delirious heterotopias delirantes

2012-12-22
Table Politics

Sometimes a delirious image can be more real than all the pretended truths. Thus, is not politics
truly like a table football in which invisible hands amuse themselves manipulating clumsy
marionettes that desperately strive to kick the capital, trying to reach the red goal?

Image after Michelangelo's Creazione di Adamo (The Creation of Adam, Sistine Chapel, 1511-
1512) [pd], G-20 Seoul summit (2010) [ua-fu/fd] and Garlando F-1 Football Table [fu/fd].
2012-12-20
Make Your Own Color Code!
We denounced the double standard prevailing in the system, the lie and the hypocrisy on which it is
based. But perhaps the most alarming is the growing cynicism, the way this double standard is
increasingly accepted without resistance, as an inevitable condition, as the more or less explicit
rules of the game, that this double standard must be accepted in any case.

Image after United States Army's images of Abu Ghraib (2004) [pd].
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2012-12-19
Eagles of Peace

Our everyday objects are inscribed with the symbols of animal predation, of the law of the
strongest. It is known that white doves symbolize peace; but this peace is rather an apparent and
tense calm, an imminent threat, which would make doves run away.

Image after United States one-dollar bill (detail, 1957) [ua-fu/fd] and Heinz Hoyer and Sneschana
Russewa-Hoyer's German one-euro coin [fu/fd].
Bilderberg Adyton

As the adyton of Greek temples --the central room inaccessible to the public in which the more
secret events happened--, our so-called "democracies" contain spaces in the shadow, secret areas
about which everyone, including our public representatives, keep quiet.

Image after James Stuart and Nicholas Revett's The Antiquities of Athens (1787) [pd] and M. M.
Minderhoud's Bilderberg Hotel [fu/fd].
2012-12-18
Moral Weightlifting

One of the basic strategies for debunking the transcendence of morality, whether Christian or
capitalist, is to understand that it ultimately responds to a materialistic logic. Morality can be
interpreted as a sort of encounter of forces, or even weights. Thus, it is not surprising that the
symbol which represents the Justice is the weighing scales. We would even dare to say that good
and evil weigh the same, what in essence is nothing more than acknowledging that good and evil are
simply two opposing tendencies that need to be balanced in any statu quo.

Thus, the role of religious authorities with respect to these moral distributions is to stage them,
counterbalance them, perform a media spectacle showing their strength, almost superhuman, in
order to maintain this equilibrium reasonably stable. In this sense, we could say, with a touch of
irony, that the task of these highest religious figures is very similar to that of a weightlifter.

After Télam's Pope Benedict XVI [fu/fd].

2012-12-15
Hortus Conclusus

There is a close relationship between the myth of the hortus conclusus ('enclosed garden') and the
false rhetoric of sustainability: our cities, our neighborhoods, our buildings will be sustainable to the
extent we are able to exclude from the sustainability calculation the impure elements, to the extent
we are able to enclose properly these virginal spaces so that nothing may disturb them.

Image after Kölner Maler um 1430's Maria im Rosenhaag mit Heiligen und Stiftern (Rose Mary in
the Hague with Saints and Donors, c. 1420-30) [pd], Bordo Poniente garbage dump (Mexico D. F.)
[ua-fu/fd] and others [ua-fu/fd].
The Golden Runaway

We tend to think of myths as fixed cultural heritages of the past, which would allow us to better
understand the contexts in which these myths were formulated. Yet the true power of myths is to use
them to understand our present. Or rather, our present in the context of the continuity of time. All
erudite studies of myths are useful tools to know them, but they miss this fundamental point. Myths
do not talk of the past but of the present. Myths are what our ancestors want us to know. One needs
only wanting to listen.

--------------------
At both ends of the fictitious line of time, projecting itself into the past, on the one hand, and into
the future, on the other hand, the myth of the golden age meets its symmetric counterpart in the
myth of progress. In this way, endlessly projecting itself into an unachievable ideal, man runs away
from the unique thing he can share with man: the present.

Image after Lucas Cranach the Elder's The Golden Age (c. 1530) [pd], boat carrying immigrants in
Canary Islands [ua-fu/fd] and barrier in Greek-Turkish border [ua-fu/fd].

2012-12-11
The Dehumanization of the Swing

In the Art History the stylistic analysis has dominated over the thematic one. The stylistic analysis,
as the name suggests, brings together works from certain geographical areas and historical periods,
with common formal characteristics, in order to define a style. And even though this type of
analysis seeks to account for the political, religious, economic and social context of the works, the
fact is that its emphasis is put in the morphology. The styles follow each other and "evolve" in an
almost Darwinian sense, as the "evolution" of forms or structures that adapt to the changing
circumstances.

Against this stylistic paradigm, the thematic one is focused on the background of the works, on
what-they-address, and establishes connections between them based on this thematic affiliation.
This thematic paradigm tries to identify something like underground currents which would traverse
the above-mentioned geographical, temporal and stylistic categories; that is to say, the
morphological categories. This is important because that means paying attention to what underlies
the forms of the works, that means being interested in the content rather than in the form, in the
meaning. In fact the notion of "dehumanization of art" by Ortega y Gasset (The Dehumanization of
Art and Other Essays on Art, Culture and Literature, 1925) could be similarly understood as the
consequence for art of having gradually disregarded its content, its roots, its thematic heritage,
getting lost in the labyrinth of forms.

