TRANSISM

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Becoming TransiSm / Ilan Moyal

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The question of becoming has never ceased to trouble philosophy (p. 2). It arises wherever identity is destabilized, at any moment when the human being ceases to be perceived as a stable essence and becomes a process, a transition, a movement (p. 2). "Becoming TransiSm" is not a theory in the classical sense, nor is it an ideology to be adopted, though it is an authentic condition, existing and present (p. 2). It is the formulation of a state already underway: a gradual and inevitable transformation of the human body-mind into a transitional being—a being that no longer stabilizes in essence, but exists within a constant becoming (p. 2).

To think this process, one must navigate between different philosophical spaces which, despite their historical distance, converge in their rejection of the fixed being (p. 2). Nietzsche, Deleuze, Foucault, and Heidegger each offer an essential axis for understanding becoming—not as a mere abstraction, but as a living occurrence unfolding across generations (p. 2).

At the foundation lies Nietzsche's idea of the Eternal Return (p. 2). It should not be viewed merely as a metaphysical hypothesis, but as an ethical-existential demand: to affirm life to such an extent that we desire its infinite return (p. 2). Yet, this is not a return of the identical (p. 2). The return is a test of transformation (p. 2). What returns is not the same body, the same mind, or the same culture, but the very power of becoming, reorganizing itself again and again (p. 2).

Within this horizon, the human being is not a complete entity but a threshold (p. 2). The body and mind are subject to continuous processes of re-evaluation, change, and interpretation (p. 2). Over hundreds and thousands of years, this process accumulates (p. 2). This is not a linear progress, but a recurring differentiation (p. 2). Hence, it can be observed that the human being is already in motion—already "transi" (in a transitional state)—even before being defined as such (p. 2).

Here enters Deleuze with his concept of becoming (p. 2). Becoming is not a transition from one identity to another, but a process that escapes identity itself (p. 2). It is not "to be something else," but to be-other, to be-multiplicity, to be-ungraspable (p. 2). The subject dissolves into a field of intensities, flows, and connections (p. 2).

"TransiSm," in this context, is not a new identity category, but a name for a condition where identity itself loses its centrality in favor of the process (p. 2).

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The body ceases to be a closed organism and becomes a plane of composition; the mind is no longer an internal essence, but a dynamic tapestry of forces (p. 3). Together, they form a body-mind continuum that is always in the making (p. 3).

Deleuze and Guattari's concept of "desiring machines" deepens this understanding (p. 3). Desire is not a lack, but production (p. 3). It is a force that connects bodies, technologies, signs, and environments (p. 3). In the current era—the era of desiring machines—the human being is increasingly intertwined with technological systems that expand, dismantle, and reassemble the body-mind (p. 3).

This is not an external imposition, but the amplification of an internal process (p. 3). The human being has always been "machinic," composed of assemblages (p. 3). What changes is the intensity and visibility of the process (p. 3). Technology does not create becoming; it accelerates and exposes it (p. 3).

Foucault allows us to understand how this process is mediated through culture (p. 3). The body and mind are not merely biological or metaphysical entities, but also products of discourses, institutions, and forces (p. 3). "The care of the self" is simultaneously a site of domination and of possibility (p. 3).

Hence, Becoming TransiSm is not only a natural evolution, but also a cultural-political process (p. 3). Norms of gender, identity, and normalcy are continuously produced and destabilized (p. 3). The emergence of fluid, hybrid, and transitional subjectivities exposes the instability of these norms (p. 3).

The "transi" condition is thus both an ontological event and a cultural event (p. 3). It is the moment when the human being ceases to view themselves as a fixed subject within a given order, and begins to operate within the transformation of the order itself (p. 3). For this, an inquiry is required—a critical encounter with the self and its conditions (p. 3).

Heidegger returns us to the question of Being through time (p. 3). The human being (Dasein) is not a fixed presence, but a being-toward (p. 3). It exists as an openness to possibilities (p. 3). Time is not a sequence of moments, but the horizon within which Being reveals itself (p. 3).

In this context, Becoming TransiSm is a temporal manifestation of the body-mind (p. 3). It is the recognition that the human being is always "ahead of itself," always in the process of being-what-is-not-yet (p. 3). The "transi" is not a deviation from Being, but its deepest expression (p. 3).

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The concept of "care" (Sorge) becomes central (p. 4). This is not merely preservation, but an engagement in one's own becoming (p. 4). It is a responsibility toward the openness of existence (p. 4). Within the framework of TransiSm, care expands to the body-mind as a single, unfolding unit (p. 4).

