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Work hard! Play Hard!
Transmission

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July 7 — 9, 2017

Minsk, Belarus

This year WH!PH! gives a level look at processes, taking place on multiple speeds, at their networking, overlapping and breakdowns; to learn about emotional labour and liquidity of our desires; to problematize the tendency of services to become a mega-platform that monopolises our time; to discuss the possibilities of wide cooperation around actual economical questions (“It’s the Political Economy, Stupid”); to meet with human and non-human agents; to look at the backside of start-up culture; to give pleasure a political meaning; to dive into inhuman high-speed flows and to slow down artificially. Or not to do so. To collectivize the stress and to make it an instrument for solidarity.

The current Eastern European situation assumes human resources are on a par with natural resources. Belaruskali, a producer and exporter of potash fertilizers, is no less important than the IT cluster High Technologies Park. Like potash fertilizers, human resources, their education and intelligence participate in the export of goods and services from Belarus (and other countries), operating on the same principle. Using the difference in the costs of resources and labour, transnational companies create a situation of exhaustion of the latter from a specific territory and communities. In one case – natural. In the second – intellectual and emotional. And yet, in our current climate, human capacities are stretched, treated as expendable and replaceable.

As with mechanical transmission, our imaginary tool for managing acceleration involves the contact of gears: bodies, objects, stories and affects. But unlike the gearbox, they do not have clear boundaries, instead they overlap, interpenetrate and conflict with each other. This conflict can be described as sliding and friction. Our transmissions are permanently spoiled – they slip, seize, fluid flows from the drive gears, we can not remember which pedal is responsible for the back and forward running. But this is the principle or condition of their work.

Below  this link you will find the scheme of connections, associations and lines of conversations related to Work Hard! Play Hard!: TRANSMISSION.

Participants:

Armen Avanessian (Berlin), Diskrassvet (different cities), Lucy Ferrum (Minsk), Choterina Freer (Glasgow), GRECHA (Moscow), Sonia Hedstrand (Stockholm), Uladzimir Hramovich (Minsk), K_Super (Stockholm), Nikolay Karabinovych (Odessa), Maksim Karpitski (Minsk), Anna Kinbom (Stockholm), Anastasya Kizilova (St-Petersburg), Masha Kotlyachkova (Moscow), Irina Kudrya (Kyiv), Anna Lok (Minsk), Lina Miadzvedzeva (Minsk), Night Movement (Moscow), Alexandra Novozhenova (Moscow), Alisa Oleva (London), Palianina-Pchelka (Minsk), Christopher Roth (Berlin), Tanja Setsko (Minsk), Anna Shcherbyna (Kyiv), Vital Shchutski (Paris), Polina Shilkinite, Jura Shust (Minsk / Brussels), Anton Sorokin (Minsk), Jozi Stolet (St-Petersburg), Mia D. Suppiej (Berlin / Venice), Aliaxey Talstou (Minsk), Alexandra Tryanova (Odessa), Jury Urso (Minsk), Anastasia Vepreva (St-Petersburg), Pyotr Vladimirov (Kyiv / Wroclaw), Rut Karin Zettergren (Stockholm) βš‘ to be added ⚑

Working group:

Aleksei Borisionok curates a series of exhibitions and events related to the concept of "event" and writes for the magazine Kalektar.

eeefff (Dzina Zhuk, Nicolay Spesivtsev) tests possible variants for the development of technologies, declaring them as a field of conflict and struggle; operates at the intersection of digital infrastructure, psychology and economics.

Olia Sosnovskaya works with text, performative and visual practices; develops interest in the problematics of the celebration, pleasure and political.

