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Work Hard!
Play Hard!
Side Affects

ФБ
 

July 1 — 7 2019
Minsk, Belarus

In the course of the first nights her throat was sore, almost nothing could be swallowed, temperature, fever, irritation, dreaming. The image of the great stone The great stone disintegrated inside of her overheated brain into several components: the image of a stone, the materiality of which she was researching in computer games; lacunas, trenches and all other poisonous imprints of extractive capitalism – her body was sticking into hot and wet bedsheets – and relation to the territory out of property positions. She felt at a loss and got bogged down in a wildwood, deforestation and vagaries of google maps between the village with the paganish name and the homonymic industrial People’s Republic of China park. She wanted to occupy these “productions of tomorrow”. was appearing sporadically. In those nights she laid behind a wall from a common room of the collective. She heard fragments of voices discussing rhythm She heard Nina and K. talking about rhythm. Feeble vibrations of the voices reached her skin with a slight shiver. She has often been seized by a collective rhythm: of dark dancefloors, stinging texts and demonstrations. These days the deformed metabolism reassembled her body, incorporating failures, malfunctions and inconsistencies with oneself. “In the end, the synchronization of the rhythms of production and the inevitability of acceleration often turned out to be captured by the colonial logics,” sounded behind the wall. Her attention melted in the intoxication — everything fell into the pulsation of antibodies in her organism. and alienation Sickness alienated her from herself and she enjoyed it. She felt herself exfoliating and pilling, as a moulting insect, when its exoskeleton becomes too small, and the second skin grows under the first one. “Renewal,” – she thought. : persistent and expressive voice of Nina and K.’s sweet voice. A weak disease Inside the disease itself, the psycho-pharmacological aspects of late capitalism are not obvious: behind the pill of ibuprofen, which brings little comfort, the chains of production and distribution of pharmaceutical drugs, privatisation of knowledge and resources, relations of “the north” and “the south”, normalisation of pain in a female body and mechanisms of desubjectivation are compressed. A weak disease is the disalignment of collective and individual time of rest and work, inaction, burnout. It is more symptomatic for late capitalism. In a precarious economy illness is not protected with a sick leave or a sanatorium, what trade unions and organised workers’ parties struggled for. In this case illness is the unexpended cost of working time, biopolitical diffusion of power. is a weak form of exclusion. Energy accumulates inside and spent together with sweat. Bed is a place of accumulation and waste.

Intoxication The gift of deceleration, acting through the foretaste of irreversibility. Intoxication as the bursting of the everyday or as a rehearsal of the revolution at least. Muscles intoxicated by lactic acid during the training. Stress tests of collectives, dirty data and positive feedback loops in algorithmic systems, entropy of all kinds. The triumph of weak bodies, rejecting vitamins and stimulants, falling out of the deadlines grid and hourly contracts. Only the illness could prove to her with authority that she needs rest, opening the veil of long-desired. These desires-pulses were lightening the pain. as a gift of deceleration,” – flashed through her mind when K. entered the room. “Do you need anything?” – echoed in her head with throbbing pain. A part of her continued to think about the phenomenon of the stone, computer games where you are sliding through the geological bed of earth chasing the enemy. “I can go to the pharmacy. Do you want anything?” – a repetition Repetition of the gesture occurs almost imperceptibly, being lost in the multitudes of significant and minor differences within the choreography of mundanity. The repetition of the gesture, bringing each time new connections and causality. Muscle tension recalled memories of her endlessly repeating dance phrases, trying to get the disobedient body to inhabit them, make them routine, bring to automatism. To bring to automatism and to automate – is it the same thing? She, however, hated rehearsals: it seemed to her that repetition and anticipation of the experience destroy its intensity. And more than that, sometimes anticipation became the event itself. “Is futuristic thinking a rehearsal?” thundered in her frontal sinuses. Why are there so few games where you can stop and stay forever – several human-machine days – soaking oneself into synthetic geology, where you can find the side lines of development, move beyond straightforwardness, code eventually a virus and spread it. “K. is very sweet, so caring. I’ll call the virus after her – the Care Virus Certain areas of her brain buzzed with the power of connections that have never occurred. She wanted to be caring for what surrounded her, but she didn’t know what it meant. A lump squeezed her throat, vertically grasping and releasing her again. “Waves of fear,” she thought. She wanted to write a virus that would be liberating towards the transverse lines of development of the worlds, lived by interfaces and characters, past whom you rush without noticing. She wanted their agency to sound in full voice. A virus that generates new worlds. "But the satellite virus is not able to be self-sufficient, it needs an auxiliary virus for the full replication of care." ,” she thought.

Participants:

akunka, Silvia Amancei & Bogdan Armanu, Alex Anikina, Anya and Valentine, Apart Collective, Aleksei Borisionok, Uliana Bychenkova, Aliaxey Talstou, Tatiana Efrussi, Kirila Cvetkovska, Vera Zalutskaya, Gediminas Daugela & Alisa Smorodina, Nastya Dmitrievskaya, dosaaf, eeefff, Max Evstropov / party of the dead, Ilya Firdman, Netzwerk für revolutionäre Ungeduld // FUTUR3 festival-crew, The Future Body At Work, Juan Gomez and Mikhail Samoilov, Lena Ischenko, Anya Litovskih, Masha Sarycheva, Tonya Trubitsyna, Nadezhda Ishkinyaeva, Three Julietttes (Uliana Bychenkova,Janna Dolgova, Inna Krasnoper), Nikita Kadan, Karen Karnak, Roman Aksenov, kassandra, Vera Kavaleuskaya, Kimchi Eukimchi, Anna Kinbom, Choterina Freer and Rut Karin Zettergren, Klabukova Lena & Katya Pislari, Masha Kotlyachkova, Yuliya Kozhemyako, Krёlex zentre, Anton Lapov and Larion Lozovoy, Brianna Leatherbury and DJ Max, Matthieu Levet, Markéta Kinterová, n i i c h e g o d e l a t (Research Institute of doing nothing), Arina Nesterova, Nikita Nechaev, Night Movement, obey-ne-robey, Alisa Oleva, Andrew Paterson and Anna Huana, DJ pickpocket, Sasha Pistoletova and Yozhi Stolet, Nataliya Protassenia, Sergey Babkin, pshkn, Sasha Puchkova, Daria Sazanovich, Peter Sit, Egor Sofronov, Olia Sosnovskaya, Antonina Stebur, Anna Tereshkina, Helga Zinzyver, TOYBOY, «Union of convalescents» and playfellows, Jury Urso, Elena Vogman, Clemens von Wedemeyer, Andrey Vozyanov, Xin Xin, Vova Yuzhny, Vita Zelenska, Marina Israilova

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≋SCHEDULE≋

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All Days

⚡In parallel with all WH!PH! events⚡

Egor Sofronov. Content Providers: Criticism as Voice Assistance / Conversation

Conversations with participants and others, so that ideas, their gestation, alienation, and replication would clarify and transmit via voice, this phenomenon of embodied, unstable materiality, via encounter and attention. In coalescence of intellectual labor with affective what comes forward is care, maintenance of an economy. Interlocutor is a virus of care, hostis: both an enemy and a hospitable container.

Anthropological dimension of conversation anticipates incommensurable scales of crisis of unsustainability and extinction, where accelerating and lagging economies of inhuman extraction compete with depleting resource of possible reproduction, of bodies, ecosystems, political and aesthetic resistances, which will be the subject of conversations as dyadic situations.

Receptive of the critique of phallogocentrism and its autoimmunizing assertion, I seek to replace with hearing, attention the monological construction of patriarchal discourse.

The rhetoric of the call with its medicalist, geo- and biological optics as in sci-fi that defamiliarizes antropomorphic norms, motivates to clarify and transmit the method behind it and emergences summoned by it in the contributions of others. Others: Eastern, neighborly, more anti-patriarchal and inventive, bearing another pain but enduring it in transmissible and socializable vibrations.

Our position is being transformed under the diktat of algorithmic recoding, liquidation of past cultural formations: populations of the reserve army superfluous for plutocratic accumulations and platform monopolies are amortized by pharmacological and somatic compensations, always-already insufficient, prolonging the lack of distress and patterns of anaesthesizing subsistence. Having decided to be faithful to this position, overdetermined by the division of labor, I hear and repeat: “I am a content provider, and I can be as sharp and empathetic as a voice assistant.”

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Egor Sofronov

Egor Sofronov is an art writer. Senior editor of Moscow Art Magazine since 2016. Teaches art theory at Baza Institute, Moscow, since 2017. Starting in 2018 he is one of the initiators of Laboratory of Art Criticism at CCA Winzavod, an educational and publishing inititiative. In 2015–2017 he was a research coordinator at Field Research program at Garage Museum of Contemporary Art. He received his MFA in Art Criticism and Writing from the School of Visual Arts, New York, in 2014. Wrote for various publications, among them aroundart.org, Cinema Art, Dialog Iskusstv, Colta.ru, and Moscow Art Magazine. Co-founder of interdisciplinary collective Union of Convalescents, since 2014. Born in 1989 in Yakutsk, Russia. He lives in Moscow.

Lena Ischenko, Anya Litovskih, Masha Sarycheva, Tonya Trubitsyna. Fail Security / Online-discussion and shy ceremony

Anya Litovskih, fail security: «Bereznyaky is famous for its’ failures. Sinkholes in Bereznyaky city appears as a result of soil subsidence — thy city was built right on the saltmine which is now full of groundwater. The sinkholes in the city surrounded by fences and guarded by UralKaliy company, which is responsible for these failures in some ways. Recently the company hired female security service. These women spending their time watching CCTV and looking after the size of sinkholes. Some of them silently walking along the fence, it’s prohibited for them to talk.

These failures of the ground is one of the most boring topics for discussions with citizens of Bereznyaki. Almost everybody with whom we talked about it mentioned, that they were afraid when it happened for the first time but later they get used to it. I guess I can relate to it somehow. It is a pity when people want to talk with you about your fails only, you want to forget it as soon as possible.»

We decided that our personal and collective failures should be guarded the same way, maybe even more intense. While everything around us is poisoned with the logic of success, our failures perceived as a side effect. These side effects causing us meltdowns and slowing our actions, its motivates us to get up and continue to move on. It’s time to change the optic and started to value our failures. We need to take care of our failures, accept its’ fragility and weakness, somewhere on the edge of our everyday life.

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Lena Ischenko, Anya Litovskih, Masha Sarycheva, Tonya Trubitsyna

Lena Ischenko, Anya Litovskih, Masha Sarycheva, Tonya Trubitsyna are fail security. They observe their experiences and shares with others.

eeefff. Holed futurism rumors  / Rumors

Have you heard of…?

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eeefff

eeefff is a collaboration of two people, Nicolay Spesivtsev (artist, computer scientist, researcher) and Dzina Zhuk (writer, artist). Active from 2013. Based in Moscow.

eeefff is working with emotional effects of the new economic regimes driven by computation, materiality of sensibility, affects within creative industries, frictions between user interfaces and protocols, test settings for collective imaginaries.

The methods of eeefff are: making public actions and situations, online interventions, performative seminars, software and hardware hacks, framing environments and settings.

Masha Kotlyachkova. Dying to talk about dying / Conversation

While walking by the water, or having breakfast, during a break between dances, in a room without knocking, in the Cocktails and Dreams bar, at the counter by the salt room, on the playground, at night by a refrigerator, in the morning in bed, at any time of the day or night — talk to me about death.

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Masha Kotlyachkova

Masha Kotlyachkova — producer at MDT Stockholm, curator at CAMP AS ONE Vityazevo.