From the encounter between these perspectives emerges a new understanding of the human condition (p. 4). The separation between body and mind dissolves (p. 4). These are not two essences, but two aspects of a single process (p. 4). This process is not accidental, but bears a necessity—not a deterministic necessity, but a necessity of becoming (p. 4).

The development of the body-mind as a homogenous continuum is not merely a future possibility, but an emerging reality (p. 4). What changes is the degree of awareness and the capacity to operate within it (p. 4). TransiSm is the name given to this awareness—the moment when becoming becomes conscious of itself (p. 4).

In the era of desiring machines, this awareness becomes particularly urgent (p. 4). The integration between human and machine, the shaping of identity through digital and biological means, and the fluidity of social categories—all point to a condition where stability ceases to be the norm (p. 4).

This is not a loss, but an opportunity for a new order—an order that rests not on fixed identities, but on dynamic relations (p. 4). The body-mind becomes a site of perpetual negotiation, experimentation, and creation (p. 4).

Becoming TransiSm is not a choice in the ordinary sense (p. 4). It is a necessity arising from the very structure of existence (p. 4). The question is not whether we shall become, but how we will relate to this becoming (p. 4). Will we resist it, in an attempt to preserve stability? Or will we operate within it, through care, inquiry, and creation? (p. 4)

The answer is not given in advance (p. 4). It is actualized in life itself (p. 4). TransiSm is not a destination, but a movement—a transition unfolding in time, in culture, and in the depths of the body-mind (p. 4).

In this movement, the human being does not disappear—they change (p. 4). They become other than what they were, without stabilizing into what they will be (p. 4). This is not the loss of the human, but its amplification: the recognition that to be human means to be always in transition (p. 4).

Becoming TransiSm is, ultimately, an affirmation of this condition—an acceptance of becoming as the fundamental form of existence, and a commitment to operate within it fully: philosophically, culturally, and existentially (p. 5).

Brief Bibliography: (p. 5)

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Eurovision at a Time of Disaster- group exhibition

Spectacle, Nation, and the Price of Participation The works presented here operate within a field where spectacle, nationalism, sacrifice, and identity are no longer separable. Eurovision at a Time of Disaster does not address a music competition, but a mechanism: how culture, emotion, and collectivity organize themselves into spectacle—and how spectacle persists even as it…

The anonymous artist, Transis the Raven-Justice

Spectacle, Nation, and the Price of Participation

The works presented here operate within a field where spectacle, nationalism, sacrifice, and identity are no longer separable. Eurovision at a Time of Disaster does not address a music competition, but a mechanism: how culture, emotion, and collectivity organize themselves into spectacle—and how spectacle persists even as it collapses

“Ancient National Symphony” by an anonymous artist positions an imagined collective as a single resonant body. It is a symphony without an identifiable composer, without a singular origin, in which nationalism functions as an emotional and ritual force. The work is not nostalgic; it examines how national myth becomes a recurring mechanism of convergence, excitation, and compliance

“Made in Israel” by Oved Sarraf is a photograph that presents a polished image of visibility, body, and symbol—the image Israel produces and exports outward. The photograph is self-aware, suspended between authenticity and staging, between lived identity and national branding. Aesthetic seduction operates here alongside the exposure of its own conditions of production

“Frida’s Heart” by Rotem Reuven Arjuan presents Frida Kahlo as a conscious imitator, yet one who chooses a path opposite to that of the protagonist in Angel Heart. While Angel sells his soul to the devil in order to obtain music and participation, Frida offers her heart willingly—as a sacrifice in service of music itself. This is an image of giving rather than transaction, of desire that does not seek authorisation from an external power

“The Measurers” by Hanna Ashury is a new canvas-based work derived from two grotesque figures extracted from her 2018 solo exhibition Tziurkav, one of which is a self-portrait. These figures are the ones who measure, judge, and critique—each operating from within their own flaw. Beyond the painterly enactment of the adage “one judges others through one’s own defect,” the work exposes the quiet violence embedded in cultural critique

The Boxer is part of an ongoing photographic series in which Guy Hugler lingers over found printed materials, manipulating them through extreme close-up as a transformative process that dismantles their immediate recognizability. The Boxer presents a reflective engagement with performance and spectacle, where the act has already occurred, yet the image insists on remaining suspended— a moment after the blow, or just before the next

From a curatorial perspective, the choice of the boxer with yellow gloves, within the context of the hostages and the call to boycott Israel, produces a charged parallel between a body in the ring and a national body subjected to a form of media-driven field trial. The oscillation between ideal focus and deceptive blur is not merely a formal gesture, but a struggle in itself: an attempt to strike back against the persistent ambiguity surrounding information, narratives, and facts concerning Israel. The gaze seeks clarity — yet remains caught between seeing and the inability to see

“Eurovision at a Time of Disaster” by Ilan Moyal stages a spectacle in which crowd, desire, sound, and destruction converge into a single image. This is a moment in which entertainment does not compensate for catastrophe, but exists within it. The work proposes a view of culture as a site where catastrophe does not negate spectacle, but feeds it.

