INNBETWEEN is a feeling which provokes an etymologic interrogation of the complex mechanisms of Late Capitalism where reduction, fragmentation, hierarchization, globalisation and alienation are the dominant principles shaping our imminently (Western) global society. Simplification is distorting consensus reality into marketing slogans and one-liners introducing a conservative epoch of apostrophised disinformation. Innbetween, a politically non-Euclidean new-words-machine, manipulates the shadow of word-weapons into mediating languages of mutual benefit, adapting the deterministic orders that suffocate subjectivity. It promotes agency in individuals through interfecting the NOW because what I am communicating has not result in what is surrounding me.

INNBETWEEN is inhabited by post multidisciplinary slash-people who reject departmentalisation and monological definition, the nameless who cross outdated borders of institutionalised hier-archies without being asked to but by necessity. Innbetween demonstrates and exercises the potential of the transdimensional tourists to recognize patterns beyond the latest cool, and conceive of critical strategies and interventions withIN the processes that shape cities NOT in the insular galleries and sanctified forums of ART. It is immanent criticism mobilized by having no vantage point on the periphery in which to reside, only the condition of an absolute inside.



“Every ideology is mental murder, a reduction of dynamic living processes to static classifications, and every classification is a Damnation, just as every inclusion and exclusion. In a busy buzzing universe where no two smowflakes are identical, and no two trees are identical, and no two people are identical–and indeed, the smallest sub-atomic particle, we are assured, is not even identical with itself from one microsecond to itself–every card index system is an illusion. “Or to put it more charitably”, as Nietzsche says, “we are all better artists than we realize.””

–HAGBARD CELINE, “Never Whistle while You’re Pissing”.

INNBETWEEN is a way of seeing the city, asking the WHY behind the visible and invisible physical and mental preformulations we inhabit. This perspective reconstructs languages of professions hygienically aloof in aesthetic vacuums and elitist internal discourse into tools to radicalise the modern existing situation from within. In the EasyEverything search for the shortest route from A to B, INNBETWEEN you find labyrinthine mental maps written in the shadow of Fortress Europe, a storytelling to reveal doors to the other cities within cities.