⚑ Dear the worked and the rested! ⚑

A big thank you to Gallery 'Canteen XYZ' and Ana Lok, CECH and Aliaxey Talstou, a Secret place (Mikhail Gulin and Antanina Slobodchikova) and Jury Urso Mini-Gallery of Underground Anticulture for the support, interest and hospitality. Olga Bychkova, Igor Goncharov, Vera Kavaleuskaya, Alena Petite, Mary Sarycheva, Vojta Merz, Nada Ishkinaeva and Sasha Spesivtsev for their craftsmanship, stamina and help. Anna Averyanova for the live stream. Violetta Savchits, Vika Biran and Taciana Arcimović for their interest and media support. Sarychau Maxim, Uladzimir Hramovich, Tanja Setsko, Vasilisa Palianina, Anton Sorokin, Inga Lindarenka, Zina Falevich, Lesya Pchelka, Alena Shestakova and Zmicer Haurusik, Aliaxey Talstou, Olya Zhuk for their help in hosting the participants and guests. To all the participants: Roman Aksenov, Armen Avanessian, Diskrassvet (Pavel Khailo and Uliana Bychenkova), Lucy Ferrum (Pavel Gvozd), Choterina Freer, GRECHA (Kseniia Sonnaya и Alexey Ferapontov), Sonia Hedstrand, Uladzimir Hramovich, K_Super (Inna Bukshtynovich), Nikolay Karabinovych, Maksim Karpitski, Anna Kinbom, Anastasya Kizilova, Masha Kotlyachkova, Sasha Kurmaz, Irina Kudrya, Lina Miadzvedzeva, Night Movement (Anastasia Ryabova, Varvara Gevorgizova, Nikita Maria Levitsky, Piotr Shyrkouski, Irina Kudrya), Alexandra Novozhenova, Alisa Oleva, Palianina-Pchelka (Lesya Pchelka and Vasilisa Palianina), Christopher Roth, Tanja Setsko, Anna Shcherbyna, Vital Shchutski, Polina Shilkinite, Jura Shust, Anton Sarokin, Jozi Stolet, Mia D. Suppiej, Alexandra Tryanova, Jury Urso, Anastasia Vepreva, Pyotr Vladimirov, Rut Karin Zettergren, Sergey Shabohin, Snezhana Vinogradova, Alexandra Portyannikova, Yuri Akbalkan.

⚑ And a big thank you to all the guests! ⚑

β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘

≋SCHEDULE≋

β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘

≋FRIDAY / 7 JULY≋

⚑City⚑

13:00 - 14:00

Alisa Oleva. Deviations. Start: main entrance into Komarovskiy market.⇶⇶⇶⇶⇶ Facebook page

Boston, Chicago, Washington, Amsterdam and Eindhoven - these cameras already have video surveillance cameras, that analyze the patterns of human movements and recognize suspicious behavior. I invite you to join the session of city choreography, during which we will test all 8 types of suspicious movements in the public space of Minsk.

16:00 - 17:00

Discussion with J. Urso β€œExploitation in the neoliberal economy of knowledge and immaterial labour”. Registration is closed.⇶⇶⇶⇶⇶ Facebook page

Franco "Bifo" Berardi in his latest book "The Age of Impotence and the Horizon of Possibility" speaks of the open system of exploitation, which young people working in the cultural industry are exposed to: art galleries, universities, publishers, magazines and newspapers exploit cognitive workers for free. In my discussion "Exploitation in the neoliberal economy of knowledge and immaterial labour" we will try to examine these issues. What is the origin of the concept of immaterial / affective labor? What is cognitive capitalism, also known as the knowledge economy? How does the exploitation of workers of immaterial labor operate? How does it all apply to the context of Belarus? All these important issues I propose to investigate at the discussion.

18:00

Anton Sorokin. Revenge of the mutant camels (Game session). Registration is closed.⇶⇶⇶⇶⇶ Facebook page

A camel died in the zoo in Minsk. As the agency "Minsk-news" informs, this happened because one of the visitors of the zoo fed the camel with a cellophane package. According to the results of the autopsy of an animal in the body, in addition to cellophane, ropes, children's mittens, polyethylene, and other objects were also found. The camel is armed with small blue bullets, but can obtain other types of weapons, as well as various bonuses, including Nike sneakers, ecstasy tablets, jambs with marijuana, and apples. The camel has to fight people on flying toilets, English phone booths, Polo mint sweets, exploding sheep, kangaroos on skis, jet aircraft, and others.
Year of manufacture: 1984
Platforms: Amiga, Atari ST, Commodore 64, DOS
Genre: Horizontally-scrolling shooter
Prizes and awards: # 1 Most weird and stupid plots of all time (Atari ST games, 1992)

⚑Gallery-canteen XYZ (Fabritsiusa, 4)⚑

18:00 - 20:00

Lina Medvedeva. Maxim Karpitski. β€œHis vacation”: to adjust work / pleasure.

Screening of the television film "His vacation" (1981, G. Polok) and a discussion (moderators: Lina Miadzvedzeva and Maksim Karpitski). The production drama gives us a strange and complex material combining the topic of production and the psychology of interpersonal interaction. Growing into a tangle of issues of the socialist economy, inaccessible to us today, the film gives a space for discussion about the conflict in the cinema, the plot and the personal experience of the audience.