From this thematic paradigm, we propose to confront artworks from different areas, periods and
styles, and that however share --or could share-- a theme. In this case we have chosen the theme of
the swing. This analysis allows to confirm to what extent the most recent works on this subject have
lost wealth or intensity with respect to older works, how they are interested now in shallower, more
formal, more abstract, more "dehumanized" questions.

Image after Penelope Painter's skyphos (c. 450 b.C.) [pd], Jean-Honoré Fragonard's L'Escarpolette
(The Swing, c. 1767) [pd] and Juan Navarro Baldeweg's Pieza de columpio (Swing Piece, 1976) [fu/
fd].
2012-11-29
Ne Travaillez Jamais (Never Work)

Without any doubt, the pending issue of contemporary urbanism is Luddism, if we consider that the
approach that has been imposed from the twentieth century --Functionalism or Rationalism-- was
the diametrically opposed. The Situationists were those who got closer to this ludic and anti-
functionalist character, whose proposals were developed in the context of May 1968. But the fact
that their ideas were hardly materialized shows to what extent these were visionary and still have
potential. Perhaps the time had not yet come for them. The famous Guy Debord's graffiti Ne
travaillez jamais ('Never Work') symbolizes an ideology which intended especially to call into
question the functionalist and productivist ideology that is at the heart of capitalism.

But a possible Luddite approach in architecture and urbanism would consist, not so much in
designing buildings and towns for a ludic, enjoyable or pleasurable use, what would continue being
a functionalist and final method, but rather, in transforming the architectural practice into a play.

Image after A. Vuillemin's Plan of Paris (1892) [pd].

2012-11-11
Los desastres de la guerra (The Disasters of War)
It seems obvious to remember that the symbol of the cross alludes to a sacrifice, political rather than
religious. That committed by the Romans to appease a local minority led by Jesus Christ, who
called into question the dominance of the Empire in the region. And while it might be thought that
its religious dimension was acquired later, once this rebel became the founder of Christianity, the
truth is that this sacrifice and sacrifices in general are already by their very essence political and
religious at the same time (René Girard, I See Satan Fall Like Lightning, 1999). The Christian
crucifixion is the sacrifice par excellence of this religion, but also the symbol par excellence, for all
sacrifices involve some kind of symbolism.

In fact, we consider that the symbol par excellence, the one which provides the paradigm to
understand the rest of them, is precisely the sacrificial symbol. This amounts to saying that the
function of symbols is to signify, more or less explicitly, the violence that constitutes the sacrifice.
In this sense the symbol is political. But as we said it is also religious. The more the symbol gets
close to religion, particularly in highly institutionalized religions such as Christianity, the more it
tends to mask the violence, the more a stylized symbol is. Religion cannot be understood without
violence, but its violence is quite sublimated, veiled. According to this logic, the basic strategy
to deconstruct symbols, necessarily involves revealing such violence, making it explicit.

Image after Francisco de Goya's Los desastres de la guerra (The Disasters of War, 1810-1815) [pd]
and Pedro Muguruza y Diego Méndez's Valle de los Caídos (Valley of the Fallen, 1940-1958)
[fu/fd].

2012-10-31
Demo-crazy

No doubt that the classical orders are derived from sacrificial rituals. This is clear in the case of the
Caryatids or the Persians, but this genalogy can also be traced in the case of the most stylized
orders: Doric, Ionic and Corinthean (George Hersey, The Lost Meaning of Classical Architecture,
1988). As a form of manifestation of power, it is understandable that architecture appeals, in a more
or less veiled way, to the "threat" of violence which sustains it (Walter Benjamin, Critique of
Violence, 1921). This distance between the symbol and what it suggests can be directly related to
the notion of hypocrisy that also characterizes power: to say something but to mean anything else;
the architectural form respects the tradition, regardless of the content that adapt to the
circumstances. Thus, democracies use styles inherited from the Classical Greece --the paradigm,
even if mythicized, for this form of power--, while the real content, the real state tends increasingly
to a dictatorship, de facto or de jure.

Image after James Stuart and Nicholas Revett's The Antiquities of Athens (1787) [pd] and others
[ua-fu/fd].
2012-10-28
Honour your Father

Magic and science, rather than being one the opposite of the other, share a fundamental purpose: to
dominate, or at least influence as much as possible, the nature (Claude Lévi-Strauss, The Savage
Mind, 1962). In this sense, science is inseparable from technology, for, in the same way that magic
rituals, they act towards nature in order to force it to respond to the human desires. In other words,
modern technology is not only calculation and optimization, but also a form of ritual and
symbolism.

Given this common intention of magic, science and technology, we can observe what have in
common phenomena apparently as remote as are primitive earth fertility cults and modern
technology. In the framework of fertility rites, the collective orgy, the liberation of the desires
repressed during the profane time, should propitiate a corresponding unleashing of the earth
promiscuity, the plethora, the waste of life. In a similar way, the recycling that the Western
nations made from Egyptian solar obelisks, can be interpreted as the technological erection
of phallic symbols. Or, at the other end of the scientific field, that of pharmaceutics, the latest
remedies to improve human fertility as Viagra could be also interpreted as new forms of apotropaic
rituals.