Nataliya Protassenia, Sergey Babkin. Hahathon Festival of Smiles / Moderated collective interaction

Hahathon Festival of Smiles is a collective practice organized to research the formation of communities and identities, their temporalities and possibilities of disintegration. The overdose of meme consumption is expected during the practice. The humor of a meme is without any strung anticipation (or with an anticipation that collapsed into a single moment) but with the de-escalation into nothing — just like in the old times. The sudden appearance of a meme in a social network or imageboard feed launches the formation of an elusive microcommunity: this way the sensible is redistributed in a superfast way when the subjectivity forms around an urgently signed agreement stating “This is funny!” Hahathon is an attempt to slow down the process taking place between the subject, the community and the meme. The tangible bodies of meme-consumers — all in one space. Will they be able to agree on who they are and what they want — through the mediation of the meme? And will the video “Oh, I thought that was an owl…” become a foundation of a political action?

NB: We ask everyone who wants to take part in the Hahathon to make a compilation of several favorite outrageously funny memes which you won’t mind being shared among your comrades. Images, videos, texts, tweets, comments — everything can help our cause.

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Nataliya Protassenia, Sergey Babkin

Sergey Babkin (*1991, Moscow) — curator, artist, art critic at aroundart.org magazine, member of the dungeons’n’stuff project, employee of the Moscow Museum of Modern Art. Lives and works in Moscow.

Natalia Protassenia (b. 1988) – curator, editor, translator. Writes on contemporary art and culture. Co-founder and co-curator of the non-profit exhibition space «red square» at the Elektrozavod factory (2014-2015). Since 2015 teaches the history and theory of contemporary art (British Higher School of Art and Design, Higher School of Economics). MA in political philosophy and social science (Manchester University). Lives and works in Moscow.

Karen Karnak, Roman Aksenov. Denoting "emptiness" / Art object, text

We were walking down the street and understanding that the whole space was marked up, divided, constructed without us, and continued by some people we know nothing about, some Others, and not even people, but functions, so with these functions, the space continues to be being designed, changed and adapted for the same and other functions.

We were going through the woods and understanding realized that the forest is no more, but there is a map, deforestation zone and control ,some glades, open and closed coordinates.There is no forest in itself, and in this sense the forest demands liberation in order to become a forest again. Forest without us. And even this is impossible, more precisely, it is absolutely no longer possible, and all that we can do is only to indicate this impossibility …
Karen Karnak

… I don’t see divisions and structures in the visible by me, although I know about the existence of these. It seems to me that this is done for convenience and control. I myself would like to control something, I achieve it in every possible way and partly by inertia, in particular in my work — I work with the image and try to earn it to ensure the life of my family.

Responsibility and the presence of will harden and dulls in a certain sense, but capitalism is about regaining one’s place, and without these qualities can’t do
Roman Aksenov

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Karen Karnak, Roman Aksenov

Karen Karnak — asemic worker, poet, non-artist. Born in 1985, in The Republic of Belarus, Mogilev. Location — Minsk. Founder and participant of the group “Lipovy Tsvet” and Asemic International, partner of DAMTP. Participated in Alytus Biennial 2011 and 2013 and in Marginal Arts Festival, 2014 (Liminal Gallery, Roanoke, VA), in the exhibition “Four Corners” contemporary Art of Belarus 4-16 November 2014 (Luda Gallery, St. Petersburg).

Roman Aksionov, artist. He lives in Minsk, practices different forms of traditional and contemporary art.

Nikita Kadan. Bedtime reading on demand / Everyday life practice

Bedtime reading creates the meaningful, reflective transition between reality and sleep, which cannot take place when you just fall after overwork (cognitive as well as creative) or self-wasting, self-burning partying as labour.

Bedtime reading is usually a ritual performed between close people. When an unfamiliar person reads to you before sleep, it may turn out to be at least uncomfortable. In this case, only trust in the intentions of this person and that same reflexive distance, which makes possible to view this reading as a ritual, can save the situation. And also an immersion in the proposed text.

You have the opportunity to pre-order my reading for any of the nights / evenings / days of my presence in Minsk (or another venue of the WHPH), and I commit to be ready to fulfill your order at any time of the day. I can sit in your bed (or other sleeping place) beside you or on a chair next to you. I will wear my home clothes. You can choose a book from the list offered below. The schedule of readings is made on the first day of the WHPH and may be adjusted depending on the availability.

Preliminary reading list:
Marcel Proust, “Sodom and Gomorrah”
Bruno Schulz “Cinnamon Shops”, “Sanatorium Under the Sign of the Hourglass”
Fyodor Dostoevsky “A Gentle Creature”
Colette Peignot “Story of a Little Girl: Sad Privilege or a Fairy Tale Life”
Hervé Guibert “Les aventures singulières”, “Ghost Image”
Walter Benjamin “Moscow Diary”
Kathy Acker “Lust”, “Requiem”
Yuri Leiderman “Moabit Chronicles”
“Ancient Chinese Philosophy”, Ed. “Thought”, Moscow, 1973
Jacques Ranciere “On the Shores of Politics”, “Disagreement: Politics and Philosophy”, “The Distribution of the Sensible”
Thomas Bernhard “The Loser”
Image: drawing by Bruno Schulz.

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Nikita Kadan

Nikita Kadan. Born 1982 in Kyiv, Ukraine, lives in Kyiv. Nikita Kadan finished his studies of monumental painting at the National Academy of Fine Arts in Kyiv in 2007. He is member of the artist group R.E.P. (Revolutionary Experimental Space) and since 2008 co-founder of the artistis and curatorial collective HUDRADA.

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Monday / 1 July

⚡Laboratory of social theatre Vulica Kujbyšava, 22 (Horizont, 4.5 floor)⚡

13:00 - 13:20

Silvia Amancei & Bogdan Armanu. REDHEADED (or The beheading of knowledge)  / Video Screening

“REDHEADED” is a short film depicting a conversation between a narrator and a decapitated head of a communist young woman. The two exchange ideas and quotes, connecting the concepts of (French) revolution, (revolutionary) methods of killing, culture and advertising/capitalism.

The film was created within the framework of AIR – ARTIST IN RESIDENCE NIEDERÖSTERREICH, January-March 2019, Krems an der Donau, Austria.

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Silvia Amancei & Bogdan Armanu

Silvia Amancei and Bogdan Armanu (both b. in 1991) is an artist couple living and activating in the city of Iasi, Romania. Their artistic practice could be positioned at the border between social studies and visual art, researching for methods and examples where art and artistic means can be instrumentalized in order to overexcite the ability to look beyond capitalism and create a (common) future.

Working together since 2012, the two artists have materialized a series of solo exhibitions, exploring the paradigm of life exploitation: “If Then What After” (2019, Baden, AT), “What Past? What Future?”(2017, Linz, AT), “When atoms collide and disturb entropy” (2017, Craiova, RO), “Return to Spaceship Earth” (2017, Bucharest, RO), “Depression, Uncertainty and other Symptoms of Mortality” (2016, Lodz, Poland), “In Search for Causes and Realities” (2016, Iasi, Romania), “Clinical Architectures for a Compositionist Future (Part II)” (2016, Iasi, Romania), “Constellations of Desires” (2016, Iasi, Romania), “(No)Future” (2015, Eckernforde, Germany), “No Hope For a Future” (2015, Iasi, Romania), “Metropia” (2014, Iasi, Romania).

13:20 - 13:30

Daria Sazanovich. Crysis / Short movie screening

Crysis is a fiction film set in the near future. A future with an extremely high level of air pollution and where the authorities have no intention to fight against it. Moreover, they find a new easily accessible personal identification method through the irritated eyes of the population: the tears are a new unique biometric data. The apathetic mood deterred the mind of clear political thought.

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Daria Sazanovich

Sazanovich Daria / Sheeborshee

Artist, designer and illustrator from Minsk. Currently doing Masters in Digital Media (University of arts Bremen).

13:30 - 14:30

Andrew Paterson and Anna Huana. Polyamory as the cat in the bag / Hosted participatory discussion event

This session opens for discussion the relationship between polyamory–the maintaining of multiple caring, intimate, and love relations, physical or conceptual–and the flexible, multi-project work of artistic and cultural production which involves more than one other. If one accepts that love is often a motivator for many intensive and intimate exchanges with another collaborator, be it a particular site, community, persons human or non-human, over time.. And that one may be juggling several ongoing commitments in parallel.. Maybe Polyamory is something we should discuss more..

Introductory Notes:
* Not knowing something is a good start for cultural production * Aim to not make presentation but to guide discussion
* Polyamory as increasing considered approach, but arguably still marginal.
* Historical and more contemporary references, but rather hope to encourage discussions based on lived opinion and experience
* 2nd person statements to start and encourage discussion in either Russian or English
* Gender neutral, inclusive of Hetero, LGBTQIA positions

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Andrew Paterson and Anna Huana

Andrew Gryf Paterson is an ‘Artist-organiser’, cultural producer, educator and independent researcher. He specialises in developing and leading inter- and trans- disciplinary projects exploring connections between art, digital culture and science, cultural activism, ecological and sustainability movements, cultural heritage and collaborative networks. Originally from Scotland, Andrew has been most active in the past 15 years in Helsinki, Finland, aswell as Latvia and the Baltic Sea region, in particular. He works across the fields of media/ network/ environmental arts and activism, pursuing a participatory practice through workshops, performative events, & storytelling. Strengths lie in hybridity, communications, organisation and network arts: the ability to bring together and involve people in creative, collaborative exploration, developing temporary communities, gathering unexpected elements and components as new spaces of/for cultural activity. More or less archived here: [http://agryfp.info]

Anna Huana is a multimedia artist and cultural organiser. [a]Based in Minsk.

14:30 - 15:10

Jury Urso. Presentation of the conceptual video-essay (Untitled, 2019) / Video-presentation-discussion

I want to show conceptual video-essay which deals with certain important topics that concern me: from suicide to contemporary art, from refusal to work to the mechanisms of the institutions of contemporary art. Conceptually my video-essay is divided into three parts: the First, the Third and the Second worlds. This division was relevant before the fall of Berlin wall and I choose this order, because the First and the Third worlds had connection between each other, because the former colonized the latter, but the Second world was an alternative. I think, that after the fall of the Eastern block the border with European union transformed into the new Berlin wall. In this sense, it is very interesting to consider the geopolitical situation of such countries as Belarus where is this new Berlin wall is located. Anyway, one of the main points of my work is to understand what is the role do we play, post-soviet people? Does someone care about our culture somewhere outside of our regions?

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Jury Urso

Jury Urso was born in a fictional country somewhere in the non-existent europe which is not actually western country.

Jury Urso is a Belarusian anti-cultural worker, self-proclaimed anti-artist. He was an active member of the Belarusian radical political and cultural underground for a decade in a different role, from organizing radical leftist libraries (http://rebels-library.org) to creating anti-bourgeois mini-festivals of leftist art (https://www.facebook.com/antibourgeoisfest/). His work is on the border of anti-performances, radical political & literary theory. He has B.A. in philosophy from DePaul University (Chicago, IL, USA) and M.A. candidate in Visual and Critical Studies from School of the Art Institute of Chicago (Chicago, IL, USA).

15:00 - 16:00

Klabukova Lena & Katya Pislari. |Agent| / A number of cognitive and physical experiments upon the group of participants

Our organization participates in the third stage of the prelaboratory analysis of a family of active agents, or a single agent in a series of states, acting inside the human body and exhibiting virus-like properties, as well as complex mutual activity with indirect correlations. Provisionally the most distinct agent subtypes are being called “Love” and “Non-Love”. The exact design was not yet fully discovered but it has been traced that the mutual amount of different subtypes of the agent directly or inversely correlates with the levels of affordance of a number of primary neurotransmitters. This makes it possible to indirectly assess the state of an individual, but the individual herself through her cognitive-emotional activity creates an environment of varying levels of auspiciousness for one or another form of the active agent. It has also been established that both the family of agents and the corresponding cognitive-emotional states are capable of being transmitted through social environment.

