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MANIFESTO FOR AN ATLAS OF POROUS THRESHOLDS
By Charles Jespertine. 2025.

The exhibition has stopped being a device for display and behaves instead like an ecosystem of signals, a node in the network of invisible systems that sculpt perception at infra-conscious thresholds. Those systems reach well beyond the technological: they are ecological, mnemonic, spectral. They operate in the interstices of bodies, data flows, and mental architectures. To curate today is to map these entanglements, to trace the tremors of a world that resists representation. CJ Projects was born from this necessity: to experiment with the exhibition format as a living system. We operate as a nomadic laboratory, based between Berlin, London, and Paris, palimpsest cities where layers of migrations and histories overlap. Here we build situations where works do not simply coexist, they contaminate each other. They generate feedback loops, emergent narratives, unstable semioses. Each exhibition becomes a dark ecology where meaning is cultivated rather than imposed, where the visitor participates in a networked memory.

Our position is clear. The accelerationism we embrace has nothing to do with the techno-solutionism of "tech bros" or the nihilistic drift of right-wing accelerationism. It is a strategy of overdose, pushing capitalist logics to their paradoxical breaking point, as Deleuze and Guattari envisioned in Anti-Oedipus. Here, excess becomes a way of hacking the machine, pushing it towards implosion through critical saturation. Some caricature this position as "techno-utopian", but technology has never been neutral or deterministic. It is a political battlefield where conflicts of materiality, temporality, and power are fought. Left accelerationism, as theorized by Alex Williams and Nick Srnicek, does not seek to escape the present but to complexify it, revealing its cracks and its unfinished potentialities. Technology is ambiguous, just like the reality it helps shape, and this ambiguity is a political force. To refuse a Manichean simplification (technophobia versus technophilia) is to embrace the complexity of technical networks and their social, economic, and psychic implications.

The works we present explore this ambiguity. They do not denounce, they expose the scars of the real, those zones where offline and online contaminate each other, where flesh and code hybridize. The ideal exhibition would occupy a liminal space where the thresholds between physical and virtual, real and digital, become porous. We imagine dispositifs where visitors stop being mere spectators and become activators, their bodies, data, and gestures becoming integral to the work. We invite you to imagine what kind of exhibition could function as a signal, sent not into space but into time. What narratives might emerge if we allowed works to infect one another, to generate their own spectral logics? CJ Projects remains open to the emergent, the unfinished, the unsettling. The next transmission is already in composition, in the interstices, under the skin, between the lines.

Reality is no longer a given but a battlefield of operational fictions.

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