by Mikala Hyldig-Dal and Ana Lessing Menjibar

In August 2018 an unknown birdlike creature appeared on ATM surveillance cameras throughout Berlin Kreuzberg. The creature glued red communiqués over the touchscreens of hundreds of ATMs rendering them unserviceable for hours, sometimes days. The creature, possibly of alien heritage, argued that the dominant economical system had become erroneous, asserting an unethical and counter-productive politics. The creature speculated that the introduction of a universal basic income would release an immense potential for social and artistic engagement in society within a broad segment of citizens hitherto suppressed by existential anxieties, competitive fears and wage labour exhaustion.

In its most daring dreams the creature envisioned that a fair distribution of means would support the emergence of a society in which everyone would be an artist on her or his own terms engaging with various materials, modes of communication and in/formal strategies. A society in which the political would turn into a social sculpture artwork characterized by freedom of spirit and openness of heart, transcending humanity into a new sphere of connectivity.