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Research Overview (2025-2028) The Chimeric Embassy of Cosmic Concerns is a three-year, drifting inquiry initiated by the artist Mirjam Kroker. It is an experimental space that reimagines diplomacy, ethics (cosmo-ethics), and creativity as processes that critically question the current political regulation of freedom of movement/unfreedom and the right to control life and death of all matter on a militarised planet. Rooted in a hybrid and transformative acknowledgment of both material and immaterial realms, the Chimeric Embassy exists as a living, dynamic space for planetary, cosmic, and interdimensional concerns. It is in a state of constant flux— defies the conventional notion of an embassy as merely political, instead becoming a site for artistic intervention, ontological inquiry, and the negotiation of cosmic concerns. While the Chimeric Embassy operates as an independent and nomadic initiative, it is occasionally sheltered and accompanied by OB Contemporary throughout its trajectory over these three years. In this capacity, OB Contemporary facilitates moments of convergence—conversations, gatherings, collective readings, and exhibitions—that articulate the Embassy’s evolving cosmic concerns. As a periodic host and collaborator, OB Contemporary provides temporary refuge while advocating the Chimeric Embassy of Cosmic Concerns to remain open across geographies, embracing an ever-shifting constellation of alliances. Over the course of its journey, the Chimeric Embassy will activate diverse sites and semi-institutions, creating spaces for gatherings, exhibitions, and activations across varied contexts. The Chimeric Embassy of Cosmic Concerns arises from the acknowledgment that the cosmos, in all its vastness, encompasses concerns that stretch far beyond human understanding yet are deeply entangled with human and more than human existence. Its gesture is to initiate altered conversations across cosmic boundaries, where matters, energies, and thoughts intersect in ever-shifting, hybrid constellations. The Chimeric Embassy of Cosmic Concerns begins here: in the murmured resonances of planetary aesthetics and cosmo-ethics. It is not a fixed place but an intersympathetic practice, an emergent cosmopublic site where whispers turn into spirals, and spirals become bridges. Here, Earth is not just the ground to walk upon but a resonant body, a breathing entity with symbiotic currents that call each and everyone to attention. The Embassy listens to these calls, weaving interdimensional bridges of care and connection, inviting a shift—a spiraling shift—toward recognizing Earth not as an object to regulate but as a living, legal subject with infinite affinities. It is through these whispered links and echoed entwining that it is to unlearn extractive ways of being. How might a cosmopublic practice rooted in such resonant weavings invite a reimagining of borders, governance, and the ethics of movement? How might trans-connections and intracuriosities begin to disassemble systems that deny Earth its rightful place as a subject of rights? The Chimeric Embassy does not answer. It dreams. It spirals. It hosts. It gathers voices, stitching synaptic ties between disciplines, between the seen and unseen, between the human and the more-than-human. A shimmering gathering of serendipitous alignments emerges, soft yet urgent, asking to reorient our imaginations toward planetary solidarities. This is a cosmo-ethical provocation: a call for infinite embraces among all matter, a shared ontology of care that recognizes the agency of Earth and its materiality. A planetary art that signals the urgent need for a habitable future, one woven from whispering links, symbiotic currents, and friendly solidarities across all existence. The Chimeric Embassy, nomadic and unfixed, invites you to step into its resonant orbit. Not to resolve but to echo, not to solve but to weave—to build a planetary art where aesthetics and ethics collapse into one shimmering, spiraling, serendipitous embrace. This is cosmo-ethics, and this is where it begins.

Invitacioìn Chimeric Embassy - OBContemporary expo mirjam kroker.jpg

CHIMERIC EMBASSY OF COSMIC CONCERNS

As I see it, the radicality of manifestation lives in a liminal space—something that floats between the rigor of science, the expressiveness of art making, and the expansiveness of all that escapes categorisation. My path through anthropology was fueled by a relentless drive to ask questions, a hunger for understanding life in all its pluriversality. But, ironically, the scientific impulse to claim definitive knowledge often veils other ways of being, suppressing modes of existence that defy objectivity. Anthropology, which positions itself still often as an authority on "otherness," if so, ends up reducing lived experiences to something evaluable, something manageable. This approach is, in a way, colonial; it dictates what qualifies as "truth" and discards all else.

 

My shift to art arose from a desire to communicate without that implicit arrogance, to transmit my experience and understanding with openness rather than sovereignty. Art-making allows me to radiate what I perceive in ways that resist fixation—gentler, subtler, even more ambiguous. It doesn’t impose itself; rather, it extends a hand, invites a shared gaze, and allows for interconnection without the need to classify or judge. The act of creation here is relational, evolving, rooted in coexistence rather than analysis.

 

This is why I ultimately stepped away from the academic gaze that anthropology often holds so tightly. Science demands solutions, it claims understanding, but there are layers of reality, of feeling, that remain untouched by its reach. Art, on the other hand, values the form, the movement, the radiance of thought beyond its content. It invites me to explore not merely what I understand, but how I express and embody that understanding, how I shape it into something others might inhabit with me.

