Underneath, darkness, solitude, insanity, purity.
“…the gift of expression, the bewildering, the illuminating, the most exalted
and the most contemptible, the pulsating stream of light, or the deceitful flow
from the heart of impenetrable darkness”.
1. What does eXcogito mean? Our tenets
A way for the century which meets the rage and the depth of the avant-gardes and the gloomy lucidity of our Technological Era. We’d like to establish an urban-and-noir aesthetic, covering the external and internal dimensions of modern men.
eXcogito is Western and European by origin, otherwise, bordering in the Orient sights. Our yearning is for discovering the inner chemistry which lies beneath the occult sense of those odd mechanisms settled in the suburban milieu where we live and die, and turning them into philosophical humus.
We identify ourselves with the first decades of the recently-deceased twentieth century and consequently the Symbolism and the Expressionism movements constitute our very starting point at the time to develop these mainstream lines.
We despise the plebs’ religious pageantry; our “mystic” is always intimate and internal. It’s a God in solitude by a ghosted pale light.
We consider any other approach to the religious perspective a pitiful waste of time.
eXcogito runs parallel to the academicism (not against it, nor ignoring it).
eXcogito’s an idea before a gathering or a group. It’s a primordial seed before a well-established philosophical current.
We’re not against the modern technology, despite of being aware of the collective yearn for returning back to the naked horror which inhabits the inner axis of nature. The industry provokes us terror and rejection, and it’s precisely on this wretched reality where we base our major attraction.
We’re internal trespassers and our canvas reflects a Schiele’s spiritual passage as a framework for a casebook full of Freuds, Kafkas, Poes, Dostoyevskys and Nietzsches.
Gloomy deviants and pain-seekers; that’s what we deeply are. We bear black banners in facing the terrible blow of being alive. The pessimism which flows from the lucidity and the shadow emanated from corruption. A lurker spark ripping our hearts apart. Meanwhile, we keep with the resistance until the end: our world’s not gonna be an idyll of plain satisfaction, but a torment filled with vague pleasures.
Trying to galvanize the assemblies of our time. We harbour an elusive idea about what exactly should be a man for the century. Our epoch hides a bastard spiritus gifted by an enormous strength, and the very moment for opening doors has arrived.
We’re able to summarize the background of eXcogito in the following labels:
DYSTOPIA.– Analysis of modern urban purgatories and the repressive movements aroused during the last two centuries. Analysis of Auschwitz’s hells. Analysis of the killer-psychopathy: H.H.Holmes, Jack the Ripper, Onoprienko. We’ll tackle the issue through the artistic eye. The harsh portrait on the babylons of our time. The nonsensical architecture of the current hyper-industrially city generates horrors and pulsions beyond our control. Apocryphal Jack foresees the twentieth century
VIENNA, TOKYO, LONDON.– These three cities summarize eXcogito’s inner spirit. VIENNA is the paradise lost of the avant-garde and the pit in which shrinks a whole century; the Austrian Expressionism as our aesthetical engine. TOKYO is the symbol of an Eastern Babylon asphyxiated under neon lights and overpopulation; the absurd, the contradiction and the horror of a sub-mankind dragged along the edge, and the pounding struggle between the stolen-lore and the Meiji’s novelty. Finally LONDON represents the neoimperial European city par excellence and the very cradle of the Victorian aesthetics and the consequent Gothic Revival which crosses the project.
DARK CHEMISTRY.- The creative side of the project, where we give free rein to our literary and artistic fancies.
NOIR.- The noir and neo-noir subgenres in cinema and literature constitute one of our best references in eXcogito. We have in mind Hammett and Chandler’s works, beside the noir cinema developed from the thirties to the fifties: Wilder, Lang, Hustong, Hawks. Likewise the German Expressionism filmmakers of the twenties, like Wiene or Murnau. At last but not least, the Neo-Noir Sci-Fi genre: Blade Runner, New Rose Hotel, Strange Days.
ANTHROPOLOGY.- A way of being men: Rimbaud, Baudelaire, Malraux, Jünger, Schiele, Spilliaert, Bacon, Dean, Brando. Elegance and disarray at once. A male above mediocrity; a man beyond undecided manners. Van Gogh’s visionary insanity.
EROTICA.- A lavish erotica that embellishes women with an aureole of fatal virginity, like the Munch’s Black Madonnas. Apollinaire, Sade, Laclos, Nabokov.
ESOTERICA.- All those aspects related with the Occult: Mesmerism, Animal Magnetism, Magic, Morbid Medicine, including some delicious literary genres such as the ghost story or the weird pulp of the thirties. The Esoterism as an aesthetical label refers back to a great amount literary bizarre characters.