Image after Carlo Fontana/Alessandro Specchi's Erecting the Ancient Egyptian Obelisk in St.
Peter's Square, Rome [pd], Giovanni Paolo Panini's Departure of the Duc de Choiseul from the
Piazza di San Pietro (1754) [pd] and others [ua-fu/fd].

2012-10-25
Philosophical and Artistic Statement
"... l’activité paranoïaque se sert toujours de matériaux contrôlables et reconnaissables.
Il suffit que le délire d'interprétation soit arrivé à relier le sens des images des tableaux
hétérogènes qui couvrent un mur, pour que déjà personne ne puisse nier l'existence
réelle de ce lien. La paranoïa se sert de monde extérieur pour faire valoir l'idée
obsédante, avec la troublante particularité de rendre valable la réalité de cette idée pour
les autres." (... paranoid activity always makes use of verifiable, recognizable materials.
It is enough for someone in the grip of an interpretive delirium to link the meanings of
heterogeneous paintings that happen to hang on the same wall for the real existence of
such a link to become undeniable. Paranoia uses the external world to validate an
obsessive idea, with the troubling result of validating its reality to others.)
Salvador Dalí, "L'Âne Pourri" (The Rotten Ass), Le Surréalisme au service de la
révolution, 1, 1930.

"On peut concevoir l'expérience vécue paranoïaque et la conception du monde qu'elle

engendre, comme une syntaxe originale, qui contribue à affirmer, par les liens de
compréhension qui lui sont propres, la communauté humaine." (The paranoid
experience and the conception of the world it creates can be conceived as an original
syntax which contributes to reinforce, through its own understanding bonds, the human
community.)
Jacques Lacan, "Le problème du style et la conception psychiatrique des formes
paranoïaques de l'expérience" (The Problem of Style and the Psychiatric Conception of
Paranoiac Forms of Experience), Minotaure, 1, 1933.

"… il me semble que la tache politique actuelle dans une société comme la nôtre, c'est
de critiquer le jeu des institutions apparemment les plus neutres et les plus indépendants,
de les critiquer, de les attaquer de telle manière que la violence politique qui s'exerçait
obscurément en elles soit démasquée et pour qu'on puisse lutter contre elles." (... it
seems to me that the real political task in a society such as ours is to criticise the
workings of institutions, which appear to be both neutral and independent; to criticise
and attack them in such a manner that the political violence which has always exercised
itself obscurely through them will be unmasked, so that one can fight against them.)
Michel Foucault, "Human Nature: Justice versus Power", 1971.
Using the concept of "heterotopia" formulated by Michel Foucault and the delirium as a method to
criticize and recreate reality, Delirious Heterotopias is a transdisciplinary project halfway between
the research, the artistic practice and the activism, based on the power of images. On the one hand,
we think that the heterotopia, relating ultimately to the mythical crisis, is a key concept to
understand our world, in which these states of exception, from Las Vegas to Guantanamo, are
increasingly existing and persistent. On the other hand, our reality seems to be more and more
delirious, and categories such as logic, reason or common sense seem to have less and less sense, if
not just as smokescreens of other intentions. Thus, paradoxically, the most reasonable way to
confront this situation might be to resort to the same delirious logic.

Therefore Delirious Heterotopias uses the power of images to question, but also and at the same
time, recreate our reality. For this purpose we select graphic citations, in the form of heterotopias,
and combine them through a delirious method and the technique of photomontage. In fact, this
project is transdisciplinary and based on collages of apparently heterogeneous images in order to
implicitly question the dominant thought at its very core: its epistemological structures. For these
elections and statuses ultimately respond to strategies of domination of nature, including the human
race, and as Paul Feyerabend showed (Against Method, 1975), are in fact "incommensurable" with
respect to other forms of knowledge. Thus one of the strategies of this montages is to bring together
phenomena belonging to different spheres, registers or disciplinary fields, thereby trying to show,
not only that these phenomena might be more related than previously thought, but also that these
divisions are contingent and respond to interests less noble than those confessed.

Photographic images and their time montages, have become the privileged means to the
construction of contemporary reality, and as Susan Sontag stated (On Photography, 1977), that is
often achieved through the disintegration of reality and the subsequent reconstruction through the
juxtaposition of these disjointed fragments. Then again following a counter-strategy based on the
same mechanisms we try to challenge, Delirious Heterotopias triggers, as the Surrealist did, the
"meeting on a dissecting-table of a sewing-machine and an umbrella", which might be a revealing
way of reintegration, and therefore of recreation of reality.

Moreover, contrary to what the dominant discourse intends us to believe, images are rarely
transparent with respect to reality; they always imply some degree of opacity or concealment, that is
to say, of representation. This is the way, we claim, power and institutions work, namely masking
the violence which ultimately supports them; a violence that we try to unveil. Since we assume that
power continues to function on the basis of mythical-ritual structures of a theatrical or
representational character. And among them, following René Girard (Violence and the Sacred,
1972), "sacrificial mechanisms" as well as their public celebrations would occupy a prominent
place.