20:00 - 20:30

Uladzimir Hramovich. β€œGlorious youth stepped underground”. Notes on the salt galleries as museums of the corporation-state.

Remarks and thoughts about the new Belarusian city (Salihorsk) as a prototype of a state-company or state-corporation. And also about the new museum of art in salt mines, the connection of political and financial independence and corporate art collections.
In the form of an essay-story with slides.

20:30 - 21:30

Alexandra Novozhenova. Lecture. Socialism-HOT-Americanism: the scientific organization of labour and the work of Gustav Klutsis for the β€œTime” magazine.

21:30 - 00:00

Anastasia Kiziliva. FOUND PROJECT!

FOUND PROJECT is a project based on a participatory art practice and the principle of exchange. Participants are invited to share their untapped ideas with people who are ready to realize them. FOUND PROJECT refers to the idea of collaborative authorship, which emerged in the 1960s, and reconsiders it in the context of the project's socially engaged art experience. The project consists of three stages: the compilation of an archive of artists` untapped ideas, the production of art without an artist, and the development of a reality show. In the first stage, a social network shall be set up in order to build up an open archive of artists' untapped ideas that their authors are ready to share. The next step will focus on finding people who are ready to take on and realize a project. The third step, the production of a reality show, will foster relationships among the project's participants , and will also demonstrate the results of the exchange experiment and highlight the following issues:
— What are the ways that a relationship is built in the art world today?
— Is it possible to make changes to the art production system?
— Is the authorship issue still regarded as a challenge in the 21st century? As a result of FOUND PROJECT, a final exhibition will be built. It will include the presentation of the website, an art project made through collaborative authorship, and a teaser for the reality show, which will reveal the necessary steps for the exchange and realization of art ideas.

Draft project plan:
— Build up an international web-site aimed at attracting artists, who are ready to give away their art projects to be stored in the open archive of artistic ideas, for free. Every application shall be admitted for examination.
— Selecting three art ideas from the archive collected for further realization by another author.
— Organizing the production of the reality show, which will describe the process of the art idea communication and the assumption of authorship, as well as the project realization. The aim is to engineer a dialogue between the authors, to follow every step of the project's realization, and to highlight the results of such cooperation, whatever they may be.

β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘

≋SATURDAY / 8 JULY≋

⚑City⚑

13:00 - 14:00

Alisa Oleva. Group exercises / in sight. Start: TRC Zamok. pr. Pobediteley 65. Map. ⇶⇶⇶⇶⇶ Facebook page

How many friends on facebook do you have? How many followers on instagram? How many members are in your family? How many colleagues do you have? With whom of those do you keep in touch? Who stays in your sight? With whom do you form some kind of group? What does a group of people in the city space mean and how does it differ from the crowd? What is the binder material and where it gets thinner, falls out, slips and tears, and where it is possible to maintain a sense of inclusion, connection and contact.

In this series of three exercises in urban choreography, I propose to test what it means to be in a group in the urban space. You can participate either in all three, or in one or two of the proposed exercises.

The starting points will be announced later.

exercise one: a silent walk
A group of people moves around the city in silence. They walk on the streets, go into the store, buy coffee, go to the square, get on the trolleybus. It is important not to talk throughout the exercise. At the end, the group disperses, never having had a verbal contact.

exercise two: in sight
A group of people meets. Then each member of the group tries to be as far from each other as possible, but at the same time keeping all other members in sight. The exercise is complete when the group is extremely "stretched", but everyone remains in the view.
exercise is repeated three times in a row. 1. inside the shopping mall 2. in the food court of the mall 3. on the street / square in front of the shopping mall

exercise three: simultaneous walk
A group of people moves at a distance along the same trajectory, following each other's instructions, which are sent to a group in real time via whatsapp.

14:00 - 15:00

Alexandra Tryanova. β€œDacha”: presentation and fortune-telling by the photograph. Start: under the bridge on Victory square (Gorky park).

Dacha is the space of intersection of physical labor and meaningless naughtiness, a place where you felt well and extremely bored, a place of сompulsion and downshifting. We suggest to evaluate your dacha experience by analyzing the aura of the place from the photograph and to discuss the curiosities of the dacha practice.

To participate in the workshop, please, send your photos of dachas/summer cottages/private houses/dwellings in close proximity to nature at sashatrnv@gmail.com.

