"In the final track … one becomes malicious out of boredom. Then it becomes boring to be malicious. And finally one begins collecting little pictures made of chocolate. Idealism still is criminal realism. A braggart who has remained gentle is a little less gruesome (as he is an Idealist) than an Imagist gone wild (as he is a Realist). Whoever invented the ampulla ‘soul’! Perhaps the somewhat disappointing sight of the naked man … But this disappointment: one should take oneself by the ear, build up one’s courage and admit to oneself, that one has, as opportunities no longer earn, what others used to get off danger – a secret admiration for one’s own legs …"

"The ultimate disappointment? When the illusion that one is free of illusion reveals itself as such. (The most oppressive manoeuver of vanity: making oneself out to be more stupid and bad than one would like to be in order to indulge the vanity of not being vain. Fails miserably.) … The height of naïveté? When someone wants all at once to find out the (ogodogodo) – truth. (A clout on the ear is after all only a desperate approximation. Also, false tears often seem more genuine than – false ones.) … Two joke questions? Not at all. Two bracelets."

"Surrealism does not lie. It is the single truth. It is an epidemic. It is. It is just words."

"…the idea of interfering with benign nature is ridiculous. The Bambi view of nature is totally false. Nature is violent, amoral, and nihilistic. If you look at the history of this planet, you will see cycles of creation and destruction that would offend our morality as human beings. But somehow, because it’s ‘nature,’ it’s supposed to be fine."

"It would almost certainly be too much to say that irony is the postmodernist form of allegory. And, in any case, it isn’t postmodernism that I want to establish as the cultural condition before us but rather this post-postmodern, post-9/11 condition, in which irony is no longer sportively at play in the proliferations and possibilities of a polytechnical and multicultural milieu, but rather has taken on the melancholy cast that Benjamin adamantly identified with the allegorical gaze, which fondles debris and inscribes itself on ruins. Threatening the sunlit plaza is the surrounding landscape of foreclosure. Postmodern, and now post-postmodern, sentimentality has only begun the melancholy task of captioning the widening gap between the powerful and the abandoned."

"Protest is an instrument of lamentation, repeatedly having to be retuned."

"It is particularly amusing that those who protest loudest about the fraudulence or aridness or sameness of contemporary poetry that insists on being contemporary, dissident, different, and who profess, in contrast, the primacy of the individual voice, fanned by a gentile inspiration, produce work largely indistinguishable from dozens of their peers and, moreover, tend to recognize the value only of poetry that fits into the narrow horizon of their particular style and subject matter. As if poetry were a craft that there is a right way or wrong way to do: in which case, I prefer the wrong way—anything better than the well-wrought epiphany of predictable measure—for at least the cracks and flaws and awkwardnesses show signs of life."

"The pretension of the blood to pour through my body and my factitiousness the random color of the first woman i touched with my eyes in these tentacular times. The bitterest banditry is to complete a sentence of thought. Gramophone banditry little anti-human mirage that I like in myself because I think it absurd and insulting. But the bankers of language will always get their little percentage on the discussion."

"And let us ask ourselves, “What would be a good, new direction for the worm of civilization to take? “Well—it should go upward, if possible. Up is certainly better than down, or is widely believed to be. And we would be a lot safer if the Government would take its money out of science and put it into astrology and the reading of palms. I used to think that science would save us, and science certainly tried. But we can’t stand any more tremendous explosions, either for or against democracy. Only in superstition is there hope. If you want to become a friend of civilization, then become an enemy of truth and a fanatic for harmless balderdash."

"We were not ideologists in the sense of having a specific idea, though we were revolutionaries. And revolutionaries, moreover, that stood very far to the left. We wanted to change the world but without any particular idea."

"You ask “What is life?” That is the same as asking “What is a carrot?” A carrot is a carrot and we know nothing more."

"We need an OPENING, to break out of the vicious circle in which art finds itself.
Art today is nothing but a tremendous bluff. A mystification with various interests centered around a simple thing that is called “artistic creation.”
The divorce between this “artistic creation” and the public is an obvious reality.
The public is a million miles away from artistic events, even so-called avant-garde ones.
If there is any social concern in art today, it must take one very social reality into account: the viewer,
Within the limits of our possibilities, we wish to lead viewers out of their apathetic dependency that makes them passively accept, not just what is forced on them as art, but an entire way of life.
This apathetic dependency is carefully maintained by a wealth of published work, in which art specialists—in order to justify their role as intermediarles between the work of art and the public—act like initiates, weaving out of whole cloth an inferiority complex in the viewer.
This literature finds willing (or unwilling) accomplices in most artists, who feel that, by creating unique and permanent works of art, they are in a privileged, prophetic position.
On one hand, abandoning the closed and permanent aspect of traditional works of art (with or without outcry) is a challenge to the overrated creative act, and on the other, it is a first step towards enhancing the status of the viewer, who always submits to a contemplation conditioned by his or her level of culture, information, aesthetic appreciation, et cetera.
We think of the viewer as a being who is capable of reacting.
Capable of reacting with normal faculties of perception.
This is our path.
We propose to engage the viewer in an action that sparks his or her positive qualities in a climate of communication and interaction.
Our labyrinth is only a first experiment, deliberately aimed at eliminating the distance that exists between the view­er and the work of art.
The more this distance disappears, the more the interest in the object itself will disappear, and with it the importance of the personality of its creator. The same will be true of the entire superstructure around “creation” that is the reigning principle in the art world today."