Images thus play a key role in the construction of reality, or in other words, in the representation of
power. A re-presentation which is nothing but a new presentation of a previous representation, and
so in an endless series. Our aim is not therefore to demonstrate anything about reality, about this
hypothetical original presentation which would be at the base of the series, but only to show how
the show works. And at the same time suggest alternatives, no less illusory.
2012-10-24
Pedro Bustamante

Soy arquitecto de formación pero autodidacta todoterreno por vocación. Lector empedernido,
investigador obsesivo, ensayista apasionado, artista delirante, viajero sabático, políglota simultáneo,
especialista en el todo, homme à tout faire. Conservador radical, anticapitalista y anticomunista,
creyente herético, indeciso convencido, incorrectamente político. Todo ello en régimen de rigurosa
independencia. Porque en estos tiempos en que el sistema está podrido hasta los tuétanos, es
prácticamente imposible hacer algo de interés desde los marcos institucionales y corporativos.
Conocí la academia por dentro y comprendí que es un aparato de poder más, solo que más sutil,
porque se ejerce a través de la perversión del saber y que los académicos son otra de las castas
sacerdotales hollycapitalistas.

He hecho muchas cosas diferentes en mi vida y en algunas he tenido eso que el sistema llama
"éxito". En efecto, conocí la realidad del mito del "éxito" en mi profesión como arquitecto.
Demasiado éxito y demasiado pronto. Entonces comprendí que el poder lleva implícita la
corrupción, que cuanto más se asciende en la escala de poder más complicidad hay que tener con la
criminalidad y la impunidad inherentes al poder, con su perversión y su sadismo. Esta oportunidad
que me regaló la vida me sirvió para saber que no pertenecía a ese mundo, que todo lo que está
atravesado por el éxito y el dinero está podrido. Desde entonces me dedico a tratar de comprender
cómo funciona este mundo delirante y transmitirlo en la medida de mis posibilidades. Pensando
sobre todo en llegar a los pueblos y a las comunidades. Invirtiendo en lo posible la transferencia
permanente de energía, riqueza, recursos, dedicación, esfuerzo, amor, moralidad, naturalidad,
espontaneidad, buena voluntad, etc., que se produce de abajo a arriba en el sistema de dominación.
Mediante el pensamiento y la creación, la investigación teórica y la práctica, la escritura y el arte, la
conspiración y el rigor.

En mi primer libro El imperio de la ficción: Capitalismo y sacrificios hollywoodenses, he tratado de

mostrar cómo funciona el mundo de una manera comprensiva, general, pero también, en lo posible,
estructural, profunda. Para ello vengo desarrollando una investigación que pretende explicar cómo
operan las sociedades humanas, desde un punto de vista integral, tanto en lo político como en lo
económico, lo social como lo moral. Y por supuesto, lo religioso. La idea es mostrar que lo
religioso está en la base de todos los fenómenos políticos, económicos y sociales. También en el
capitalismo, especialmente en el tardío, que denomino "hollycapitalismo". Porque el sistema no se
puede comprender hoy al margen de su dimensión hollywoodense. Pero también porque esta
dimensión, en última instancia, es "holy", sagrada.

Esta investigación, que llamo la "máquina hierogámico-sacrificial", forma parte del libro Sacrificios
y hierogamias: La violencia y el goce en el escenario del poder (1: papel - electrónico y 2: papel -
electrónico). Como su nombre indica, se basa en dos fenómenos que considero centrales en
cualquier régimen de poder-religión, también hoy en el hollycapitalismo: las hierogamias y los
sacrificios. En esta web estoy desarrollando parte de este trabajo, pero sobre todo tratando de
utilizarlo como marco teórico para comprender nuestro tiempo. Además de en este sitio, publico
artículos regularmente en diversos medios alternativos como El Robot Pescador, El Espía Digital,
Katehon, etc., y participo en diversas plataformas de videoprogramas como La Caja de Pandora y
CsiJuan.

LIBROS

2016

Sacrificios y hierogamias: La violencia y el goce en el escenario del poder,

ediciones_senoicide/Amazon.

Parte 1: https://www.amazon.es/dp/1539762173/ref=sr_1_1?ie=UTF8&qid=1478009428&sr=8-
1&keywords=sacrificios+y+hierogamias

Parte 2: https://www.amazon.es/dp/1540501299/ref=sr_1_3?ie=UTF8&qid=1482083171&sr=8-
3&keywords=sacrificios+y+hierogamia

2015

El imperio de la ficción: Capitalismo y sacrificios hollywoodenses, Ediciones Libertarias,

http://www.libertarias.com/index.php?menu=3&op=7&tit=581

ARTÍCULOS (EN OTROS MEDIOS)

2017

"La trampa Trump: la fase coagula que realimentará la fase solve, Katehon, 11.02.17,
http://katehon.com/es/article/la-trampa-trump-la-fase-coagula-que-realimentara-la-fase-solve; El
Espía Digital, 20.02.17, http://www.elespiadigital.com/index.php/tribuna-libre/16265-la-trampa-
trump-la-fase-qcoagulaq-que-realimentara-la-fase-qsolveq
"Neuro-piratas: Reflexiones sobre la ingeniería social de Lucien Cerise", Katehon, 11.01.07,
http://katehon.com/es/article/neuro-piratas-reflexiones-sobre-la-ingenieria-social-de-lucien-cerise;
Página Transversal, 23.01.17, https://paginatransversal.wordpress.com/2017/01/23/neuro-piratas-
reflexiones-sobre-la-ingenieria-social-de-lucien-cerise/; El Espía Digital, 16.02.17,
http://www.elespiadigital.com/index.php/informes/15939-neuro-piratas-reflexiones-sobre-la-
ingenieria-social-de-lucien-cerise-