Start: under the bridge on Victory square (Gorky park).

15:00 - 16:00

Alisa Oleva. Group exercises / silent walk. Start: In the center of Oktyabrskaya square. ⇶⇶⇶⇶⇶ Facebook page

How many friends on facebook do you have? How many followers on instagram? How many members are in your family? How many colleagues do you have? With whom of those do you keep in touch? Who stays in your sight? With whom do you form some kind of group? What does a group of people in the city space mean and how does it differ from the crowd? What is the binder material and where it gets thinner, falls out, slips and tears, and where it is possible to maintain a sense of inclusion, connection and contact.

In this series of three exercises in urban choreography, I propose to test what it means to be in a group in the urban space. You can participate either in all three, or in one or two of the proposed exercises.

The starting points will be announced later.

exercise one: a silent walk
A group of people moves around the city in silence. They walk on the streets, go into the store, buy coffee, go to the square, get on the trolleybus. It is important not to talk throughout the exercise. At the end, the group disperses, never having had a verbal contact.

exercise two: in sight
A group of people meets. Then each member of the group tries to be as far from each other as possible, but at the same time keeping all other members in sight. The exercise is complete when the group is extremely "stretched", but everyone remains in the view.
exercise is repeated three times in a row. 1. inside the shopping mall 2. in the food court of the mall 3. on the street / square in front of the shopping mall

exercise three: simultaneous walk
A group of people moves at a distance along the same trajectory, following each other's instructions, which are sent to a group in real time via whatsapp.

16:00 - 17:00

Pyotr Vladimirov. Excursion "Along memorable places". Meeting point: Minsk Gates (opposite to the central railway station).

Dear participants of WH!PH!, as well as guests and residents of the city of Minsk!

We invite you to take part in an unforgettable excursion, during which the amazing secrets of this city, which is like no other, will unfold.

Do not miss the chance to discover something which you do not know about Minsk.

⚑Gallery-canteen XYZ (Fabritsiusa, 4)⚑

18:00 - 19:00

Work Hard! Play Hard! Transmission: vector-assembly.

19:00 - 19:20

GRECHA. The human cloud. An announcement-presentation and an invitation to listen to a podcast.⇶⇶⇶⇶⇶ Facebook page

β€œThe human cloud” is a way of organization of work, when a complex set of responsibilities is broken down into simple individual actions that are distributed between thousands and millions of participants of the "cloud", who are working from the distance all over the world. A separate direction is comprised by tasks, that could not yet be performed by a so called "artificial intelligence". While accomplishing such tasks the workers simultaneously earn money and improve the algorithms of machine learning.

"The human cloud" is one of the opportunities for residents of developing countries to work remotely, but most of the tasks are worth a penny, so people are forced to spend 12-14-16 hours at the computer, constantly monitoring tasks and having no social guarantees.

Registration to online-session and discussion on Sunday via email: grecha.crew@gmail.com

19:20 - 19:50

Mia D. Suppiej. PRONTI.

2017
Site specific installation and performance
Mixed media
Variable dimensions
(two flags 60x80cm)

Once the starter makes the signal, an irreparable happens. The competition is started. There will be winner and looser.

Everything is about the departure, and the preparation for the best departure.

Two race flags visually manipulated (β€œReady Steady” and β€œOn your Marks”) stand in the exhibition space.

Far beyond the artist sits at a desk, seeking online information (text + video) about the departure.

The computer is connected to a projector - which shows the progressive visual composition in real time, and to an audio system that plays sounds of various nature, including the voice of the artist while reading the information found.

The spectator is invited to question the speed, the departure, the preparation. The loss of immobility in competition dynamics, as in individual daily routines.

The performance will be in english.

19:50 - 20:50

0s+1s Collective ΠΈ Маша ΠšΠΎΡ‚Π»ΡΡ‡ΠΊΠΎΠ²Π°. 1,2,3,4: The Rhythm Method. Cybermefenist online-performance

1,2,3,4: The Rhythm Method is informed by the multiple speeds within our works, and the rhythms of our bodies and lives.

Four members of 0s+1s Collective will share a group conversation — alongside text, video and performance. The collective will be introducing the selected works via Skype within the context of recent group discussions on how emotional labour and personal feelings form an essential part of our collective practice.

Rut Karin Zettergren’s web-girl alter-ego Soft Light — clued up in technology, surveillance and dance hall — will stream a live performance lecture on the subject of artificial intelligence.