At this stage, we plan to conduct a series of experiments related to the agent’s mutagenic ability and aim to develop a conceptual grid for further stages of the study. It is important to note that at the moment the most interesting directions of agents’ mutations are located outside the axes defined by the tunnel aggravation. Also, it has not been established whether there exist individuals / groups of individuals which are not influenced by this family of agents. At the current stage, we plan to test small selections of highly cognitive participants capable of correct self-observation and evaluation.

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Klabukova Lena & Katya Pislari

Lena Klabukova: works with barefaced mutagenic bodily manipulation, as well as with voice, textual and movement practices.

Катя Пысларь: mainly busy with боди-стадис, гендерные проблемы и любовь к тайцзи.

16:10 - 16:50

Alex Anikina. Chronic Film / lecture-performance (over Skype)

The lecture-performance Chronic Film is based on a procedural film of the same name, a generative algorithm that plays out every possible combination of pixels that can be generated on a screen of a certain resolution. Due to the mathematics of the algorithm, it is visualised as continuous noise. The length depends on resolution; if HD resolution is desirable, the film has to last for billions of years, resulting in a posthumanist film not made for human senses.

The lecture-performance takes the history and mythology of the Greek island of Delos as a starting point, engaging in a parallel thinking of images as real archaeological and as technical artefacts. Through the material processes of decoding and degrading of signals the performance investigates images both as fetishes and as fetish-resistant, offering a critique of the processes of commodification and cultural appropriation. Using the algorithm of Chronic Film, the lecture-performance breaks the consumerist model of spectator-screen relationship, instead entering a symbiotic, meditative, or even hallucinatory state of image-word sensing.

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Alex Anikina

Alex Anikina (b. Kolomna, Russia) is a media artist, researcher and film-maker, currently completing her PhD at Goldsmiths, University of London, where she is also Assistant Lecturer in Film and Audiovisual. She is working on a dissertation on procedural film as a critical media art practice. As an artist, she works with moving image, software, objects and lecture-performances. Her work has been shown internationally, including at Haus der Kulturen der Welt, Gaîté Lyrique, Anthology Film Archives, NCCA Moscow, Korean Film Archive, London Royal Academy of Arts, and others. Recent shows include ’a better version of you’, Art Sonje, Seoul; Systems/Visibility at Sanatorium gallery, Istanbul; Krasnoyarsk Museum Biennale; VI Moscow International Biennale for Young Art. In 2018 she curated media art festival IMPAKT (Utrecht, Netherlands) with the proposal Algorithmic Superstructures.

17:00 - 18:00

Yuliya Kozhemyako. Fragile boundaries and Perfectionist nightmare / Workshop-performance

Levels in video games are often designed in advance, all objects are located at the places specified by the designer. Other genres use procedural generation and random numbers for level design. In my project I want to delegate role of random numbers to people to see what happens.

The result will be part of video game called Yuha’s Nightmares. This part will be based on one of my last dreams. Рerformance participants can make changes to this level, and I will try to withstand this invasion.

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Yuliya Kozhemyako

I make digital art and video games. Area of interest: expressive means of interactive real-time 3D graphics; generative art, procedural worlds, video games as real-time 3D spaces, Unreal Editor’s art, crossing of the virtual and the “real” life.

⚡Belarusian Students' Association. vulica Kastryčnickaja, 16. 4 floor⚡

20:00 - 22:00

Netzwerk für revolutionäre Ungeduld // FUTUR3 festival-crew. (ex)change - how to build a common thing / Common conversation

In 2017 the collective “Netzwerk für revolutionäre Ungeduld” founded the art-festival FUTUR3 in Kiel. We wanted to change the things around us: By fighting for fair payments and better working conditions of artists. By uniting people from different backgrounds and genres in a more and more competitive society. By staging a festival that would fulfill all of those aims.

Indeed, in two years and two festivals we made some experiences, we even got some support from the city. But our initially questions are still the same: How can a network or collective succeed in fighting together? What organisational structure do we need for it? How can art(ists) change something? And how many of you would like to exchange your personal knowledge with us?

We ask you to speak with us about questions of structures and collaborative work in arts. Let’s exchange!

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Netzwerk für revolutionäre Ungeduld // FUTUR3 festival-crew

“Netzwerk für revolutionäre Ungeduld” (https://www.ungeduld.net) is a collaborative space for self organized artists in Kiel. Its Main aim is to unite different potentials and people working with arts, to fight for better visibility, payment and working conditions. Our network organizes the FUTUR3 festival to create a place for artistic experiments, international exchange and political debates.

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Tuesday / 2 July

⚡Cnianskaje vadaschovišča. We meet at 10:00 by the entrance to Vitalur shop -> how to get there

10:00 - 16:00

Uliana Bychenkova, Aliaxey Talstou, Tatiana Efrussi. Plein air coming out / Plein air session. Please bring chairs and materials with you!

We invite you to fell out of the protocol of events and race of participating for a half of the day and get into observing of nature and each other at the outskirts of the city.

Our session is a drawing-painting plein air with simultaneous talks about nature, usual life, class contradictions, climate change and inter-species communication; participants can also remain silent if they wish to. Drawing of nature, slow peering and enjoyable admiring – this is a luxury and a secret pleasure. We invite you to cut out with shame and embrace this. During the session we also can talk about the trauma of art academies and artistic education (or unfulfilled dreams of it), reflect on visual practice as such. For participation you are not required to have any particular skills. We were staying at the bank of the reservoir, so bring your swimming suits.

Please, bring your own tools and materials.

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Uliana Bychenkova, Aliaxey Talstou, Tatiana Efrussi

Uliana Bychenkova — artist, graphic designer. She lives in Kyiv, working in the collectives.

Aliaxey Talstou – artist and writer, cultural worker out of necessity. Works with the topic of crisis and focuses on social issues, techs and ecology.

Tatiana Efrussi — artist and art historian, works with historical narratives, documentary and fictional texts. She is cutrrently based in Paris.

14:00 - 15:00

Max Evstropov / party of the dead. (post)work in the epoch of (post)death / Lecture-performance

Lecture/performance from behalf of a delegate of the party of the dead, an attempt of analysis of the current global condition of work, capital and death – the situation in which work is no longer work and death is no longer death but capital still remains as a sort of an empty constant. This would be also a necro-philological enterprise: the basis of the lecture/performance would be within the close reading of “Le Squelette laboureur” (“The Hard-Working Skeleton”) by Charles Baudelaire.

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Max Evstropov / party of the dead

Max evstropov (petersburg), artist, musician, philosopher, member of a political performance group {rodina} ({motherland}), founder of the party of the dead – the most big and horizontal party in the world.

15:00 - 17:00

n i i c h e g o d e l a t (Research Institute of doing nothing). Picnic without theory / Picnic

For the picnic we need a park for those, who are poisoned with theory,having indisposition and fallen sick. Recommended: a park within easy reach for all participants. Not recommended: codes, citing, cultural production, production of knowledge, documentation. We are just having a rest and try not to produce anything. Passive rest. We don’t promise anything. It’s not end-of-term exams. Words-resonators from the text-resonator: indisposition, poisoning, virus of care.

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n i i c h e g o d e l a t (Research Institute of doing nothing)

n i i c h e g o d e l a t (Research Institute of doing nothing) — is a network of blinking laboratories, researching opportunities for overcoming present standards of labour behaviour.

⚡Berlin Club_Minsk, Tučynski lane, 2⚡

18:30

Doors open

19:00 - 19:45

Olia Sosnovskaya. Incredibly relaxing meditation music / Lecture-performance

The lecture performance studies the concept of exhaustion. The artist’s narration fluctuates between body energies, dynamics of the affect, contemporary capitalist impositions, historical politicality of stillness, choreographies of the imagination, the multitude of the undoing, etc. etc. etc.

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Olia Sosnovskaya

Olia Sosnovskaya (Vienna/Minsk) is an artist, researcher and writer. She engages in text, performative and visual practices, intertwining the notions of festivity, collectivity, affect, score and the political within the post-socialist contexts and beyond. Currently a PhD candidate at the PhD-in-Practice, Academy of Fine Arts Vienna.

20:00 - 20:20

Dzina Zhuk. Jeopardized interfaces / Performance

A performance that touches issues of body modifications, interlacing of (extra)science-fiction with affects, emanating from interfaces that are concealing potential jeopardy.

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Dzina Zhuk

Dzina Zhuk is an artist and tech-politics researcher based in Moscow, Russia. She is part of the group eeefff and Flying Cooperation. She co-organizes the annual event WORK HARD! PLAY HARD! in Minsk. Her alter-ego bitchcoin works with voice, audio, future beats and sci-fi synth.

Dzina Zhuk’s major interests include jeopardized interfaces; emotional effects of algorithms; non-anthropocentric view towards machine intelligence; and imaginary scenarios of the present day.

20:30 - 21:30

Anna Tereshkina, Helga Zinzyver. Krasnye Zori / Performance

We’d like to make a disco/gig and talk about internal working of self-proclaimed musical collaborations. Our collective itself is a method of selfcare. On the discussion we want to talk about relationships that are generated in collective work provided horizontal, empathic and caring, as well as accepting one’s own and someone else’s weakness. This is invisible work of each of us.

Keywords: #impostorsyndrome #serious-notserious #nopurpose #mutations

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Anna Tereshkina, Helga Zinzyver

We are Krasnye Zori the collective were organized in Januari 2019 but we made our first compositions in December yet behind the false front of alternative membership of another group, Devichja Familia Vashej Materi. Later it was revealed that we’re able to make something different. Compilation of electronic bits and field recordings is built according to the text construction. Text reminds psychotherapy seance and music can be put on the difficult listening genre. Both is an alienation of our personal traumatic experience/ experience of disease through music and text. It turns out sublimation clots 7-15 minutes long, that draw listeners in sophisticated sound system or organism.

21:30 - 00:30

Anya and Valentine. Contaminated Nails / Nail Bar

Contaminated nails are finally on vacation and going to Minsk first time ever… The third edition features beauty and mental healthcare. Join our contaminated nails bar to free yourself from anxiety, fatigue and motion sicknesses trough weirdly pleasant beauty procedures.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Anya and Valentine

Contaminated nails project were launched by Valentine Duduk and Anya Karanevskaya in October 2018. The project explores beauty standards through the different media among which main focus is the manicure industry. The main activity is based on creating pop-up nail bars and spread our nail-art into masses.

21:30 - 22:30

obey-ne-robey. Calm the fuck down!  / DJ set

Slow down your gabber! Take it easy!

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obey-ne-robey

Nicolay Spesivtsev is an artist and researcher based in Moscow, Russia. With a technical background as a computer scientist, Spesivtsev combines a critical approach to computer science that is interwoven with computational economies and queer futurism. He works with imaginations born from overlapping technological, economical, and political landscapes in present day culture.

His interests include solidarity born from affective labor, critical approaches to emancipation of joy from assemblages of bodies of living subjects (human and non-human), and systems based on computation, digital decolonialism in Eastern Europe, among many others.

He is part of the group eeefff and Flying Cooperation. He co-organizes the annual event WORK HARD! PLAY HARD! in Minsk.

