bogna m konior |


2016-2017 were the years of the Frog King and of the Apocalypse, a year of a philosophy in the wild.
pinthw (philosophy-in-the-wild), a collaboration between BOGNA M KONIOR & YVETTE GRANATA is an ongoing, multimedia and multi-platform non-philosophy project, devoted to re-wilding philosophy beyond its institutional (decisional, androcentric) limitations. conceptually, it operates at the intersection of the laruelle / schmid non-standard method and feminist philosophy. 
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Sorcery Means, video still

Sorcery Means, video still

Sorcery Means

Sorcery Means is an aural spell, a sensory apocrypha inspired both by the practice of yee-weheri employed by jaguar shamans of the Amazon, and the Laruelle/Schmid non-standard method of philosophy. It is an immanent, material, and digital spell that re-wilds philosophy as it unveils alongside our movements in the darkness on Lamma island in Hong Kong. By means of voice modulation, philo-fiction, and predatory treatment of field recordings we aim to discover what sorcery means, and what is the craft of witchcraft. Instead of speculation, we chose a realist practice of unveiling thought by digital means alongside the darkness of the island. Just like jaguar shamans project themselves into the bodies of their human victims through a pathogenic object, we use our LED lamps, recording devices, and cameras to project ourselves into the body of the island like parasitic predators, unearthing from its ground a wild philosophy. We seek to initiate a material re-activation of philosophy buried in the wet soil of the island, providing for its use our vocal cords in a voluntary possession. Aiming to develop a new framework by means of sorcery, we elaborate on Laruelle’s assertion that “all philosophers are children who are afraid of the dark,” conceding that non-philosophers must materialize the immanent darkness free of representation, yet laden with invention, in which all thought is rooted. Only with eyes closed can we unfold the future.

sorcery means premieres at PAPAY gyro nights 2017 in orkeney and hong kong


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PINTHW: Against speculative sufficiency! is a sonic apocrypha in which we simulate a philosophy of ancient women philosophers while walking and recording in the dark on Lamma Island (Pok Liu Chau, or 南丫島). We nod in agreement both when we hear the proposition of cymatics (that sound creates matter), the modulations of dark animism (that sound puts thought in a relation of predation with the ontologically promiscuous world), and the rebellions of Francois Laruelle’s non-standard method, where speculation as a type of immanent philo-fictionalizing equates itself with a performative invention. Recorded on Lamma Island in May 2016, we walk the island in darkness as we simultaneously think aloud with the contemporary and ancient darkness of island sound.

Taking cue from Laruelle and Anne Francoise-Schmid, we consider philosophy to be a new wild object and not a discipline defined by the sins of the father — its androcentric fidelity. We seek not a state in which philosophy or art gives voice to the Real, but a mistuning to its occluded rhythm and entombed history. Extending Luce Irigaray’s notion of ‘rigorous unintelligibility’ and against philosophical logic that seeks to capture the Real, we employ wild speculation articulated along its syntax. As philosophers-in-the-wild, and in the darkness of the island that becomes our distorted Plato’s cave, we aim not to capture the voices of female philosophers both erased from history and those to come; We dismiss the question whether these dark philosophers that we seek to sonically reap from death are real or not. We instead provide them with our vocal cords, our silence, and a myriad of sounds through which the vibrant darkness of this philosophical genocide can speak itself. 

{click} PINTHW: Against Speculative Sufficiency premiered at Tuning Speculation IV in Toronto, November 2016.  


If speculative sufficiency is the name of philosophy nowadays, philosophy in the wild attunes itself to the occluded rhythm of the Real, and sometimes this rhythm is punctuated by the voices of dead women buried under our feet.

This is speculative sufficiency - father and philosophers are the last to know, but they invent an elaborate narrative to cast the offspring in their name.

Speculative sufficiency is a projection into the future post-factum, based on the projected knowledge of paternity, origin, or the philosophical decision.