Choterina Freer will present her multiform essay film _Impatient Voices — in which she considers the commercialisation of both the collective impulse (as seen in social media) and of biomedical technology (health tracker apps) through using their forms and imagery with archival documentation of women’s health collectives from the 70s.

Anna Kinbom will be streaming two of her songs (Love and Smaragden's Song to Mick) in her inclusive karaoke style.

Sonia Hedstrand’s text The Performative Worker will be partially translated (from Swedish to Russian) by Maria Kotlyachkova. The text is based on the artist’s personal and political experiences of performative service labour from Parisian Au Pairs to Tokyo Host Boys.

The performance will be in english.

20:50 - 21:10

Jozi Stolet and Polina Shilkinite. Project "world of work/a world without work"

The project β€œworld of work / world without work” is a project on the border of research and art. We will tell and visualize the displacement of the axis of labor in the modern world and in the world of the future. Invisible work of activists, artists, mothers, volunteers requires a new ethic, and this is a political issue. Cooperation with cars, unemployment, basic income. The tension of ethics and politics, directly related to the new ontologies of the modern world, we will present in the form of a lecture given by a robot and a cyber-hut with a map of the visualization of the ethics of the future.

21:20 - 21:50

Lucy Ferrum. Visual-sound performance with the elements of the booth and the spoken word.

Once Lyudmila Zheleznyak (the great-granddaughter of that sailor-anarchist), during the night in a country caravan, decided to light a small stove. She crumpled up a few newspaper pages, hastily put it under a heap of pine chips, brought a match — and suddenly — the flame lit up:

".. after the discovery of afar australopithecus, general excitement reigned in the camp of scientists, the Beatles song Β«Lucy in the Sky with DiamondsΒ» played on the tape recorder, which later gave the name to the discovery-Lucy .."

So there was Lucy Ferrum. Starring Pasha Gvozd.

21:50 - 22:50

Anastasia Vepreva. Lecture-projection: How to live if you are the left melancholic?

If you are so terribly tired, and so terribly disappointed, that everything goes wrong and in the wrong direction, that the apocalypse is already knocking at the door, and the unions do not work, the corporations have seized everything and are watching your every step. If you still try to believe in people, while they deceive you, fuck up, do not look like ideal revolutionaries and do not respond to your expectations, and in general they offend you and your feelings. If all the words have lost their sense and do not mean anything, but you still write about it on Facebook, enjoying your mood and hiding in it from work - what for? - to finally rest and do nothing.
A bright future will come,
/ But only without us / just need to be patient / never / in spite of / well and to hell with it /

22:50 - 23:50

Nikolay Karabinovych. Ugly tapes from Balkan Dj-set.

23:50 - 00:00

Jura Shust. β€œDen”. Hip-Hop spell summoning Higgs boson

Combining the aesthetics of rap and mantric recitative or prayer, the performance is a reading of the symbolic text, accompanied by the technogenic bit sample. The text abounding in descriptive properties is a kind of verbal constellation based on the principle of the hyperlink, fusing together such concepts as science and religion at the background of social processes. In particular, the text draws 3 main story lines where a brown bear sleeps in a den, the velocity of particles striving for a collision is accelerated in the large hadron collider, a mass of people as a single organism pulses in the depths of the subway on the eve of spring.

Scientific theories are intertwined with the post-religious consciousness, industrial progress meets the archaic worldview, technologies merge with animalism in the hypnotic trance of the spell summoning Higgs boson or the so-called "particle of god".

All day

Anna Shcherbyna. SSS (Sport Sex Success)

The work of "SSS" presents the efforts of the artist trying to look sexy and successful. Doing sports is not for losers! Training requires moral and physical effort, although they are rewarded with the pleasure and satisfaction of the process. The gym is a space of self-improvement and self-affirmation. Here you can enjoy your body, feeling its strength and flexibility, and watching your sexy reflection, taking an apt pose, and imagining the admiring gaze of the potential Spectator.

In this work, the artist reflects on such concepts as Work on Self, Productivity, Purpose, Success, Sexuality, Image, Pleasure, Satisfaction, and follows the dynamics of one's own body, which is the object and means of cognition.