22:30 - 23:30

DJ pickpocket. ♔ ♕ ♚ ♛ ♔ / DJ set

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
DJ pickpocket

Sasha Zubritskya / St. Petersburg

23:30 - 00:30

dosaaf. DJ set / Experimental

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
dosaaf

TBA

00:30 - 01:00

Kassandra. Performance / Performance

She is “with a graceful mouth, with sparkling eyes, knowing the future”

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Kassandra

TBA

01:00 - 02:00

Kimchi Eukimchi. Pickled cucumber DJ-set / Dance-motivation-music-camp

Kimchi Eukimchi is a kiel-based dj-team playing korean-90er-eurodance tracks.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Kimchi Eukimchi

Kimchi Eukimchi is a kiel-based dj-team playing korean-90er-eurodance tracks.

02:00 - 03:00

TOYBOY. Music for emerging, entangled and sic bodies / Dj set

#sex4sex #eclectic #firstdateplaylist #newromantic

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
TOYBOY

TOYBOY one of the many dj alter egos whose main distinctive feature is sets based on love confessions to the marginalised romantic relationships.

03:00 - 05:00

pshkn. LUX  / DJ set

LUX Selection

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
pshkn

TBA

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░

Wednesday / 3 July

⚡LO-FI. vulica Kastryčnickaja 16/3⚡

14:00 - 17:00

Juan Gomez and Mikhail Samoilov. Decisions Architecture / Workshop

Decisions architecture is a participatory performance that invites participants to explore the aesthetics of decision making and some of the cognitive biases that humans are subject to in their daily life. To cite some of them:

IKEA EFFECT: The tendency for people to place a disproportionately high value on objects that they partially assembled themselves, such as furniture from IKEA, regardless of the quality of the end result or OSTRICH EFFECT: Ignoring an obvious (negative) situation.

The experience takes place in a grid that had been conceived to recreate some of the decisional spaces that architecture has built such as parliaments and stock market buildings.

The experience consists of creating playful in-between moments between the participants to generate сonversations and exchange of actions to make them aware of their decisional moments.

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Juan Gomez and Mikhail Samoilov

Juan Gomez – (1991) born and raised in cali,colombia currently living in geneva, switzerland. juan is working in the intersection between art and design. he has worked as a researcher for the institute of network cultures(nl) as well as for integral ruedi baur (fr/ch). he was part of the mediation of construction of the dutch pavilion in bogotá (2016) working along designers and architects such as irma boom and mvrdv. his current interest is in the materialisation of social technologies in temporal urban spaces and their potential for generating valuable discussions.

14:00 - 14:50

Anton Lapov and Larion Lozovoy. Green-eyed Taxi Cab / Twitch-stream

Fiction: after the end of the war in the Balkans, Niko Bellic could not find a decent job for a long time, and, in his own words, did a lot of stupid things. Having fled abroad, he got a job working in the taxi depot of his brother Roman — a remarkably fishy place. Accustomed to hardship, he started working several shifts in a row. Soon, his efficiency brought him into conflict with other taxi drivers from the depot. Reality: immigrant communities in Italy use their own taxi network (“kabu kabu”) — illegal and cheap. You need to know a certain number to order the cab.

We will set up a twitch-stream – a marathon simulation of the taxi-driver labor in the Grand Theft Auto IV sandbox-setting. The game code is to be modified to create an in-game radio station, curated DJ Tatamovich (Lugansk Contemporary Diaspora, https://vk.com/bomjpaketi). Occasionally, the driver would start a conversation, especially at the beginning of the shift.

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Anton Lapov and Larion Lozovoy

Anton Lapov

(*1984)

Born in Luhansk, UA. BA in Social Psychology and Pedagogy

MA in Prehistory and Archaeology: graduated from National University “Kyiv-Mohyla Academy”

Graduate of New Art School (course «Media-art for practitioners», Kiev, 2013). Participant of 4th Moscow Curatorial Summer School (2015). Artist, independent curator and museologist. Coordinator of media-art collective Art-cluster R+N+D and organizer of events in the field of experimental electronic music, media-art and museological research. Researcher in Open Archive of Ukrainian Media-Art (specializing in sound-art, subculture studies).

Larion Lozovoy

Larion Lozovoy is an artist and independent researcher working in Kyiv, Ukraine. He completed the Course of contemporary art at the Kyiv School of Visual Communication, Curatorial School by V-A-C Foundation, and WHW Akademija (Zagreb, Croatia). He authored critical texts for Korydor, Prostory and Krytyka Polityczna online magazines.

15:00 - 15:50

Yuliya Kozhemyako. Fragile boundaries and Perfectionist nightmare / Workshop-performance

Levels in video games are often designed in advance, all objects are located at the places specified by the designer. Other genres use procedural generation and random numbers for level design. In my project I want to delegate role of random numbers to people to see what happens.

The result will be part of video game called Yuha’s Nightmares. This part will be based on one of my last dreams. Рerformance participants can make changes to this level, and I will try to withstand this invasion.

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Yuliya Kozhemyako

I make digital art and video games. Area of interest: expressive means of interactive real-time 3D graphics; generative art, procedural worlds, video games as real-time 3D spaces, Unreal Editor’s art, crossing of the virtual and the “real” life.

16:00 - 16.50

Nadezhda Ishkinyaeva. Trud-no-ability / Watching video and discussion about working capacity and possible socialization through the work of people living in psycho-neurological boarding schools in St. Petersburg and Minsk.

Inability or unwillingness to work? Comparison of the practice of n i i c h e g o d e l a t as the movement of neurotypical bodies that consciously do not want to work and neuron-typical people (disabled body as unable to do something) from psycho-neurological boarding schools, for which the highest level of socialization is employment.

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Nadezhda Ishkinyaeva

Nadezhda Ishkinyaeva, artist, Spb

Resercher from n i i c h e g o d e l a t , volunteer of the project “Latitude and Longitude”.

I work with video, graphics, ceramics.

17:00 - 17:30

Brianna Leatherbury and DJ Max. Exact Pitch / Performative set

The project is a collaboration between Brianna Leatherbury and DJ Max. They made a set together that is composed mainly of sounds from a mandatory meeting in a hotel room. Transplanting them onto a dancefloor transforms the function of the recordings from information to entertainment, from focused discussion to ambient rhythm. The recorded movement of the bodies, in turn, produce bodily movement. The project marks two recent interests of Brianna, one of the transformations of labor as material/phase transitions and of the activation of the surrounding air as a means to draw attention to the breath, to the compulsory act of breathing (thus reinforcing the labor and form of the body).

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Brianna Leatherbury and DJ Max

Brianna Leatherbury (1995, New York) is an artist working between objects and language. She explores their compatibility and generosity within questions of differentiation. Addressing bodies and economies alike, Leatherbury creates systems that manifest their linguistic collapse under the notion of a “resource.”

17:40 - 18:10

Vova Yuzhny. не вojca: hostel cctv report / Film screening, report with a photo demonstration

Screening of a short pseudo-fiction film, made from records by cctv cameras in hostel.

The video of real robbery is presented as a clip, referring to the cliche of the of criminal drama genre.

A follow-up report on personal experience of re-socialization in a hyper-multicultural environment — a port city hostel — by using screen-voyeurism and creating own virtual narratives. The report will be accompanied by a display and commenting on a series of photographs from cctv cameras.

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Vova Yuzhny

Vova (Odessa) is engaged in low digital photo and video filming, video art; interested in found footage and digital brutalism. He plays in bands Sasha meets Vova and Acephalus.

Works in the Museum of Odessa Modern Art.

18:10 - 19:00

Arina Nesterova, Nikita Nechaev. Tryptokit Play 3.0 / Presentation

Hi! We invite you to the presentation of Tryptokit Play 3.0 – set of chemicals which can correct your mood and vital rhythms. Try to synchronize your mental expectations and physical reality!

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Arina Nesterova, Nikita Nechaev

Nikita Nechaev — employee of the Museum of Modern Art, a lover of art and the latest technologies

Arina Nesterova — employee of the Museum of Contemporary Art, member of the musical group VaginaPower, cinema enthusiast

⚡City. Place would be announced later.⚡

21:00 - 23:00

Alisa Oleva. repeated walk / a walk. meeting point: (53.9169558, 27.5568558)

at an agreed time a group meets and follows me on a rout. however, very soon the route starts to repeat itself and it becomes clear that we have already been here. and will be once again. and again. what changes and what remains; what disappears and what comes into view?

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Alisa Oleva

born 1989 in Moscow. based in London. alisa oleva holds an MA in Performance from Goldsmiths. her practice aims to offer an alternative way to experience and engage with the everyday urban life around us by shifting the sense of real and imaginary within the cityscape. she treats the city as her studio and urban life as material, to consider issues of private and public, visible and invisible, urban choreography and urban archeology, traces and surfaces, borders and inventories, voids and silences.

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Thursday / 4 July

⚡The Second Floor. Praspiekt Mašerava 9, building 8, 2 floor.⚡

11:00 - 11:40

Xin Xin. Phone Whisperer / ASMR lecture-performance

Dial into Phone Whisperer, an ASMR lecture-performance, and SSSSSurrender yourself to the tingling, brain-melting sounds of assembling a DIY off-the-grid phone. Levitate from the ground you’re standing on and let yourself dive into the deep relaxation of a surveillance-free world.

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Xin Xin

Xin Xin is an interdisciplinary artist and educator working at the intersection of technology, labor, and identity. Xin co-founded voidLab, a LA-based intersectional feminist collective dedicated to women, trans, and queer folks. They initiated the School of Otherness which seeks to empower marginalized communities through storytelling, forums, and workshops that process experiences of the other. Their work has been exhibited at Ars Electronica, the Hammer Museum, Gene Siskel Film Center, Tiger Strikes Asteroid and Machine Project.

They recently completed an art residency at Plug In ICA in Winnipeg, Canada and serve as the Director and Lead Organizer for Processing Community Day, a worldwide initiative celebrating art, code, and diversity. Xin received their M.F.A from UCLA Design Media Arts and teaches at Parsons School of Design as the Assistant Professor of Interaction and Media Design.

11:50 - 12:20

Markéta Kinterová. The Doublespeak of Diseased Public Space / Adolescent City / Skype lecture

Majority of capital and state power accumulate in cities; through the development of urban planning, we can realize what kind of strategies are closely linked to developments towards today‘s post-industrial society. Based on Pascal Gielen‘s Performing the Common City. On the Crossroads of Art, Politics and Public Life (2015) published in the book Interrupting the City and the books quoted by Richard Sennett The Uses of Disorder: Personal Identity & City Life (1970). I include examples from the Euro-American environment, with an emphasis on the present and as well with references to the period of the industrial revolution, the time of transformation of the economic-social paradigm.

I perceive an urban space as a process that quite faithfully reflects the current political system and social discourse.

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Markéta Kinterová

Markéta Kinterová is an independent artist working with photography as a tool of conceptual art. She is a director of Fotograf Gallery, Festival and Magazine based in Prague. Kinterová is doctoral candidate in the Fine art program at Fine Arts at Academy of Arts, Architecture & Design in Prague with project dealing with public space and intepretation of its visual strategies. She attended several artists residencies as in Centro de la Imagen – FONCA, Mexico city, Mexico and Artist in residence, Rotor – Association for Contemporary Art, Graz, Austria.

