The anti-remembering evidencing machine, the origin of Federico Koch's industrial therapy

 

An interactive installation where the viewer enters a box that exhibits plausible prototypes of unpublished artifacts rescued from God's secret bunker. 
Koch represents an intimate museum with hypothetical and fantastic inventions. Creations and discoveries that, if they had been exposed in time, would have saved him from the acute emotional pain that he now tolerates in vain. These crazy objects hold God responsible, make him an accomplice to fear, and aim to diminish all feelings of guilt, the cornerstone of Koch's neurosis. "If God did not reveal these inventions," he did not even have the slightest intention of inventing them, "why should I feel remorse for anything? The only truth is that guilt is the greatest hypocrisy that God has ever spat upon me. Koch would get into the box several times a day, like a loop, each time his stomach twisted with guilt.

The box is the origin of industrial therapy: a therapeutic process that consists of moderating and alleviating the symptom without eliminating or healing it, because it considers it to be the syndrome, an imprint, a fear, a feeling, a pain, the magical and vital resource of artistic creation.
Federico Koch, the fourth alter ego of Lucas Moltrasio, is a premature plastic artist recognized by his fantastic and science fiction machines. He invented industrial therapy, a therapeutic process that seeks to make the patient flexible, not by ascribing meanings, but by the emotional weight he tolerates, through a set of techniques, strategies and machinery specifically designed to accompany invasive thinking. In it, Koch talks about how destructive it is for the artist to pretend to have a deep understanding of the circumstances that give rise to his conditions or are the cause of his psychic suffering or discomfort, and he traces his desperate intention to seek out fantastic resources that directly affect the symptom and create forms that protect, tools that shield the siege and poetize the trauma.