All day

Sasha Kurmaz. Mirror. 2017. Video

"In fact, that is the meaning of the ruble, the ruble is in itself nothing other than a little piece of laziness."
Laziness — The Real Truth about Mankind, 1921
— Kazimir Malevich

In this project, I would like to rethink the logic of the relationship between work and earnings, the functions of money in the society, and the labor economy in general. I draw attention to people who, through various reasons, have found themselves in a very difficult economic and social situation; people who use a public space, as the main place for labor and earning money. This way of work might be a choice, but it is often made out of desperation, particularly within the lower registers of economic mobility.

I created five situations with five different people. Each of them has its own specific type of work: someone sells drugs, someone is involved in sex work, someone played a musical instrument, someone worked as an actor, and someone sells flowers. All these people are not residents of Switzerland, and all of them are forced to do this specific job in order to survive.

I offered to each participant a small fee (20–50 CHF) for a physical rest from labor for 5-10 minutes. In other words, I paid them for their working time, but asked to use this time to care for themselves. All these situations were documented in the video.

All day

K_Super. Baby tonight.

Cities, states, time zones, tongues, faces, hands, feet, days and nights; mix, overlap, merge and get entangled. K_Super will present fragments of their collection of affective evidence of yesterday's unalienated holiday. A gentle gaze and empathy, straight from the warm and dark inside of the event.

⚑City⚑

00:00 - 04:50

Diskrassvet. We demand both the thesis and the track! (18+) ⇶⇶⇶⇶⇶ Facebook page

And listen and talk; And dance and lie down; And squander the forces, and receive information; And accelerate, and slow down. Is it possible to catch the moment of distinguishing one from the other? We invite all of us to speak out where it is accepted to move, and to include music louder instead of superfluous explanations. And also share the feeling of total exhaustion of both mental and physical resources! We will meet Discrassvet "keep-together-divided"! And respecting the distance, and indulging in diffusion!

Discrassvet is a new embodiment of Discprosvet, an experimental discursive format that tries to keep itself at different speeds. Discprosvet (and with it and Discrassvet) laughs (and cries) at multitasking and the requirement to quickly switch from one to another, alternating tracks and abstracts from the last subway train and before dawn.

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≋SUNDAY / 9 JULY≋

⚑Secret place⚑

Registration is required with an indication of the event at work.hard.play.0@gmail.com

14:00 - 15:00

Irina Kudrya. Check the sensor! Pass the exam* on emotional labour! Test-discussion of emotional labour, its appropriation by corporate ethics, empathy and intimacy.

—Can I help you?
—Not really.
—Let's just have a walk and talk then.

For more than fifteen years, business academies have been selling, and business corporations have been buying, trainings for developing emotional intelligence and assertive behavior for their employees. More and more often analytical reviews of the labor market speak about the notion of "emotional labor" discussing professional emotional burnout. But what happens in the private sphere, where one is surrounded by relatives and friends? There is almost nothing said about the ability to feel and work emotionally as actual work. Perhaps emotional engagement, being the basis of interpersonal connections, is the ephemeral substance to be protected from the language of business structures? Whether it is appropriate to question work and to use the concept of "labour" when it comes to, for example, intimacy and empathy? In case it is, then who is our friend - the executor or the customer? What if one day the executor bills?

How to β€œvalue” emotional stress, service and consumption? What is their unit? What is to be done with the result?

I suggest to look for answers together after the exam.

*Only those who have reached the average and above level of feeling and have experience of emotional labor of minimum two developed and realized empathies, are to be examined (will be conducted in the test form).

14:15 - 14:30

Palianina-Pchelka. Performance "The problem which does not exist" about the penetration, falsification and illusion of property.

15:30 - 17:00

Tanja Setsko. Think! Act! Burn! (Discussion about pleasure and fatigue)

We invite you to meet and talk about how activism is felt from the inside, looks outside and is imagined in dreams. Where does "work for change" end and (emotional and informational) service begins? How to find time and not to tear between studies, "primary" work and activism? What to do with burnout and thoughts that nothing will ever change?

And at the same time — how much strength and inspiration gives each new project. How important are big and small changes that occur due to every one of us.

Image: Jenny Holzer. Projections (San Diego 2007)

⚑City⚑

14:30 - 15:30

Alisa Oleva. Group exercises / simultaneous walk. The starting point will be announced later.⇶⇶⇶⇶⇶ Facebook page

How many friends on facebook do you have? How many followers on instagram? How many members are in your family? How many colleagues do you have? With whom of those do you keep in touch? Who stays in your sight? With whom do you form some kind of group? What does a group of people in the city space mean and how does it differ from the crowd? What is the binder material and where it gets thinner, falls out, slips and tears, and where it is possible to maintain a sense of inclusion, connection and contact.