 

To communicate is, then, to connect—to craft a language that extends rather than confines, that radiates possibility rather than asserting fixed truths. I seek this in art not as a means of representation, but as a way to inhabit and share the world, humbly, creatively, and in an endless, transitioning polylog with all that coexists. 

UNBURY TOMORROW: Against the Normalisation of War is a variable installation
composed of printed micro-essays (multilingual, free for circulation), a portable analogue television
(Tele Star 4004, late 1980s), a telescopic antenna, a white textile, plastic and electricity.

The installation is variable in scale, approximately 250 × 130 × 120 cm.

UNBURY TOMORROW: against the normalisation of war, constitutes the second public occurrence within
Chimeric Embassy of Cosmic Concerns (2025–2028), a semi-nomadic research project initiated by Mirjam Kroker.
The project unfolds through invitations from institutional, semi-institutional, and independent spaces,
forming temporary assemblies and shared inquiries.

UNBURY TOMORROW: against the normalisation of war unfolds from the recognition that war is not an exceptional rupture of order, but a recurrent power logic through which order itself is produced and maintained. Historically, war has structured the world through cycles of conquest, destruction, repair, reconstruction, and renewed militarisation. These cycles are reproductive. They generate infrastructures, industries, political vocabularies, and aesthetic regimes that stabilise power while rendering violence necessary, manageable, and legitimate.

Within this logic, war does not need to declare itself. It operates as an atmospheric condition—shaping perception, affect, and time. Its visual languages are deeply sedimented: images of damage, restoration, resilience, and post-conflict repair circulate with strong aesthetic force. Contemporary art and critical practices are not outside this economy; they are often drawn into reproducing its grammars, even when opposing its outcomes.

UNBURY TOMORROW does not seek to counter this condition with alternative images or representations. Instead, it acknowledges the persistence of this power logic and withdraws from its modes of production. The work refuses the aesthetic operations through which war renders itself intelligible, 'attractive', and culturally operative. The installation consists of multiple elements arranged horizontally. None of them functions as a centre. This lack of hierarchy is deliberate. Centrality reassures; it stabilises meaning. It mirrors the logics of targeting, focus, and command that structure militarised perception. By refusing a centre, the work resists the comfort of orientation and the expectation that meaning must be anchored in a dominant object.

A portable analogue television, Tele Star 4004, is present among the elements. Designed for terrestrial signal reception, the device no longer receives any broadcast. Its screen flickers continuously, producing electronic noise without legible image. The words UNBURY TOMORROW are handwritten directly onto the glass surface. This flicker is not an absence of image, but an image rendered unreadable. The refusal to repair or replace interrupts the familiar cycle of damage and restoration—a cycle deeply aligned with the temporal logic of war, in which destruction is followed by repair, reconciliation, and renewed violence. By remaining unresolved, the device withdraws from productivity, resolution, and narrative completion.

Attached to the television’s telescopic antenna is a white cloth. The configuration frequently evokes the image of a flag. This reading is neither accidental nor corrected. It functions as a moment of exposure. The immediacy with which the cloth is perceived as a flag reveals how deeply perception is trained by sovereign and militarised aesthetics—how quickly fabric, elevation, and visibility are associated with territory, allegiance, and security politics. The cloth, however, is not a flag. The antenna is not a flagpole. The antenna no longer receives signals; it does not transmit messages or claim ground. It has been repurposed into a support without function or designation. In this misrecognition, viewers might encounter their own habituation to the aesthetic value of power and the visual attraction of war’s ordering forms.

Equally present are the micro-essays, printed in Spanish, English, and Spanglish, and currently being translated into Arabic and Hebrew. These texts are made available for free circulation. They do not explain the installation. They move alongside it.

Their circulation from hand to hand, rather than from screen to screen, follows a different historical logic of transmission. Hand-to-hand circulation is slow, contingent, and relational. It depends on proximity and trust rather than speed, scalability, or control. It resists the militarised infrastructures of contemporary media, which privilege surveillance, optimisation, and algorithmic reach. The texts do not produce visibility metrics, data traces, or stable archives. Circulation here is understood as companionship rather than dissemination.

UNBURY TOMORROW does not name an alternative condition or offer a reconciliatory horizon. Instead, it opens a field of questioning:


How might perception be loosened from militarised habits of seeing?
How might language be relieved from the pressure to justify, secure, or stabilise?
How might one begin to live otherwise, without transforming uncertainty too quickly into answers?

These questions are not posed from a position of certainty. They are part of the work’s own hesitation. The installation does not instruct; it attends. It remains with the difficulty of recognition, with the unease of not knowing how interruption might look or feel.

In this sense, UNBURY TOMORROW operates as an insurrection at the level of perception—not through confrontation, but through attentiveness. An insurrection that does not overthrow, but subtly disorients; that does not declare, but circulates; that does not resolve, but stays present with the conditions that make resolution appear necessary.

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