Aachi & Ssipak

Four bourgeois men retreat to a villa to eat themselves to death, transforming gluttony into a ritualized political suicide of a class that cannot stop consuming. Ferreri stages excretion and excess as inseparable, where the body becomes the final site where capitalism collapses under its own appetite.

A walled city separates the employed from the eighty percent unemployed, with labor itself rationed as the substance of survival and dignity. The series finds in this divided body politic an architecture of refuse and the refused, where work is the new excrement that some hoard and others scavenge for.

Citizens wait endlessly in a line to receive permissions from a faceless authority called the Gate, while a bullet lodged inside one man's body becomes the document the regime refuses to acknowledge. Abdel Aziz turns waiting itself into the regime's instrument, a Kafkaesque bureaucracy that rations even the right to one's own wounds.

Composed under Soviet cultural strictures, Pärt's tintinnabuli stripped music to bell-tones and silence, finding subversion in deliberate scarcity rather than abundance. The work demonstrates how an artist under authoritarian control can weaponize the absence of material as its own form of revolt.

A wordless surreal odyssey of two kitten siblings traversing a dreamscape of dismemberment, drought, and absurd cruelty rendered with nursery-rhyme detachment. The work locates the political grotesque in the body's vulnerability to forces — weather, gods, butchers — that treat life as raw material.