12:30 - 13:10

Elena Vogman, Clemens von Wedemeyer. "Actors of Profane History" 2017, 23 min / Film + skype discussion

“Actors of Profane History” includes a series of recently discovered casting images from Sergei Eisenstein’s destroyed film “Bezhin Meadow,” (1935-1937) preserved today at the Russian State Archive of Literature and Arts. It questions the interrelation between the cinematographic use of film extras, who usually appear only in the background of major cinema productions, and the possibility of acting in political history, in itself closely connected to the history of representation. In his films, Eisenstein worked almost entirely with non-professional actors, the so-called “tipazhes.” Deriving from the French word “typage,” the Russian “tipazh” was a concept for denoting a typical appearance, giving an immediate visual presence to the palpable characteristics of a social type. This reading of human appearance as evidence of social and political conditions elucidates parallels between cinema and criminalistic as well as physiognomic paradigms. Yet, in 1935, when Eisenstein was commissioned to shoot Bezhin Meadow, such “irregular types” were already banned from official screens. The censured and destroyed film tells the story of Pavlik Morozov, a fourteen year old pioneer who lived in the village of Gerasimovka and was killed in 1932 by his family after denouncing his father for being opposed to the collectivisation of the land. After the editing of the film went through at least two different versions, the production was definitively stopped in March 1937. The film was withdrawn and disappeared in the deposits of Mosfilm, where it was eventually destroyed in the bombing of Moscow during the Second World War. In 1967, Naum Kleiman and Sergei Jutkevic reconstructed a version of Bezhin Meadow based on a surviving sequence of individual frames.

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Elena Vogman, Clemens von Wedemeyer

Elena Vogman is an author, independent curator and postdoctoral fellow in the research project “Rhythm and Projection” at the Freie Universität in Berlin. Her book on “Sinnliches Denken: Eisensteins exzentrische Methode” (2018) has been published by diaphanes. Currently, she finishes her next book, “Dance of Values: Eisenstein’s Capital Project,” which is forthcoming in the Fall of this year. Together with Marie Rebecchi and Till Gathmann she curated the exhibition “Sergei Eisenstein: The Anthropology of Rhythm” in 2017 at Nomas Foundation in Rome. In 2018, the trio curates the exhibition “Eccentric Values after Eisenstein” together at Espace Diaphanes in Berlin.

Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Solo exhibitions include: 2016 Hamburger Kunsthalle; P.O.V. – Neuer Berliner Kunstverein; 2015 MCA Chicago; 2013 MAXXI, Museo nazionale delle arti del XXI secolo, Rom with the project „The Cast“, curated by Giulia Ferracci.

13:15- 14:00

Klabukova Lena & Katya Pislari. |Agent| / A number of cognitive and physical experiments upon the group of participants

Our organization participates in the third stage of the prelaboratory analysis of a family of active agents, or a single agent in a series of states, acting inside the human body and exhibiting virus-like properties, as well as complex mutual activity with indirect correlations. Provisionally the most distinct agent subtypes are being called “Love” and “Non-Love”. The exact design was not yet fully discovered but it has been traced that the mutual amount of different subtypes of the agent directly or inversely correlates with the levels of affordance of a number of primary neurotransmitters. This makes it possible to indirectly assess the state of an individual, but the individual herself through her cognitive-emotional activity creates an environment of varying levels of auspiciousness for one or another form of the active agent. It has also been established that both the family of agents and the corresponding cognitive-emotional states are capable of being transmitted through social environment.

At this stage, we plan to conduct a series of experiments related to the agent’s mutagenic ability and aim to develop a conceptual grid for further stages of the study. It is important to note that at the moment the most interesting directions of agents’ mutations are located outside the axes defined by the tunnel aggravation. Also, it has not been established whether there exist individuals / groups of individuals which are not influenced by this family of agents. At the current stage, we plan to test small selections of highly cognitive participants capable of correct self-observation and evaluation.

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Klabukova Lena & Katya Pislari

Lena Klabukova: works with barefaced mutagenic bodily manipulation, as well as with voice, textual and movement practices.

Катя Пысларь: mainly busy with боди-стадис, гендерные проблемы и любовь к тайцзи.

14:30 - 16:00

Krёlex zentre. I Ching talk. Predictions and prescriptions / Skype fortune telling

Since Krёlex zentre communicates with the I Ching from time to time in difficult life situations, we would like to share our experience of communicating with the oracle. Participants will be able to formulate their own query about the particular situation of their interest and to receive an answer in the free translation/ interpretation of Masha and Ruthie.

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Krёlex zentre

Ruthie Jenrbekova. Born in Alma-Ata, Kazakh Soviet Socialist Republic. Since 1997 has been involved in different types of artistic and curatorial activities. Co-founder of the imaginary parainstitution named “Krёlex zentre”. Works together with her partner artist Maria Vilkovisky.

Maria Vilkovisky. Born in Almaty, Kazakhstan. Poet, musician, performer, curator. Co-founder of cultural parainstitution named “Krёlex zentre”. Works together with her partner artist Ruth Jenrbekova. Lives in Almaty.

16:10 - 18:10

The Future Body At Work. Frames at Work in Dance and Writing / Moving-writing practice

In this workshop, Frida Sandstrom and Kasia Wolinska will share methods that they have applied when replacing established concepts, names, and references from Western philosophy by concepts from dance and choreography — concepts that are derived directly from the living body at work. This time, the method will be embodied by a format in which we could engage with a very simple practice of developing dance, of ‘awakening dance’.

To be present with one’s body-mind, muscle-mind, the me-body in the space of tides, burning fires and of comrading flow, is to observe and feel oneself, in movement just like in words. Acknowledging the movement of one’s surrounding: fellow dancers and absorptions of social constructs, we shake from within — thoughts and aspirations, dreams and grievances. Feeling and articulating, in both dance and words, movements emerge from the tiniest motion and yet they are realized with a clear purpose. Beyond the artwork as a construct, we both recognise and reshape the material circumstances for existence within movement, in the present moment.

This is an attempt to share our method of work and open it to possible recompositions by everyone that parttakes.

Image by Ashiq Khondker.

In English.

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The Future Body At Work

The Future Body at Work is an interdisciplinary score-based study practice initiated and run by Frida Sandström and Kasia Wolinska. It mobilizes ideas, theories, and practices centered on the body at work. Affirming the living body, a revolution of consciousness is initiated and the inherent sociality of the dancing body is reclaimed.

18:20 - 19:10

Andrey Vozyanov. Ethnography in Zootopia: Cities after anthropocentrism / Lecture with soundscape

In the cities, animals occupy specific position among non-human inhabitants: unlike plants, mushrooms, and bacteria, they demonstrate complicated patterns of movement, communication, and sociality, participating in social construction of family, home, and leisure, as well as being part of cities’ economy, and stakeholders, if neglected, of urban politics. Challenging our notions of citizen and citizenship, ethnography of human-animal coexistence also makes us revisit our ideas about how to claim the right to the city: occupying a territory, overcoming barriers, particular ways of waste treatment, and some other modes of political action happen beyond the semiotic verbal communication – thus other animals can stand next to human in production of politics. Then, how do we discuss poverty and segregation, inequality and solidarity in multi-species society? How do we include animals into our urban ethnographies? What an urban planning inclusive of non-humans can look like? And what are regional specifics of cities after anthropocentrism? We’ll enter this field of inquiry not only through talk but via listening to urban jungle soundscape where animal voices join the symphony of “anthropocene”.

The act happens in English.

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Andrey Vozyanov

Andrey Vozyanov, social anthropologist, member of Minsk Urban Platform (Minsk, Belarus), lecturer at the European Humanities University (Vilnius, Lithuania). Interests: collaborative ethnography, urban infrastructures, sound and noise, old age, poverty, prekarnost, Eastern Europe. Sound designer, musician in projects kate in the box and Novy Byt.

20:10 - 20:30

Anna Kinbom, Choterina Freer and Rut Karin Zettergren. Nina, K. and Connie / Online audio performance

Nina, K. and Connie is an online audio performance developed from the ideas in the WH!PH! Side Affects text. The performance focuses on the three characters in the text. The protagonist, who we have called Connie, is lying with fever and experiencing delusions. On the other side of the wall, Nina and K. are heard speaking within their collective situation.

We have adapted Connie from the central character in Marge Piercy’s 1976 feminist utopian novel Woman on the Edge of Time. In the book, set between the 1970s and 2137, the futuristic opportunities for collectivity are shown as both positive and inclusive. Borrowing from the progressive movements of the time, Piercy shows a way of living within a collective which overcomes the problems Connie experiences in her own time.

In a 2016 text by Marge Piercy, she looks back at this novel from a distance of 40 years and notes that utopias are no longer created. She says “when our political energy goes into defending rights, and projects we won and created are now under attack, there is far less energy for imagining fully drawn future societies we might wish to live in.”

Our performance draws on the hopefulness of feminist utopian texts of the 1970s and the collective-positive cyberfeminist movement of the 1990s, and pauses to imagine feminist utopian ideas of collectivity.

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Anna Kinbom, Choterina Freer and Rut Karin Zettergren

Anna Kinbom (Stockholm, Sweden), Choterina Freer (Glasgow, UK) and Rut Karin Zettergren (Stockholm, Sweden) are artists who have worked collectively in several group situations; including for the past five years as a part of 0s+1s Collective. We are currently involved in a reading and discussion group on speculative feminist science fiction.

20:50 - 21:50

«Union of convalescents» and playfellows. Reflector / Performance, Antipsychiatric stage play

The play consists of a conversation and reading with the use of real-time video and fragments of audio recordings. Participants simultaneously act as performers, screenwriters and directors — each produces its own text and is able to influence the overall dramatic composition of the event.

The play addresses the feeling of ontological insecurity caused by contemporary forms of communication, the economic conditions of cognitive production and the neuroexistential revision of the foundations of the human psychics.

In a certain sense the piece is influenced by the anti-psychiatric plays of Robert Laing, where psychotic behavior is viewed as an emergency way out of the dead end in which person is placed by the close ones who use destructive patterns of interaction. However in this case not family collisions are considered as the main and primary factor of personal transformation but rather the social conditions and technologically determined communicative models due to which the modern subject feels unreal, incoherent, inconsistent, fragmented, nonautonomous or superautonomous, devoid of individuality and temporal continuity.

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«Union of convalescents» and playfellows

Union of Convalescent is a collective, practically oriented artistic research initiative into constructions of psychiatric normativity and knowledge production in site-specific parameters.

Natalia Nikulenkova is an artist. Born in 1987 in Nizhny Novgorod. She graduated from the School of Engaged Art “What Is To Be Done” and Baza Institute. Natalia is one of the few Russian artists who work at the intersection of participatory art and research into psychic conditions. Lives in Moscow.

Egor Sofronov is an art writer. Senior editor of Moscow Art Magazine since 2016. Teaches art theory at Baza Institute, Moscow, since 2017. Starting in 2018 he is one of the initiators of Laboratory of Art Criticism at CCA Winzavod, an educational and publishing inititiative. In 2015–2017 he was a research coordinator at Field Research program at Garage Museum of Contemporary Art. He received his MFA in Art Criticism and Writing from the School of Visual Arts, New York, in 2014. Wrote for various publications, among them aroundart.org, Cinema Art, Dialog Iskusstv, Colta.ru, and Moscow Art Magazine. Born in 1989 in Yakutsk, Russia. He lives in Moscow.

Playfellows:

Daria Pasichnik — poet and independent researcher based in Moscow.
On the way of artistic research of attention and cognitive experience as a matter she turn to different strategies of (non-)verbal communications as in media space and social networks and performative- and sound experience.

Nastya Denisova. Poet, artist. Lives in Saint Petersburg. Published in various anthologies: “12 poets from Russia” (Latvia), “Windows on the World: Fifty Writers, Fifty Views” (US), “Tutta la pienezza nel mio petto” (Italy), magazines “Vozdukh”, “NLO”, “TextOnly”, “Dvoetochie” etc. Graduated from the School of engaged art (2019).