2016

"¡A la caza de poke-burkinis!", Katehon, 29.08.16, http://katehon.com/es/article/la-caza-de-poke-

burkinis

"El ojo que todo lo enmascara", Katehon, 26.08.16, http://katehon.com/es/article/el-ojo-que-todo-

lo-enmascara; El Espía Digital, 30.08.16,
http://www.elespiadigital.com/index.php/tribuna-libre/14453-el-ojo-que-todo-lo-enmascara

"El Vaticano se humilla ante el hollycausto sionista neopagano", El Espía Digital, 11.08.16,
http://www.elespiadigital.com/index.php/tribuna-libre/14254-el-vaticano-se-humilla-ante-el-
hollycausto-sionista-neopagano

"La profanación de San Esteban y la decapitación de Santiago Hamel(ín)", El Espía Digital,

05.08.16, http://www.elespiadigital.com/index.php/tribuna-libre/14253-la-profanacion-de-san-
esteban-y-la-decapitacion-de-santiago-hamelin

"Comprender el poder hoy: autores clave responden a cuestiones clave (05) - Luis Carlos Campos",
El Robot Pescador, 04.08.16, https://elrobotpescador.com/2016/08/04/comprender-el-poder-hoy-
autores-clave-responden-a-cuestiones-clave-05-luis-carlos-campos/

"1973-2015: 222 aniversario de la profanación de Saint-Denis", El Espía Digital, 02.08.16,

http://www.elespiadigital.com/index.php/tribuna-libre/14240-1793-2015-222-aniversario-de-la-
profanacion-de-saint-denis

"Geopolítica del solve y el coagula", Katehon, 29.07.16, http://katehon.com/es/article/geopolitica-

del-solve-y-el-coagula; El Espía Digital, 01.08.16,
http://www.elespiadigital.com/index.php/noticias/geoestrategia/14180-geopolitica-del-qsolveq-y-el-
qcoagulaq

"Comprender el poder hoy: autores clave responden a cuestiones clave (04) - Jose Alfonso
Hernando", El Robot Pescador, 27.07.16, https://elrobotpescador.com/2016/07/27/comprender-el-
poder-hoy-autores-clave-responden-a-cuestiones-clave-04-jose-alfonso-hernando/

"BREXIT y BRICSEXIT: geopolítica del colapso controlado", Katehon, 22.07.16,

http://katehon.com/es/article/brexit-y-bricsexit-geopolitica-del-colapso-controlado; El Espía Digital,
01.08.16, http://www.elespiadigital.com/index.php/informes/14047-brexit-y-bricsexit-geopolitica-
del-colapso-controlado

"Los rituales satánicos y el poder-religión", El Espía Digital, 18.07.16,

http://www.elespiadigital.com/index.php/tribuna-libre/13989-los-rituales-satanicos-y-el-poder-
religion

"Comprender el poder hoy: autores clave responden a cuestiones clave (03) - Manuel Galiana", El
Robot Pescador, 14.07.16, https://elrobotpescador.com/2016/07/14/comprender-el-poder-hoy-
autores-clave-responden-a-cuestiones-clave-03-manuel-galiana/

"La democracia es un mito; las elecciones un ritual", El Espía Digital, 14.07.16,

http://www.elespiadigital.com/index.php/tribuna-libre/13966-la-democracia-es-un-mito-las-
elecciones-un-ritual; Katehon, 15.07.16, http://katehon.com/es/article/la-democracia-es-un-mito-las-
elecciones-un-ritual

"Zika: terrorismo eugenésico... y olímpico", El Espía Digital, 10.07.16,

http://www.elespiadigital.com/index.php/noticias/seguridad/13941-zika-terrorismo-eugenesico-y-
olimpico

"Comprender el poder hoy: autores clave responden a cuestiones clave (02) - Rafael Palacios
"Rafapal"", El Robot Pescador, 06.07.16, https://elrobotpescador.com/2016/07/06/comprender-el-
poder-hoy-autores-clave-responden-a-cuestiones-clave-02-rafael-palacios-rafapal/

"Before you BREXIT, o la noche de las hogueras de Son-John", Katehon, 04.07.16,

http://katehon.com/es/article/you-brexit-o-la-noche-de-las-hogueras-de-son-john

"BREXIT: bandera falsa globalista para la demolición controlada del euro", Katehon, 02.07.16,
http://katehon.com/es/article/brexit-bandera-falsa-globalista-para-la-demolicion-controlada-del-
euro; El Espía Digital, 07.07.16, http://www.elespiadigital.com/index.php/tribuna-libre/13920-
brexit-bandera-falsa-globalista-para-la-demolicion-controlada-del-euro

"Comprender el poder hoy: autores clave responden a cuestiones clave (01) - Thierry Meyssan", El
Robot Pescador, 29.06.16, https://elrobotpescador.com/2016/06/29/comprender-el-poder-hoy-
autores-clave-responden-a-cuestiones-clave-01-thierry-meyssan/; El Espía Digital, 02.07.16, http://
www.elespiadigital.com/index.php/tribuna-libre/13830-entrevista-a-thierry-meyssan-comprender-
el-poder-hoy-autores-clave-responden-a-cuestiones-clave-i-; Katehon, 06.07.16, http://katehon.com/
es/article/comprender-el-poder-hoy-autores-clave-responden-cuestiones-clave-thierry-meyssan

"Obama en Hiroshima, Bilderberg en Dresde y la Tercera Guerra Mundial silenciosa", Katehon,