And if this philosophy is unfair, change it,

mutate it, take it back where it belongs, put it in its place.  If it’s civilized, re-wild it, take philosophy back from philosophy.

It is not about speculating who these women philosophers were or are going to be, but creating a better place for them. Women are not this tabula rasa for your philosophy to fill with whatever speculation. We are already here. It is the environment that sucks, that needs to be changed. 


Wild Thresholds was produced for a special issue of Madame Wang, premiering at the Taipei Biennial in December 2016 and at XENOplastic in Hong Kong in March 2017. Read the whole issue h e r e

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In 2016, a portal was opened at Floating Projects Hong Kong. This is the slime from the outer space this is a prophecy for a minimal aesthetics for the Anthropocene.


13 is a collaboration with artist Steph Overs.

Read the whole text here.

It premiered as an audio-visual performance at Floating Projects, Hong Kong in February 2016. 

It was then exhibited as an installation at FirstDraft in Sydney, July 2016.

“Every book of philosophy should be like science-fiction… philosophy is the theatre of the future.” (Gilles Deleuze)

13 is a minimal prophecy, an ascetic spell, an apophatic intervention. 13 anticipates philosophy as an emergent quality of a ritual held in an ordinary space. 13 is a generic aesthetics in response to the grandiose scale of the Anthropocene. 13 acknowledges that the world if full of persons, only some of whom are human. 

The birth of what Felix Guattari calls the new “ethico-aesthetic” paradigm capable of overturning capitalist powers begins with a revolution of mentalities, recorded in the body as prophecy, magic, or blasphemy. 13 seeks a carnal language suspended in the space of subdued ritual. The apocalyptic prophet Cassandra received her clairvoyant powers when Apollo spat in her mouth. 13 nests in the barren space of language; a landscape bearing fruit that cannot be sold, bought, or re-purposed. It lends itself to voices that have been cast into the shadows of modernity, subsumed under unifying “otherness” - to anyone who has been squandered by colonial, patriarchal, capitalist, or humanist powers.   

Given the increasing bureaucratisation of the university that is now proudly exhibiting its corporate halo, to perform theory in that compromised space it to compromise theory itself. University space is increasingly fragmented, cut up into chunks in order to facilitate management and respond to the demands of the market. 13 crawls out of the university theatre because it understand that where speculation is not allowed, changed cannot happen. 13 wants the no-space of ritual. 

13 invites an ontological promiscuity, a realisation that saying "in other words” is not far from saying "in other worlds." This is the power of speculation.

August 2016, firstdraft, Sydney

August 2016, firstdraft, Sydney

August 2016, firstdraft, Sydney 

August 2016, firstdraft, Sydney 

February 2016, Floating Projects, Hong Kong 

February 2016, Floating Projects, Hong Kong 

Biologists agree that the 6 extinction of species is anthropogenic. How to serve all? How to save all? Language is – as always – inadequate. It must be laid bare in its hollowness, interrogated in its pride. It must bow down to what is greater: the tongue. Of tongues we all have a mouthful. Tongues that are alert and eager, eshy and pink – wouldn’t it be the nal vic- tory of new materialism to hail tongue greater than language? We write not to provide content but to create halluci- natory immersion. Where language is preoccupied with meaning, the tongue is preoccupied with matter, with sensation. Our bodies are measuring devices, recording the experience of climate change. And so the h proposition is: we are not going to step out of our bodies. We are going to step in. 


"Sistern is a misspelling of the word sistren, the feminine equivalent of the Medieval term brethren. It is also a homophone for cistern: a receptacle for holding liquid substances. A sisterhood is a society of women.

Sisternhood is a limited edition poetry anthology that explores the influence of the Internet on six European women, their language, and their poetry. 

The book features contributions by: 

Bogna M. Konior
Lora Nouk
Fabienne Rachmadiev
Lara Schoorl
Nora Turato
Nadia de Vries

With an introduction by Nadia de Vries. 

