“Moving away from the creation of recognizable works, art becomes an experimental territory for producing subjectivities – according to the “ethico-aesthetic paradigm” of Felix Guattari.2 But what does that paradigm entail? How do forms of contemporary artistic practice lead their participants outside the dominant modes of subjectivation? How do they lend a different structure to cooperation? How do they take up threads from the past, displacing them onto the terrain of experience? Makrolab is a collaborative project that emerges from the vision of the Slovene artist Marko Peljhan. It offers some answers to these questions – singular answers. To make them useful in any general way, one would first have to approach the project in its multiple dimensions, to discover its stakes and challenges, to locate its contexts and learn to read its codes. Is it sculpture or architecture? A concept or a performance piece? A nomadic war machine, or a theater to replay history? The difficulty, when you want to perceive a project like this, is to let yourself enter the horizon of its possibilities, even while analyzing its specific features.” From Coded Utopia: Makrolab, or the art of transition by Brian Holmes [PDF]. Related.