22.06.16, http://katehon.com/es/article/obama-en-hiroshima-bilderberg-en-dresde-y-la-tercera-
guerra-mundial-silenciosa

"Orlando: ritual hierogámico-sacrificial", El Espía Digital, 16.06.16, http://www.elespiadigital.com/

index.php/tribuna-libre/13719-orlando-ritual-hierogamico-sacrificial; Katehon, 16.06.16,
http://katehon.com/es/article/orlando-ritual-hierogamico-sacrificial

"Rajoy, Iglesias, Sánchez, Rivera: ¡farsantes!", Katehon, 15.06.16,

http://katehon.com/es/article/rajoy-iglesias-sanchez-rivera-farsantes

"¡Es la economía destructiva, estúpido!", El Espía Digital, 15.06.16,

http://www.elespiadigital.com/index.php/tribuna-libre/13651-ies-la-economia-destructiva-estupido

"Guía para desenmascarar a las falsas izquierdas", El Robot Pescador, 02.06.16,

https://elrobotpescador.com/2016/06/02/guia-para-desenmascarar-a-las-falsas-izquierdas/; Katehon,
03.06.16, http://katehon.com/es/article/guia-para-desenmascarar-las-falsas-izquierdas; El Espía
Digital, 06.06.16, http://www.elespiadigital.com/index.php/tribuna-libre/13587-guia-para-
desenmascarar-a-las-falsas-izquierdas; Página Transversal, 18.07.16,
https://paginatransversal.wordpress.com/2016/07/18/guia-para-desenmascarar-a-las-falsas-
izquierdas/

"Chantal Mouffe y las izquierdas de colores", El Espía Digital, 28.04.16,

http://www.elespiadigital.com/index.php/tribuna-libre/13153-chantal-mouffe-y-las-izquierdas-de-
colores

"El hollycapitalismo como máquina toroidal", El Espía Digital, 20.04.16,

http://www.elespiadigital.com/index.php/tribuna-libre/13029-el-hollycapitalismo-como-maquina-
toroidal

"Hollycapitalismo: la excepción es la regla", Página Transversal, 18.04.16,

https://paginatransversal.wordpress.com/2016/04/18/hollycapitalismo-la-excepcion-es-la-regla/

"Manifiesto hierogámico-sacrificial", El Robot Pescador, 03.04.16,

https://elrobotpescador.com/2016/04/03/ideas-para-cambiar-el-mundo-xvii/

"El capitalismo y el hollycapitalismo en 50 conceptos", El Espía Digital, 21.03.16,

http://www.elespiadigital.com/index.php/tribuna-libre/12616-el-capitalismo-y-el-hollycapitalismo-
en-50-conceptos; Página Transversal, 09.03.16,
https://paginatransversal.wordpress.com/2016/03/09/el-capitalismo-y-el-hollycapitalismo-en-50-
conceptos/; Tercera Información, 28.02.16, http://www.tercerainformacion.es/spip.php?
article99749; Katehon, 23.03.16, http://katehon.com/es/article/el-capitalismo-y-el-hollycapitalismo-
en-50-conceptos
"Los Títeres desde abajo y los títeres desde arriba", Tercera Información, 28.02.16,
http://www.tercerainformacion.es/spip.php?article99723

"El hollycapitalismo, fase superior del capitalismo", Tercera Información, 27.02.16,

http://www.tercerainformacion.es/spip.php?article99654

"Miley Cyrus y la muerte de la maternidad", Tercera Información, 02.02.16,

http://tercerainformacion.es/spip.php?article98470

"ISIS, diosa de la infertilidad hollycapitalista", Tercera Información, 28.01.16,

http://www.tercerainformacion.es/spip.php?article98236

"El zika, la microcefalia y la guerra de cuarta generación", Tercera Información, 21.01.16,

http://www.tercerainformacion.es/spip.php?article97928

"La derechización o despolitización de la sociedad capitalista", Tercera Información, 10.01.16,

http://www.tercerainformacion.es/spip.php?article97397

"Las crisis capitalistas y la producción de víctimas", Tercera Información. 06.01.16,

http://www.tercerainformacion.es/spip.php?article97197

2015

"Ángeles y diablos en los equilibrios de poder", Tercera Información, 31.12.15,

http://www.tercerainformacion.es/spip.php?article96986

"Las distopías hollywoodenses como vanguardia de la realidad", Tercera Información, 26.12.15,

http://www.tercerainformacion.es/spip.php?article96755

"Los ismos y las transmutaciones alquímicas", Tercera Información, 24.12.15,

http://www.tercerainformacion.es/spip.php?article96720; El Robot Pescador - Ideas para cambiar el
mundo, 13.03.16, http://elrobotpescador.com/2016/03/13/ideas-para-cambiar-el-mundo-xv/#more-
12476

"El plano de inmanencia y Occidente", Tercera Información, 24.12.15,

http://www.tercerainformacion.es/spip.php?article96719

"El árbol de Navidad y la religión capitalista", Tercera Información, 17.12.15,

http://www.tercerainformacion.es/spip.php?article96477

"De la religión nazi a la religión capitalista", Tercera Información, 17.12.15,

http://www.tercerainformacion.es/spip.php?article96479

"El anarquismo y las tríadas miméticas", Tercera Información, 13.12.15,

http://www.tercerainformacion.es/spip.php?article96266
2014

"Aprender a desobedecer", HipoTesis, Hipo 2,

http://www.hipo-tesis.eu/numero_hipo_2_bustamante.html

"The Dialogue of the Images" (El diálogo de las imágenes), Memefest 2014 – Radical Intimacies:
Dialogue in Our Times, http://www.memefest.org/en/gallery/works2014/1689/