Egor Rogalev is an artist whose practice touches upon the transition from documentary photography, which captures social transformations on the background of late modernist architecture of dormitory districts, to contemporary post-medial art, which considerably expanded the horizons of previous research and gave a wide scope to experimentation with large-scale installations, video and sound. Participant of numerous exhibition projects, including the Special Project of the 6th Moscow International Biennale of Young Art «Perfect age» (Education Center MMOMA, 2018), «Body copyleft», the first part — «Unrecognition» (CCI Fabrika, within the framework of the Fabrika Workshops residency, 2018), The exhibition of nominees for the Kurekhin Prize 2018 (Sergey Kurekhin Center for Contemporary Art, St. Petersburg, 2018), the V-A-C Foundation’s multi-disciplinary project «Hosting the Inhuman» (MMOMA, as part of the Carte blanche program, 2017) and others.

Vanya Shatravin Dostov lives and works in Saint Petersburg, Russia.
Graduated from Smolny College of Liberal Arts (Saint Petersburg State University, Bard College), and The School of Engaged Art “What is to be Done”. As an artist currently Vanya is working on an artistic research of surveillance cameras. Vanya’s main project is Studio 4413, which is an artist-run platform that intents to unite and coordinate diverse activists and artists microcummunities.

22:00 - 23:00

Three Julietttes (Uliana Bychenkova,Janna Dolgova, Inna Krasnoper). “Log-book of an interarousal language of transformation in the Cave-Hole-Zero” / Performative&physical presentation-engagement

This is a textual and material piece, that for personal and dramatic reasons, works with different techniques and traditions of writing. It does so in order to acknowledge and pronounce an importance of Juliettte’s Affect at becoming-woman, as well as — in a situation when we are given to ourselves as objects.

In the light of critique of an affect, a self-touching and -reflecting mirror-world is engaged. We affirm this Juliettte’s Affect as a thing, that constitutes knowledge, connecting things to each other, and talks on the materiality being a significant force. As wells as – on small violating and deviating powers of unseen; on the necessity of a self-writing of transformation. It talks on not a nihilist Zero, on a necessity to free the darkness of a night from a black mark.

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Three Julietttes (Uliana Bychenkova,Janna Dolgova, Inna Krasnoper)

Three Juliettts – is a collective of researchers, that spontaneously [to]gathers, while relating to school affectology.

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Friday / 5 July

⚡Secret Sanatorium near Minsk⚡

Participation by registration at work.hard.play.0 (at) gmail.com. Register before July 3 at 23:55.

16:30 - 17:30

Ilya Firdman. Scrabble a way through sense / Game

One of the first widely known computer viruses crumbled text on the screen. What would we get if we do the same thing with some of the texts, printed in millions of copies, that structurize our reality? Would it preserve it’s sense and influence, or would it (lose) it completely, or would discover some cross transitions, wormholes, allowing us to see hidden semantic layers of our reality? We’ll try to answer these questions during the game.

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Ilya Firdman

“I don’t have any identities describing myself now”. Ilya Firdman

16:30 - 17:30

Antonina Stebur. 20 degrees of sensitivity of modern person / Game and discussion

Our sensitivity is constructed by a modern economic and political context, a social media network. On the other hand, such transformations lead to a huge area for manipulation, the emergence of so-called coaches, gurus, and so on. But also new sensitivity exposes the inability of the “old” language to describe it.

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Antonina Stebur

Antonina Stebur — curator and researcher. She graduated from EHU (Vilnius) with a degree in Modern Visual and Cultural Studies, a school of involved arts “Chto delat?”.

interests: community, horizontal connections, fem-critic, history, social choreography.

16:30 - 17:30

Klabukova Lena & Katya Pislari. |Agent| / A number of cognitive and physical experiments upon the group of participants

Our organization participates in the third stage of the prelaboratory analysis of a family of active agents, or a single agent in a series of states, acting inside the human body and exhibiting virus-like properties, as well as complex mutual activity with indirect correlations. Provisionally the most distinct agent subtypes are being called “Love” and “Non-Love”. The exact design was not yet fully discovered but it has been traced that the mutual amount of different subtypes of the agent directly or inversely correlates with the levels of affordance of a number of primary neurotransmitters. This makes it possible to indirectly assess the state of an individual, but the individual herself through her cognitive-emotional activity creates an environment of varying levels of auspiciousness for one or another form of the active agent. It has also been established that both the family of agents and the corresponding cognitive-emotional states are capable of being transmitted through social environment.

At this stage, we plan to conduct a series of experiments related to the agent’s mutagenic ability and aim to develop a conceptual grid for further stages of the study. It is important to note that at the moment the most interesting directions of agents’ mutations are located outside the axes defined by the tunnel aggravation. Also, it has not been established whether there exist individuals / groups of individuals which are not influenced by this family of agents. At the current stage, we plan to test small selections of highly cognitive participants capable of correct self-observation and evaluation.

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Klabukova Lena & Katya Pislari

Lena Klabukova: works with barefaced mutagenic bodily manipulation, as well as with voice, textual and movement practices.

Катя Пысларь: mainly busy with боди-стадис, гендерные проблемы и любовь к тайцзи.

19:00 - 20:00

Vera Kavaleuskaya. All that has melted into air, inhale / Subversive collective meditation

Popular methods and tactics of self-help such as occidental yoga or wellness, either appropriated or created by neoliberalism, oftentimes are tailored to distract individuals from the real cause of their distress and let them repeatedly focus on temporary solutions. Whilst this temporal relief may be helpful in certain occasions, generally, this tendency may lead towards the de-politicization and further alienation of individuals. Subversive guided meditation ‘All that has melted into air, inhale’ comments on the shifted idea of self-help, questions the position of our bodies within the territory of struggle, attempts to move attention again towards the production of collectivity, and suggests to once more critically reflect upon our own exhaustion in the face of the final exhaustion of resources.

The session is divided into two parts. The first is the guided meditation itself, presented as a sound piece produced in collaboration with the musician Eugene Markin. It will then be followed by a tender collective discussion on our pressure points and cracks held between the participants.

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Vera Kavaleuskaya

Vera Kavaleuskaya is a freelance curator, editor of research platform statusproject.net, and a student of MA program in curating in Aalto University, Helsinki. Using the opportunity, Vera finally lists her most recent interests: sleep, food, and boating.

20:10 - 20:40

Apart Collective. The Most Beautiful Catastroph / Video screening

The story is focused on Košovsko-Laskar wetlands located near the problematic coal power plant. We chose the Košovsko-Laskár wetlands as a key motive, located in the Central-Western Slovakia, rare and probably the only example of emerging wetlands and marshes in Slovakia. They are formed as a by-product of the underground extraction of coal near the Nitra river. These wetlands have been created for over 40 years of coal mining done under the surface. The landscape has been changed, large sinkholes have been created, affecting the housing. This landscape change has pushed people away from the area, forming biotopes as a way for the nature to cope with the radical intervention to the ecosystem. After several years it was abused again by a crisis situation in the currently operating mine, which drained the water from its flooded bowels to the surface. When the miners began to pump it straight into the creek, their skin was burned. Water mixture of ash and hydraulic emulsion managed to kill all life in that creek and all of its ichthyofauna.

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Apart Collective

APART performs research, creative and artistic production, project- and exhibition-making / curatorial production, publication and archiving. The artists initiate, create, organise and exhibit group manifestations (often inviting and giving space to other artists and theoreticians) but they also operate individually.

APART is a meta-participative platform. APART works on a proto-institutional basis – under the principle of shared economies, it slots its poly-subjectivity into what is currently desired and related within its context. Rather than building new networks they aim at activating the acceleration of existing intellectual and poetical synapses worthy of attention. They know that nature is already saturated with networks.

APART was formed at the turn of 2011 and 2012.

APART is a Slovak artist cooperative. Today, its members include Ema Hesterová, Denis Kozerawski, Chiara Rendeková, Andrej Žabkay.

20:40-21:10

Peter Sit. Lost Future of the Fresco / Lecture

Utopian society depicted on the socialist mosaic in the Bratislava railway station serves as departure point for the contemporary story of new APART collective film The Most Beautiful Catastrophe. In the lecture Peter Sit will examine how we can dash back to the past to speak about problems in the present, how imagination and visions for the future emerge out of historical experience and are inspired by the visual language of Central European socialism.

#JacquesDerrida #KarlMarx #MarkFisher #SocialistRealism #FrantišekGajdoš #Bratislava #Future

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Peter Sit

Peter Sit studied photography and intermedia in Bratislava and in Prague. In 2012 he co-founded art collective APART, where he worked until mid 2019. One of the collective’s activities was the publishing house APART LABEL, where he co-edited more than 20 publications. Together with Apart he exhibited in Kunsthalle Bratislava, Karlín Studios in Prague, Easttopics in Budapest, Plusmínusnula in Žilina, Biennial of Graphic Design in Brno, CCA Chronicle in Bytom. In 2018, he co-curated the 9th Futurological Congress in Bratislava together with Julieta Aranda. Since 2018 he co-organizes Bratislava BAK Summer School. Since 2017, he has been a member of the research team of the Czechoslovak psychotronics’, which is researching its institutional and ideological connections as well as its potential overlaps with contemporary art. In his work, Peter Sit is interested in collectivity and its potential in today’s world order, work issues, radical hospitalism, and an imagination of a better future. As an artist, he is examining an extended field of artist’s activity across an entire range of artistic production. Moving across and combining the positions of artist, organizer, publisher, curator, editor is a crucial part of the artist’s practice.

22:00 - 22:30

akunka. eurospin / mix

eurospin
This set is a second volume of my supermarket series. The first
one is Romantic Lidl Collection (part 1 and part 2). Supermarkets
fascinate me.
Eurospin is the name of the discounter in Italy.
https://www.eurospin.it/
Euro: -trance, -trash, -dance, -disco, -beat, -vision.
Spin: verb
: to draw out and twist fiber into yarn or thread
: to turn or cause to turn or whirl round quickly.
: to revolve rapidly : gyrate
: to feel as if in a whirl : reel // my head is spinning
: to plunge helplessly and out of control
: to engage in spin control (as in politics)
spin one’s wheels : to make futile efforts to achieve progress
: spin up
: spin down
: unspin: control

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akunka

Victoria Sarangova is a multimedia artist from Kalmykia, Russia. The graduate of Performance Design and Practice at CSM College of Art and Design, UAL, lives and works in Berlin and Elista. Currently finishes MA Art in Context at UdK Berlin, with the focus on artistic work within media and science related image production. Website: sarangova.com

Recent exhibitions/performances: 2019: Archaeology of progress. Redruth, BLW Redruth; 2018: Fremd-Anamnesis, Berlin; 2018:How To Feel Better? (János Brückner, Xaver Hirsch, Astarte Posch, Victoria Sarangova); 2017: Archaeology of progress. Lviv, Tetramatyka, Lviv, Ukraine; 2017: Procession (Anton Lapov, Victoria Sarangova). Electromuseum, Moscow.

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Saturday / 6 July

⚡Secret Sanatorium near Minsk⚡

Participation by registration at work.hard.play.0 (at) gmail.com. Register before July 3 at 23:55.

08:30 - 09:00

Union of Convalescents. Collective Struggle Against Depression / Moving practice (performance)

Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions—but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible? (Mark Fisher).

Many of us are familiar with depressive episodes: feeling one’s worthlessness, one distantiates from the world, staying in one’s room for weeks or months. A ceaseless feeling of guilt for incapacity to work and make decisions. Hostile environment deprives one of stability, panic and horror overtake until one is threatened with total loss of oneself. You have no right to be here and now, in this body, in this clothes, you are nothing and, as your senses whisper, this nothing is becoming more in you.