In this series of three exercises in urban choreography, I propose to test what it means to be in a group in the urban space. You can participate either in all three, or in one or two of the proposed exercises.

The starting points will be announced later.

exercise one: a silent walk
A group of people moves around the city in silence. They walk on the streets, go into the store, buy coffee, go to the square, get on the trolleybus. It is important not to talk throughout the exercise. At the end, the group disperses, never having had a verbal contact.

exercise two: in sight
A group of people meets. Then each member of the group tries to be as far from each other as possible, but at the same time keeping all other members in sight. The exercise is complete when the group is extremely "stretched", but everyone remains in the view.
exercise is repeated three times in a row. 1. inside the shopping mall 2. in the food court of the mall 3. on the street / square in front of the shopping mall

exercise three: simultaneous walk
A group of people moves at a distance along the same trajectory, following each other's instructions, which are sent to a group in real time via whatsapp.

⚑CECH (Octyabrskaya 16)⚑

16:30 - 17:30

GRECHA. The human cloud. Online discussion session. Registration via email: grecha.crew@gmail.com.⇶⇶⇶⇶⇶ Facebook page

β€œThe human cloud” is a way of organization of work, when a complex set of responsibilities is broken down into simple individual actions that are distributed between thousands and millions of participants of the "cloud", who are working from the distance all over the world. A separate direction is comprised by tasks, that could not yet be performed by a so called "artificial intelligence". While accomplishing such tasks the workers simultaneously earn money and improve the algorithms of machine learning.

"The human cloud" is one of the opportunities for residents of developing countries to work remotely, but most of the tasks are worth a penny, so people are forced to spend 12-14-16 hours at the computer, constantly monitoring tasks and having no social guarantees.

17:30 - 18:30

Vital Shchutski. "Online report on a walk in the shopping center Le BHV" about the cost, status and value of the thing in the modern neoliberal economy.

The major forces of modern societies are aimed at creating things. The value of things depends not only on economic, but also on social parameters. Depending on their status, each thing can be found in the pile of trash, in the shop window or in the museum collection. On the basis of the photo report on a walk through the Paris department store Le BHV, we will try to understand how objects acquire their value in the modern neoliberal economy, and also how products differ from garbage and works of art.

Image: Paul Gavarni. Le flΓ’neur (1842)

19:00 - 22:00

HYPERSTITION. A film by Christopher Roth and Armen Avanessian. ⇶⇶⇶⇶⇶ Facebook page

"And what if there was no beginning?" (Iain Hamilton Grant)

HYPERSTITION: A film on time and narrative. Of thoughts and pictures. On plants and the outside. Abduction and Recursion. Yoctoseconds and Platonia. Plots and anaerobic organisms. About the movement of thinking and philosophy in anthropology, art, design, economy, linguistics, mathematics, and politics. And back into abstraction.

"You're always at the beginning and always at the end."(Ray Brassier)

HYPERSTITION: The retooling of philosophy and political theory for the 21st Century.

Featuring: Armen Avanessian, Elie Ayache, Ray Brassier, Iain Hamilton Grant, Helen Hester, Deneb Kozikoski, Robin Mackay, Steven Shaviro, Benedict Singleton, Nick Srnicek, Christopher Kulendran Thomas, Agatha Wara, Pete Wolfendale, and Suhail Malik in 2026.

a film by Christopher Roth in collaboration with Armen Avanessian
(100 minutes including an 8minute break)
In english with russian subtitles.

⚑City⚑

00:00 - 05:00

Night Movement. Night-Surprise

The exact time and place of the meeting will be announced a few days before the start of Work Hard! Play Hard!. You will find out what will happen, if you come to the Night.

β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘

≋ALL DAYS≋

⚑In different places⚑

Different events

Roman Aksionov. Arrange the points

Roman Aksenov will play a well-known game at lectures and discussions from the program of the whole project, compiling their "notes". Typical student practice of seizing each other's territories becomes a metaphor for conquering cognitive, physical and mental territories. Hiding behind positive goals or not covering up at all, all states are busy taking away lands and spheres of influence from each other. These notes, in the artist’s opinion, will in this case become precise metaphors of the knowledge production.

β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘

≋Entrance to all events is free≋

β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘β–‘

≋The schedule may change≋