"El ritual de la violencia en el escenario del poder-religión", Criminal Displacements, 1,

http://displacementsjournal.com/journal/el-ritual-de-la-violencia-en-el-escenario-del-poder-religion/

"The Heterotopias as Cult of Capitalism" (Las heterotopias como culto del capitalismo), Critic|all –
I International Conference on Architectural Design and Criticism, actas digitales, 238-243,
http://www.criticall.es/

"Images of a Pending Revolution" (Imágenes de una revolución pendiente), Southern Pulse

Magazine 1: 43-45.

Arte/Art Laguna Prize 13.14, catálogo: 71.

2013

"La fuente del espectáculo", Mètode 80: 46.

"Delirious Heterotopias", Photomediationsmachine, http://photomediationsmachine.net/2013/06/11/

delirious

VIDEOS

2017

Canal YouTube Pedro Bustamante, 05.11.16-actualidad,

https://www.youtube.com/channel/UCx_e1FdzqbQdqWGr-V5l8nw

"Las tomas de posesión de presidentes estadounidenses y los rituales satánicos", Csi Juan, 20.01.17,
https://www.youtube.com/watch?v=S-2h70vFc5c

"Sacrificios y hierogamias, por Pedro Bustamante. La violencia y el goce en el escenario del poder",
La Caja de Pandora, 13.01.17, https://www.youtube.com/watch?v=hESSa7dsyj4

Caso Diana Quer. Lo Que Nos Ocultan De La V.O. Con Fran Parejo y Pedro Bustamante, Csi Juan,
11.01.17, https://www.youtube.com/watch?v=bEHcRb336Is&t=2759s
"Especial Elecciones USA 2016, El Universo Rojo y Csijuan, 09.11.16, https://www.youtube.com/
watch?v=NI0h14JzHcI

2016
"El imperio de la ficción: Capitalismo y sacrificios hollywoodenses", CSI Juan, 11.09.16,
https://www.youtube.com/watch?v=BW3XRYJQHE0

Hollycapitalismo - Cap. 5, "De Orlando al BREXIT o la noche de las hogueras de Son-John", La

Caja de Pandora, 28.06.16, https://www.youtube.com/watch?v=uhfGlB3gqs8

Guía para desenmascarar a las falsas izquierdas, con La Granja Humana MX, 08.06.16,
https://www.youtube.com/watch?v=pJfFuv5xv4k

Hollycapitalismo - Cap. 4, "La economía toroidal", Matrix Pandora - La Caja de Pandora, 24.25.16,
https://www.youtube.com/watch?v=n7cb3UFHHh8

Hollycapitalismo - Cap. 3, "Las tríadas y las trinidades", Pandora TV - La Caja de Pandora,

26.04.06, https://www.youtube.com/watch?v=m6s24IPaIjE

Hollycapitalismo - Cap. 2, "Cómo se crean las crisis. La excepción instaura la regla", Pandora TV -
La Caja de Pandora, 17.03.06, https://www.youtube.com/watch?v=xcM2xdkftwU

Hollycapitalismo - Cap. 1, Pandora TV - La Caja de Pandora, 02.03.06, https://www.youtube.com/

watch?v=rEXE_4hRjTk

"La máquina hierogámico-sacrificial", Pandora TV - La Caja de Pandora, 17.02.06,

https://www.youtube.com/watch?v=8L3Er7-Oe90

CONFERENCIAS Y TALLERES

2014

"Sacrifices and encarnations in the capitalist religion" (Sacrificios y encarnaciones en la religión

capitalista), Unclean Project, Berlin Art House SomoS, Berlín, Alemania, 18.06.14.

"The Heterotopias as Cult of Capitalism" (Las heterotopias como culto del capitalismo), Critic|All –
I International Conference on Architectural Design & Criticism, Superior Technical School of
Architecture, Madrid, España, 14.06.14.

"The Heterotopias as Cult of Capitalism" (Las heterotopias como culto del capitalismo), The
Mediated City, Ravensbourne University, Londres, Reino Unido, 01-03.04.14.

"Delirious Heterotopias", Re.Activium Silvestre. Laboratorio colaborativo de análisis de actitudes

pasivas y estrategias colectivas de activación, Re.colectivo, Camás, Cabranes, Asturias, España, 14-
16.03.14.

2013

Protests as Events / Events as Protest, Leeds Metropolitan University, Leeds, Reino Unido,
12.06.13.

"Delirious Heterotopias", Performative Philosophie – Denken im Modus der Kunst (Filosofía

performativa – Pensar a la manera del arte), Kunst/Wissen/Kollision - Stattbad Wedding, Berlín,
Alemania, 04-07.04.13.
2011

Profesor Asistente, Escuela Técnica Superior de Arquitectura de Madrid, España.

EXPOSICIONES

2014

Guilty Pleasures (Placeres culpables), Sweet Art / Juno, Londres, Reino Unido, 06-30.11.14.

Arte Laguna Prize, Nappe Arsenale, Venecia, Italia, 22.03-06.04.14.