The dominant thinking in psychiatry sees origins of these ideations in a disorder of chemical processes in the brain to be corrected pharmacologically; psychoanalysis and therapies originating from it seek roots of mental disorder in family history, while cognitive-behavioral therapy is less interested in the origins of negative ideations than in displacing them with positive narrations.

But many forms of depression are better dealt with—or even fought against—on a level beyond the individual, politically, rather than on a personal and “psychological” level.

Natalia Nikulenkova, agent of the Union of Convalescents, has developed Collective Struggle Against Depression, a singular method of therapies specifically for those trying to rest, seeking inspiration with the therapeutical practices of Soviet sanatoria. Journeys to them were part of minimally guaranteed recreation for the absolute majority. Treatment and recreation in them thus became a dream realized: because this time of recreation meant no only regeneration of health, but also socialization, disinhibition, and environmental immersion.

Treatment will be accompanied by readings from Mark Fisher and Franco “Bifo” Berardi.

Music and sound therapy: the sound of Tibetan cups is said to prevent depression. Their sounds resonate with vibrations of human body cells. There is a particular interference in Himalayan and Tibetan cups.

Swimming pool exercises. Water is a wonderful medium for treatment that is both stimulating, strengthening, and relaxing.

Light treatment. Among the varieties of depression there is one whose reasons are known clearly: seasonal depression. It takes place in Fall and Winter due to shortened daylight and thus lack of sunlight. Light therapy can prevent or alleviate this type of depression. Sunlight is conducive to Vitamin D, which is essential for production of brain neurotransmitters.

Earth exercises. Walking barefoot works because our bodies which are 60–70% water conduct electricity well. Earth has a negative ionic charge, thus neutralizing some of the distortions in our bodies.

Yoga. Concentration on posing and breathing engrosses body and mind in a balanced difficulty. Such simple poses as Sun Salutation chase depression away. Yoga’s dynamism and energy affects mental health positively.

Qigong. A simple sequence of exercises to tone back muscles, improve articulation of joints and regulate the psyche via blood circulation, breathing and self-massage (Egor Rogalev).

Meditative breathing for pain management and to allay destructive mindsets (Egor Rogalev).

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Union of Convalescents

Union of Convalescents is a collective artistic initiative to research constructions of psychiatric normativity. Privileging immaterial production and interdisciplinarity, its practice unfolds in local specificity and sustained participation. It was launched in 2014 as part of MediaImpact Festival of Activist Art. Its agents are Natalia Nikulenkova, Pavel Mitenko, Egor Sofronov. It is based in Moscow.

Regenerative practices will be led by:

Vanya Shatravin-Dostov is an artist. Graduated from Smolny College of Liberal Arts (Saint Petersburg State University, Bard College), and The School of Engaged Art “What is to be Done”. As an artist currently Vanya is working on an artistic research of surveillance cameras. Vanya’s main project is Studio 4413, which is an artist-run platform that intents to unite and coordinate diverse activist and artistic microcummunities. Born and raised in Moscow, he lives and works in Saint Petersburg, Russia.

Egor Rogalev is an artist whose practice touches upon the transition from documentary photography, which captures social transformations on the background of late modernist architecture of dormitory districts, to contemporary post-medial art, which considerably expanded the horizons of previous research and gave a wide scope to experimentation with large-scale installations, video and sound. Participant of numerous exhibition projects, including the Special Project of the 6th Moscow International Biennale of Young Art «Perfect age» (Education Center MMOMA, 2018), «Body copyleft», the first part — «Unrecognition» (CCI Fabrika, within the framework of the Fabrika Workshops residency, 2018), The exhibition of nominees for the Kurekhin Prize 2018 (Sergey Kurekhin Center for Contemporary Art, St. Petersburg, 2018), the V-A-C Foundation’s multi-disciplinary project «Hosting the Inhuman» (MMOMA, as part of the Carte blanche program, 2017) and others.

Natalia Nikulenkova is an artist. Born in 1987 in Nizhny Novgorod. Cofounder of the Union of Convalescents. She graduated from the School of Engaged Art “What Is To Be Done” and Baza Institute. Natalia is one of the few Russian artists who work at the intersection of participatory art and research into psychic conditions. Lives in Moscow.

09:00 - 10:00

Alisa Oleva. Lozhechka / one-to-one action

today you won’t need to put the spoon into your mouth, blow at the hot tea, clean your mouth with a napkin. i will do it all for you. seat comfortably, relax and enjoy your meal.

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Alisa Oleva

born 1989 in Moscow. based in London. alisa oleva holds an MA in Performance from Goldsmiths. her practice aims to offer an alternative way to experience and engage with the everyday urban life around us by shifting the sense of real and imaginary within the cityscape. she treats the city as her studio and urban life as material, to consider issues of private and public, visible and invisible, urban choreography and urban archeology, traces and surfaces, borders and inventories, voids and silences.

10:00 - 10:30

Union of Convalescents. Collective Struggle Against Depression / Moving practice (performance)

Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions—but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible? (Mark Fisher).

Many of us are familiar with depressive episodes: feeling one’s worthlessness, one distantiates from the world, staying in one’s room for weeks or months. A ceaseless feeling of guilt for incapacity to work and make decisions. Hostile environment deprives one of stability, panic and horror overtake until one is threatened with total loss of oneself. You have no right to be here and now, in this body, in this clothes, you are nothing and, as your senses whisper, this nothing is becoming more in you.

The dominant thinking in psychiatry sees origins of these ideations in a disorder of chemical processes in the brain to be corrected pharmacologically; psychoanalysis and therapies originating from it seek roots of mental disorder in family history, while cognitive-behavioral therapy is less interested in the origins of negative ideations than in displacing them with positive narrations.

But many forms of depression are better dealt with—or even fought against—on a level beyond the individual, politically, rather than on a personal and “psychological” level.

Natalia Nikulenkova, agent of the Union of Convalescents, has developed Collective Struggle Against Depression, a singular method of therapies specifically for those trying to rest, seeking inspiration with the therapeutical practices of Soviet sanatoria. Journeys to them were part of minimally guaranteed recreation for the absolute majority. Treatment and recreation in them thus became a dream realized: because this time of recreation meant no only regeneration of health, but also socialization, disinhibition, and environmental immersion.

Treatment will be accompanied by readings from Mark Fisher and Franco “Bifo” Berardi.

Music and sound therapy: the sound of Tibetan cups is said to prevent depression. Their sounds resonate with vibrations of human body cells. There is a particular interference in Himalayan and Tibetan cups.

Swimming pool exercises. Water is a wonderful medium for treatment that is both stimulating, strengthening, and relaxing.

Light treatment. Among the varieties of depression there is one whose reasons are known clearly: seasonal depression. It takes place in Fall and Winter due to shortened daylight and thus lack of sunlight. Light therapy can prevent or alleviate this type of depression. Sunlight is conducive to Vitamin D, which is essential for production of brain neurotransmitters.

Earth exercises. Walking barefoot works because our bodies which are 60–70% water conduct electricity well. Earth has a negative ionic charge, thus neutralizing some of the distortions in our bodies.

Yoga. Concentration on posing and breathing engrosses body and mind in a balanced difficulty. Such simple poses as Sun Salutation chase depression away. Yoga’s dynamism and energy affects mental health positively.

Qigong. A simple sequence of exercises to tone back muscles, improve articulation of joints and regulate the psyche via blood circulation, breathing and self-massage (Egor Rogalev).

Meditative breathing for pain management and to allay destructive mindsets (Egor Rogalev).

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Union of Convalescents

Union of Convalescents is a collective artistic initiative to research constructions of psychiatric normativity. Privileging immaterial production and interdisciplinarity, its practice unfolds in local specificity and sustained participation. It was launched in 2014 as part of MediaImpact Festival of Activist Art. Its agents are Natalia Nikulenkova, Pavel Mitenko, Egor Sofronov. It is based in Moscow.

Regenerative practices will be led by:

Vanya Shatravin-Dostov is an artist. Graduated from Smolny College of Liberal Arts (Saint Petersburg State University, Bard College), and The School of Engaged Art “What is to be Done”. As an artist currently Vanya is working on an artistic research of surveillance cameras. Vanya’s main project is Studio 4413, which is an artist-run platform that intents to unite and coordinate diverse activist and artistic microcummunities. Born and raised in Moscow, he lives and works in Saint Petersburg, Russia.

Egor Rogalev is an artist whose practice touches upon the transition from documentary photography, which captures social transformations on the background of late modernist architecture of dormitory districts, to contemporary post-medial art, which considerably expanded the horizons of previous research and gave a wide scope to experimentation with large-scale installations, video and sound. Participant of numerous exhibition projects, including the Special Project of the 6th Moscow International Biennale of Young Art «Perfect age» (Education Center MMOMA, 2018), «Body copyleft», the first part — «Unrecognition» (CCI Fabrika, within the framework of the Fabrika Workshops residency, 2018), The exhibition of nominees for the Kurekhin Prize 2018 (Sergey Kurekhin Center for Contemporary Art, St. Petersburg, 2018), the V-A-C Foundation’s multi-disciplinary project «Hosting the Inhuman» (MMOMA, as part of the Carte blanche program, 2017) and others.

Natalia Nikulenkova is an artist. Born in 1987 in Nizhny Novgorod. Cofounder of the Union of Convalescents. She graduated from the School of Engaged Art “What Is To Be Done” and Baza Institute. Natalia is one of the few Russian artists who work at the intersection of participatory art and research into psychic conditions. Lives in Moscow.

12:00 - 13:00

Aleksei Borisionok. Collective Reading

Aleksei Borisonok proposes to read a few texts by our friends and comrades on the issues of disease and body affects, private and shared memory, commons and singularity as a way to collectively celebrate and mourn those who are no longer with us. The abstracts of texts by Alina Popa, Sasha Novozhenova and 16 Beaver collective will be provided at the meeting. The method of reading will be discussed collectively.

Image: Drawing by Alina Popa made with her eyes closed, notebook on her chest.

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Aleksei Borisionok

Aleksei Borisionok curates a series of exhibitions and events related to the concept of “event” and writes on arts and politics for various magazines and publications.

13:00 - 14:00

Vita Zelenska, Marina Israilova. Non_master_class “A favourite Song” / Singing workshop

During our non-master-class we will sing our favourite or the most unloved songs in the slowliest way possible to boil down the stickiness of connections and check the possibility of change. We will sing along with all the participants, stretching the textual part of the songs, to evaporate all the density of sense and give it away to the others. This will remind you a little bit of the sonic meditations by Pauline Oliveros when all the participants are producing sounds together while listening carefully to each other’s sonic movements. The difference of this non-master-class, however, is that everybody is listening to the ruining of resonant texts.

Before that we will learn to perform a few songs as drag, just moving our mouths in the way the favourite or the most hated performer does it.

So your homework is to prepare a song that you want to get rid of, through which you want to tear your way through. Download it on your phone, remember it, catch it.

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Vita Zelenska, Marina Israilova

Vita Zelenska and Marina Israilova are co-curators of the educational programme “Out Loud: The History of Neue Musik” in the Museum of Saint-Petersburg Art (2016-2017) and “Out Loud: Sound Studies” in the New Holland Island (2018) and independent researchers (graduated from EUSPb) interested in the anthropology of art with a few publications in “Krapiva” journal (Marina, Vita) and “Theatre” journal (Marina). Marina studied art criticism, right now she is curating the educational program on performance studies and writing an article based on the archival study at the “Garage” museum. Vita is a social anthropologist by education, at the moment she is writing an article as a result of the fellowship at The New School for Social Research.

15:00 - 15:45

Egor Sofronov. Personalize This — Towards the Commons / Participatory session based on user-generated content.

