear, to become unknown'.

At the beginning of betrayal is the movement of disappearance,
of becoming-nobody as a break with loyalty to the logic and to the terror of
identity represantation and visibility.
Yet, as an absolute act that would result in being-nobody,
to loose the face, to abandom identity, to disappear is perhaps not only difficult but not even imaginable,
least of all in de business of art and writing
with their manifold modes of accumulating symbolic capital.

Rather, betrayal as a creative act has to be imagined and actualised as a tendeny of disappearance,
as a movement that constantly has to be instituted,
which again and again strats anew and thwarts the institutions,
the structures, and the state apparatuses of representation.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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