The space presented here remains unresolved. An additional work is still in the process of becoming, and the situation remains open

Song of Creation, Parvin Shmueli Buchnik
Song of Creation, Parvin Shmueli Buchnik
מרים שטרמן, The Spectators
A donkey is me
The Boxer Guy Hugler
Mira Cadar

Samdar Lomnitz joins the exhibition from a personal, exposed, and unequivocal position. Lomnitz holds a clear belief that Israel should participate in the Eurovision, viewing participation itself—despite its complexities—as an act of agency rather than withdrawal. The site presents her 2017 painting, “Homage to My Older Self,” which depicts an ongoing struggle with the desire to sing alongside fears that have blocked her voice since childhood. In contrast, and for the first time in this context, Lomnitz presents a contemporary video work (48 seconds), created especially for the exhibition: a short humorous song she wrote, composed, and performed—“I am a donkey, I am a donkey, come on everyone, who’s joining me to bray?”. Moving between vulnerability and humour, confession and conscious performance, her presence in the exhibition articulates a commitment to participation even when it entails embarrassment, risk, and discomfort—an insistence on remaining within the discourse rather than stepping away from it

Miriam Shterman
The Spectators
Pencil on paper, A4, 2026
.Created especially for the exhibition Eurovision in a Time of Disaster
The drawing depicts a figure bleeding from within—sharing something essential and intimate—while behind her unfolds a world of falsification, betrayal, and cynicism. The voices and faces in the background form a system that watches, consumes, and ultimately looks away
As the artist notes, the work addresses the price of participation within a cultural mechanism such as Eurovision: the tension between exposure and exploitation, expression and spectacle. The central figure embodies the gap between the vulnerable potential of representing a nation through music and the cynical use of boycott as a political tool, enacted before an audience that is both complicit and indifferent
The Spectators confronts the erosion of music’s ethical core, asking what is sacrificed when art is absorbed into mechanisms of power, visibility, and collective denial

Good News: A New Artist Joins the Exhibition “EEurovision at a Time of Disaster” Song of Creation
Oil on canvas, 100 × 100 cm, 2025
.The Earth is cloaked in gold
.set with deep sapphire like the vastness of the sky
.Within waves of light and grace
– five songbirds circle
.carrying on their wings an ancient prayer
.This is a dance between heaven and earth
.a meeting point of eternity and time
.The songbird intones a hidden praise
,while sapphire echoes the act of creation itself
.In endless orbits they move
drawing a melody of hope through space – a whisper absorbed by stone and gold
.the primordial tune of creation, never ceasing
Parvin Shmueli Buchnik is an oil painter working in a classical technique of layered glazing. Her practice constructs poetic spaces between nature and consciousness, between the earthly and the celestial, and is driven by a longing for sublime beauty as a manifestation of spiritual presence. Through images of birds, landscapes, and symbolic figures, she translates experiences of prayer, memory, and healing into a painterly language of light, depth, and motion
In Song of Creation, gold and sapphire merge into a cosmic field in which songbirds in motion transform into prayer—a visual hymn to creation itself
The painting stands in deliberate dialogue with Mockingbird–Crow, insisting :on the purity of song and defending it against distortion
“Politics must not turn music into accusation, hatred, or boycott.”

Mira Cadar presents a portrait from her abstract portrait series (2015), which explores distraction and the act of focusing on sensation. The exhibited work depicts a multiplicity of voices forming a false consciousness — a field of overlapping, conflicting, and often dissonant signals that seek to present themselves as a single coherent voice
Through repetitive color fields, fractured forms, and intrusive linear contours, the painting embodies a mental state of overload: a gaze unable to converge, an identity constructed from noise. Within the context of “Eurovision in Disaster,” the portrait reads as an allegory for a cultural mechanism operating under competing narratives, boycotts, and moral declarations — a space in which sensation precedes understanding, and .emotion replaces critical reflection
Oil on canvas

Spectacle, Nation, and the Price of Participation, part tow

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