Gathering underscores this project, and it is so because there is no way else to do any kind of liberatory work today.

As a dreamwork, Fetch the Bolt Cutters could not reckon even in little ways with hypercapitalism without being “hyper”— but in a manner that negates capitalist nature. As a more advanced form of late capitalism, hypercapitalism continues to reveal its reliance on connected forms of oppression and mythmaking to sustain its excessive extraction and escalating theft. Liberation, however, beckons at the other end of hypercapitalism’s sweeping dominion through the committed dreamwork(s) of envisioning equitable futures.

Fetch the Bolt Cutters stands in this constellation with a series of participatory installations and a discursive publication. The project literally maps ideas, instructional artworks, and materials that counter various forms of oppression, inspire collective dreamworks, and articulate immediate alternatives to life under hypercapitalism.
Resistance arises in several ways, as Diane Di Prima prescribes. The artists and collectives in FTBC examine and respond to absurd life under a capitalist wheeling that won’t just grind to a stop. In a collection of instructions authored to regain a sense of self from hypercapitalist values, the Bare Minimum Collective offers laziness as an alternative way of self-defining our own value and time. The relational body is located as a site for embodied freedom in Reflection Score from Lee Pivnik for the Institute of Queer Ecology. Half-part choreography, altogether a being with Nature, the piece leads a performance of kinship, moving beyond the time and space of commerce. Spiral Theory Test Kitchen provides a psychosexual recipe for wining and dining in queer poetics. Through this culinary performance, a gestural route opens to access limitless imagination, abundance and a remolecularization of desire. In the zines from the Vicious Collective, Internet Teapot, Post-Romantic Queer Wave, and many more, the visual materiality of critique and dreamwork reveals possibilities.

What if getting by can move with getting free, in response to Mereba’s negation in “Get Free”? As a counter-capitalist project, Fetch the Bolt Cutters is interested in collective dreaming for post-capitalist lives, but first illuminates dreamwork’s elements of negation, desire, and agency as agents for collective liberation. In FTBC, discursive essays look at hypercapitalism’s ills through racial and psychosocial lenses. A gathering of this nature ultimately implies profuse materials, and as such, the project encourages interactions in durations and by following affinities. Its gathered items are spread across the streets of the Manhattan’s Lower East Side and will also be released in onsite. Their various dreamwork awaits, ready to prime you. Walk, read, sing and fetch your bolt cutters!