The zombie mummy is the new vogue.
It’s a status we all share regardless of class, race, gender and age. This dress code is a psychological one, you don’t buy it you are born with it. Nevertheless, it affects our bodies physically, as even the most expensive pair of stilettos would when worn by you for the rest of one’s life. The rhetoric of the war of the zombie mummy and thus, for now, the objectified life operates as the ultimate ruse, in which the logic is one dresses themselves for this life. This is not the case nor is it a simple role reversal of stylist/shopper, dominant/ submissive, or leader/ servitor.
Today the human body, complete with skin and organs is secured from total decay by extreme chemicals, climate and depleting oxygen levels. Just like the Egyptian mummies were. Housed in their mystic skyscraping pyramids, wrapped up tightly in order to keep solid enough to represent the structure of the human being. This royal ceremony has now been made available for the masses only with one difference they are still alive as they are bound up and sculpturized as human.
In a world, post-terror, post-trump, post-Cambridge analytica, post-pizzagate, post-blue lives matter, post-Theil post-Pepsi, post-Pepe, post-troll, post-Sam Hyde, post-bot farms, post-Che Guevara t-shirts, post-white guilt, post-in-house doxing, post-woke; the human body is never empty of their phalluses.
In times of combat the artist collective, Omsk Social Club calls for the post-body strike. Using tools of lucidity against the imposed user orientated Human Statehood that is burned onto our retinas as soon as we see the light of day. This Human Statehood is the psychological DNA they force into us daily, telling us we can live a better life if we go to school, work, marriage, procreate, raise another and die. Behind every purification is an exclusion.
In the 90s bodies collected in their masses on dancefloors and assumed trance-like states, moving together, starving themselves in the dark until the sun came up, exhausted. High, they rendered themselves useless for the capitalist work day ahead. These schemes may seem unimportant as radical acts, but the greater the invisibility of the parasite the longer it lives.
Originally a parlour game, the Exquisite Corpse aims to create a personified outcome from various collective inputs. These inputs are added with intentional lucidity, it is not known or cared for what came before or after, only knowing that eventually the corpse would be revealed as the collective active body.
Omsk Social Club suggests durational performances of other states, characters or roles as a starting point in order to cash out of this life game. This act will enable the player to build potential other worlds, environments, citizens, beliefs and political structures. Omsk calls this “Real Game Play” (RGP) it was a coined in 2017 and to date has had over 2000 players participate. RGP is a mutation of Live Action Role Play (LARP) and your own identity and lived experience. Any RGP can be seen as a collection of body parts, given at random to players just as the paper of the exquisite corpse it passed between the users. The players then play out those roles to make up the wider collective infrastructure of the RGP. This is no different to our typical day apart from the roles given may not reflect your “true” gender, sex, race, class or characteristics but this does not matter in a lucid world of Play. You are what you say you are until decided otherwise by both you and your community.
One can see clearly enough that play is neither theory nor its negation but simply something else. A theory has a simple role to make itself understood. Fiction does not but fiction is the apparatus needed before the theory can be set out.