Printed on 100 gms paper, perfect-bound. 86 pages.

Limited edition of 200 copies. 

Get it here.

Sisternhood audio-visual performance at 4bid gallery, Overtoom 301, November 2016. 

Sisternhood audio-visual performance at 4bid gallery, Overtoom 301, November 2016. 

"A village," he said, "thank

God," he said, "I thought

we would never." The hills

then looked up, virtually

a sentence of death for

us, it was hard to tell

that the men were

approaching directly

from the jungle. "It

will be easy enough,"

he said, "you have done

it a hundred times before."

Wind-borne leaves sting

our bodies like wasps.

Soon enough, the village

locks itself in, now

Self-sufficient, this thought

threatens our very existence.

He runs his fingers through

the grass, and then through me,

"It's a bit degrading," he

says, "but I have the right

to ask you to do it," he says.

Sisternhood video stills, 2016

Sisternhood video stills, 2016

2015 Self. Video-art screenshots. 



"Five Flavours is the only annual film festival in Poland to present cinema from East, South-East and South Asia. For ten consecutive years, the Festival has brought to Poland premiere screenings of the latest and most appealing productions from the Far East as well as classic Asian films and retrospectives of renowned filmmakers.

The programme is composed of productions mostly unknown in Poland and not available in regular theatrical distribution. The previous editions saw the pioneering overviews of cinema from Vietnam, Thailand, Taiwan, Malaysia, Singapore, and Hong Kong.
The Festival hosted a number of prominent artists from Asia."

In 2016, I supervised the People's Jury project at the FF. The project comprised a series a workshops, video essay practice, and jury duty.  

Read my intro to the 10th People's Jury here (in Polish). 

Buy the book here. Click here for more info (in Polish).


"This trailblazing book devoted to the cinematographies of East and Southeast Asia, published for the 10th edition of Five Flavours Film Festival, shows the current film trends in a wide cultural, historical and social perspective. The authors describe the most interesting phenomena in this fast-developing region: the local aesthetics, the rootedness in cultural traditions, and the global trends which radically change the ways of film industry. They inspect the Korean popculture, the murky poetics of Thai horrors, the strength of Indonesian action cinema, and the irresistible charm of independent Japanese films, highlighting the undervalued phenomena which redefine the language of contemporary cinema.

"Silent Explosion. New Cinema of East and Southeast Asia" edited by Jagoda Murczyńska, is published by Arteria Art Foundation, the organizer of Five Flavours Film Festival, in co-operation with Korporacja Ha!art."

Includes my text, 'The Colonizers Always Win? Southeast Asian Cinemas at the Crossroads.' 


In April 2014 I was one of the curators and producers of the first film-poetry festival in the Netherlands, ReVersed. This event was supported with a grant from the Amsterdam Fonds oor de Kunst, and made possible with the participation of excellent art spaces, OT301, Perdu, and Kriterion. 

"Re-Versed Poetry Film Festival is launching its first edition, inviting artists, poets and filmmakers to explore the intersection between poetry and film. With its scope encompassing screenings, performances and talks, Re-versed is the first festival in the Netherlands to focus on the poetry film genre. Co-hosted by Perdu, Kriterion and OT301, it seeks both to illuminate the growing field of poetry film as well as to broaden it by providing an opportunity for filmmakers to participate in an open call for submissions.

What is a Poetry Film?
A filmic equivalent of poetry, poetry film is distinct from a poetic film in its aesthetic: it incorporates text, whether written or spoken, within its frames – a poem taking shape on screen. We invite you to explore the emerging field of poetry filmmaking: although most notably outlined by Tom Konyves’ manifesto and Alastair Cook’s Filmpoem project, it remains an open-ended area, an opportunity for experimentation. The works carried out in most innovative and creative ways will be screened and awarded at the festival. A jury will select the prize-winning films."