Exhuberant Politics (Política exhuberante), Legion Arts / Public Space One, Cedar Rapids / Iowa
City, Estados Unidos, 06.03.14-08.04.14.

Vida, Fundación FIART, Madrid, España, 16.01-07.02.14.

JAE Jovens Arquitetos Espanhois (Jóvenes Arquitectos Españoles), Museu Nacional Soares dos
Reis, Oporto, Portugal, 31.10.13-12.01.14.

2013

YAS Young Architects of Spain, Department of Architectural Science, Ryerson University, Toronto,
Canadá, 12.09-04.11.13.

Recyceln (Reciclar), Group Global 3000, Berlín, Alemania, 09-30.09.13.

Portas Abertas (Puertas abiertas), Fórum Eugénio de Almeida, Évora, Portugal, 05.04-06.06.13.

Delirious Heterotopias, Studio Hasenheide – Square66, Berlín, Alemania, 14-16.06.13.

Greenwashing, Group Global 3000, Berlín, Alemania, 06.06-15.07.13.

Kaufen oder Nichtkaufen (Comprar o no comprar), Group Global 3000, Berlín, Alemania, 12.04-
11.05.13.

Wedding Session, Kunst/Wissen/Kollision – Stattbad Wedding, Berlín, Alemania, 04-07.04.13.

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), Azrieli School of
Architecture and Urbanism, Carleton University, Ottawa, Canadá, 25.04-10.05.13.

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), Spanish Cultural Center,
Miami, Estados Unidos, 07.03-08.04.13.

2012

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), College of Architecture,
College Station, Texas A&M University, Texas, Estados Unidos, 06.11-10.12.12.

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), Instituto Cervantes, New
York, Estados Unidos, 05-18.09.12.

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), Virginia Center for
Architecture, Richmond, Estados Unidos, 12.07-24.08.12.

YAS Young Architects of Spain – JAE Jóvenes Arquitectos de España, John Hartell Gallery, Sibley
Hall, Cornell University, Ithaca, Estados Unidos, 09-20.04.12.

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), University of Houston
Architecture Building Atrium, Houston, Estados Unidos, 26.01-01.04.12.

2011

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), Latin Cultural Center,
Dallas, Estados Unidos, 07.11-15.12.11.

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), AIA American Institute of
Architects, Washington DC, Estados Unidos, 15.09-15.10.11.

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), Instituto Cervantes, Chicago,
Estados Unidos, 30.03-17.04.11.

JAE Jóvenes Arquitectos de España, Real Academia de España, Roma, Italia, 12-31.01.11.

2010

JAE Jeunes architectes espagnols (JAE Jóvenes Arquitectos de España), École Nationale Supérieure
d'Architecture Paris-Val de Seine, París, Francia, 10.11-10.12.10.
YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), KTH Royal Institute of
Technology, Estocolmo, Suecia, 11-29.10.10.

III Congreso Internacional de Arquitectura CONSTRUTEC-COAM (III International Conference

on Architecture CONSTRUTEC-COAM), Madrid, España, 07-08.10.10.

JAE Jóvenes Arquitectos de España, Representative Office of the Principality of Asturias, Bruselas,
Bélgica, 23.02-22.06.10.

2009

YAS Young Architects of Spain (JAE Jóvenes Arquitectos de España), Graduate School of
Architecture, Planning and Preservation, Columbia University, Nueva York, Estados Unidos, 08.04-
08.05.09.

2008

JAE Jóvenes Arquitectos de España, Ministerio de la Vivienda, Madrid, España, 11.09-30.11.08.

2007

CREAA Centro de Creación de las Artes de Alcorcón, Círculo de Bellas Artes, Madrid, España,
29.03-02.04.07.

CREAA Centro de Creación de las Artes de Alcorcón, Castillo Grande de Valderas, Alcorcón,
Madrid, España, 01-28.02.07.

2006

Centro de Producción de las Artes de Alcorcón, ARCO Feria Internacional de Arte Contemporáneo,
Madrid, España, 09-13.02.06.

PERFORMANCES E INSTALACIONES

2014

The Accumulation is Primitive (La acumulación es primitiva), Infecting the City, Ciudad del Cabo,
Sudáfrica, 10-15.03.14.

Despacio Público, Fundación FIART, Madrid, España, 16.01-07.02.14.

2013
Kulturvernichter (Trituradora de cultura), Group Global 3000, Berlín, Alemania, 09.09.13 (w/ E.
Cantillo).

2009

Esta noche me desvelo, La noche en blanco, Madrid, España, 19.09.09.

Esta noche releo mis libros, La noche de los libros, Madrid, España, 23.04.09

2008

Despacio público, Madrid, España, 26.12.07-26.03.08.

FORMACIÓN

2012

Master en Estudios Avanzados (MAS) / Diploma de Estudios Avanzados (DEA), Escuela Técnica
Superior de Arquitectura, Universidad Politécnica de Madrid, Madrid, España.

2000

Arquitecto, Escuela Técnica Superior de Arquitectura, Universidad Politécnica de Madrid, Madrid,

España.

1999

Beca Erasmus, Ecole Nationale Supérieure d’Architecture de Paris-Belleville, París, Francia.

IDIOMAS

Español nativo, inglés y francés fluido, alemán avanzado.

[Actualizado en febrero de 2017]