Participatory session based on user-generated content. Narrations of neurochemical attention chains, individual pathologies or tactical microgestures of evasion, cunning or submission, of filter bubbles, of privacies turned outside out all over, narcissist mirages, computable and alienable self-representations.

Share your personalized trajectory of manipulations, show a video you took, fragments from your Insta-stories archive, flags of unread messages or feeds you administer, personal obsession and/or stratagem.

If algorithmic personalization has atomizaion as its principle and result (of the neoliberal subject, comprehensively computable and quantifiable for monetization and control), then Personalize This — Towards the Commonsfeeds on anxious humor of memes towards a blueprint of a communitarian social ecology of comradely relation with devices, of revolutionary influencers, emancipatory virality that generates new worlds.

Insofar as bed is the locus of accumulation and expenditure of the weak body that experiences distress and lack of agency facing the planetary scales of the effects of late capitalism, then the smartphone is the tool of production which operationalizes minuscule differences of the everyday choreography. In it, the repetition of gesture occludes in the automatism of appropriation the rhythms of mass disorders and potentialities, addictions and causalities that have a general character.

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Egor Sofronov

Egor Sofronov is an art writer. Senior editor of Moscow Art Magazine since 2016. Teaches art theory at Baza Institute, Moscow, since 2017. Starting in 2018 he is one of the initiators of Laboratory of Art Criticism at CCA Winzavod, an educational and publishing inititiative. In 2015–2017 he was a research coordinator at Field Research program at Garage Museum of Contemporary Art. He received his MFA in Art Criticism and Writing from the School of Visual Arts, New York, in 2014. Wrote for various publications, among them aroundart.org, Cinema Art, Dialog Iskusstv, Colta.ru, and Moscow Art Magazine. Co-founder of interdisciplinary collective Union of Convalescents, since 2014. Born in 1989 in Yakutsk, Russia. He lives in Moscow.

15:00 - 18:00

Gediminas Daugela & Alisa Smorodina. Passive Wisdom / A TTRPG session

Let’s roll some dice and play make believe together

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Gediminas Daugela & Alisa Smorodina

Alisa Smorodina
Artist and teacher. Works primarily with installations and performative practices. Acting as an artist-mediator, she aims to organize space where people of various backgrounds can meet and interdisciplinary knowledge may be synthesized. The artist is especially interested in strategies of survival within a modern capitalist narrative. Graduate of Rodchenko School and BHSAD. Participant of parallel programs of the 5th and 6th Biennale for Young Artists.

Gediminas Daugela
Moscow-based audiovisual artist of Lithuanian origin, and an alumnus of Rodchenko School. I work with CGI video and sound.

16:30 - 17:30

Nastya Dmitrievskaya. I’ll have stolen your soul by morning: textworking side affects / : Seminar

The brilliance of polished manuscript, as a rule, obscures the work (and even more affects) associated with the writing, editing, proofreading and translation of texts. From posts, conversations, nervous calls we do know what happens to our friends when they work on the text. What if we try to take these affects and work out of the space of personal experience and try to think about them politically and physiologically?

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Nastya Dmitrievskaya

Nastya Dmitrievskaya (b. 1993, Vyazniki) is an artist, manager and art critic. She deals with the issues of invisible labor, its relation to infrastructure building as well as gender theory. As an artist and manager she arranges conferences and other discursive events. She earned Bachelor’s Degree in management at the Higher School of Economics, then she graduated from the Institute of Contemporary Art (Moscow). Now she studies in the Laboratory of Art Criticism. Based in Moscow.

19:00 - 21:00

Nataliya Protassenia, Sergey Babkin. Hahathon Festival of Smiles / Moderated collective interaction

Hahathon Festival of Smiles is a collective practice organized to research the formation of communities and identities, their temporalities and possibilities of disintegration. The overdose of meme consumption is expected during the practice. The humor of a meme is without any strung anticipation (or with an anticipation that collapsed into a single moment) but with the de-escalation into nothing — just like in the old times. The sudden appearance of a meme in a social network or imageboard feed launches the formation of an elusive microcommunity: this way the sensible is redistributed in a superfast way when the subjectivity forms around an urgently signed agreement stating “This is funny!” Hahathon is an attempt to slow down the process taking place between the subject, the community and the meme. The tangible bodies of meme-consumers — all in one space. Will they be able to agree on who they are and what they want — through the mediation of the meme? And will the video “Oh, I thought that was an owl…” become a foundation of a political action?

NB: We ask everyone who wants to take part in the Hahathon to make a compilation of several favorite outrageously funny memes which you won’t mind being shared among your comrades. Images, videos, texts, tweets, comments — everything can help our cause.

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Nataliya Protassenia, Sergey Babkin

Sergey Babkin (*1991, Moscow) — curator, artist, art critic at aroundart.org magazine, member of the dungeons’n’stuff project, employee of the Moscow Museum of Modern Art. Lives and works in Moscow.

Natalia Protassenia (b. 1988) – curator, editor, translator. Writes on contemporary art and culture. Co-founder and co-curator of the non-profit exhibition space «red square» at the Elektrozavod factory (2014-2015). Since 2015 teaches the history and theory of contemporary art (British Higher School of Art and Design, Higher School of Economics). MA in political philosophy and social science (Manchester University). Lives and works in Moscow.

18:30 - 22:30

Sasha Pistoletova and Yozhi Stolet. Family party or reception of dear guests / Lecture and dinner-tale/talk

I will cook beshbarmak for the first time for guests. I will not it rehearse. But something I really repeat. What my repeats Mom for Kazakhs. What do they repeat? Repetition and distinction? In that Dish is important to catch the simplicity. The simplicity of five fingers (bes-five, barma — fingers). I was born in the city of Arkalyk. We have mixed with Kazakhs family. I grew up on beshbarmak. My mother is Russian. She began to cook beshbarmak as a Kazakh woman only when we moved to Russia. Probably because in Arkalyk, there were enough Kazakh women in our family to cook cool besh. Mom got a bag where she put the most expensive. Our family left postcards of the city of Arkalyk. This the city has become a ghost town. Beshbarmak and cards — in our family bag we carry with us as nomads. Kazakhs do not know the rhythm. Have nomads no closed loop. Their movements occur by crescent loop. This means that you cannot return, and this It means that you are the worst dancing. Good thing rave culture canceled the concept of “good dancing.” Kazakhstan is very dear to me. I want to pass it my family — Yozhi Stolet. Let it happen right there during her report on the world after love.

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Sasha Pistoletova and Yozhi Stolet

Alexandra PiStoletova, director of the post-anatomical theater Maailmanloppu.

Yozhi Stolet, the organizer of the Seminar of the New Philosophical grammar and public cyberfeminism. “Together we develop many projects. It’s great that finally together theory and practice”.

21:00 - 22:00

Kirila Cvetkovska, Vera Zalutskaya. Here where others / Moderated discussion

We would like to propose a rebellious act, still in an intimate environment (f.ex. in the room of sanatorium), away from the hyper-productive world and its social media strategies. We would like to stop and actually think about what we read, rather than quantifying our reading lists. We would like to offer a time off — a time for a conversation, whether meaningful or meaningless, and an afternoon for a nap. Away from the dominant. In tune with the relaxed.

Image: Mladen Stilinovic, Artist at work, 1978.

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Kirila Cvetkovska, Vera Zalutskaya

We are two contemporary art curators, Vera from Belarus living in Poland and Kirila from Macedonia, living in Rome, New York. We are just friends loving to work together.

22:00 - 23:00

Matthieu Levet. Rumours / Field recordings, sound archives

Matthieu Levet will bring tapes and several recorders to create a very raw sound archive of what will happen during the days of WHPH, with the idea to capture the energy more than any actual content. He would use a tape per day, one side for the day, one for the night.

Being lost in translation, he will work mainly with what he feels interesting soundwise, resulting in a weird cut up of voices and sounds.

The process is the most important thing here. The final destination of this material will have to be discussed between us (it could stay totally private or result in a published soundwork with or without context explained), but the sound collection would already result in a first digest version that would be presented during a listening session at the end of the week.

There are more questions than answers on topics like art, politics, international exchange and communication at the moment and there is a feeling that this sound collection would be an interesting way to encapsulate the fluidity of this complex present.

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Matthieu Levet

Matthieu Levet is a Brussels based musician and artist. He have a long term interest in the practice of sound in the art context, as a medium to explore and express metaphorically the grey zones that defines humans individually as much as collectively. During the last past years, he felt the need to travel east extensively (Poland, Slovakia, Hungaria, Czech Republic, Serbia, Macedonia, Baltics) and started building a transborder horizontal network of friends and collaborators.

Matthieu’s participation in the first Camp As One residency in Russia was a defining turning point in his evolution and practice and he is now actively collaborating with friends from Hungary, Ukraine, Russia, Poland… as a musician and as a publisher (he started a record label called Cold Moss earlier this year).

00:00 -

Night Movement. Night Surprise / Night

everyone frozen in anticipation of a surprise from the Night’s Movement where did the night lurk this time? We walk in the dark, every shadow scares us, danger lurks everywhere, every bush seems to be a lurking figure, every rustle may mean that there is the beginning of a mystery, any sound may warn that the night is coming, increasing, attacking — ou-ou-ou-ou!

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Night Movement

Movement Night (2015 -) is an engine of a variety of collective activities, which manifest themselves mainly at the Night. The aesthetic language of the Movement refers to the lyrical and dreamy tradition of the nocturne of the 19th century, to the gothic and romantic style in literature and art, as well as to the current (modern) situation of the vibration between day and night according to work and rest schedules. We explore human instincts that darkness provokes, along with social obligations that are characteristic of daylight. Each event is developed together by stable members of the Movement and invited collaborators. We work without being tied to the medium, however, the construction of situations in which participants have the opportunity to live through unobvious, most often primitive episodes is the most attractive for us. We see the Night as a physical space that no one has owned before us, we occupy it and share it with all sympathizers. To date, the Night Movement involves more than two thousand people around the world.

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Sunday / 7 July

⚡Secret Sanatorium near Minsk⚡

Participation by registration at work.hard.play.0 (at) gmail.com. Register before July 3 at 23:55.

08:30 - 09:00

Union of Convalescents. Collective Struggle Against Depression / Moving practice (performance)

Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions—but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible? (Mark Fisher).

Many of us are familiar with depressive episodes: feeling one’s worthlessness, one distantiates from the world, staying in one’s room for weeks or months. A ceaseless feeling of guilt for incapacity to work and make decisions. Hostile environment deprives one of stability, panic and horror overtake until one is threatened with total loss of oneself. You have no right to be here and now, in this body, in this clothes, you are nothing and, as your senses whisper, this nothing is becoming more in you.

The dominant thinking in psychiatry sees origins of these ideations in a disorder of chemical processes in the brain to be corrected pharmacologically; psychoanalysis and therapies originating from it seek roots of mental disorder in family history, while cognitive-behavioral therapy is less interested in the origins of negative ideations than in displacing them with positive narrations.

But many forms of depression are better dealt with—or even fought against—on a level beyond the individual, politically, rather than on a personal and “psychological” level.

Natalia Nikulenkova, agent of the Union of Convalescents, has developed Collective Struggle Against Depression, a singular method of therapies specifically for those trying to rest, seeking inspiration with the therapeutical practices of Soviet sanatoria. Journeys to them were part of minimally guaranteed recreation for the absolute majority. Treatment and recreation in them thus became a dream realized: because this time of recreation meant no only regeneration of health, but also socialization, disinhibition, and environmental immersion.

Treatment will be accompanied by readings from Mark Fisher and Franco “Bifo” Berardi.

Music and sound therapy: the sound of Tibetan cups is said to prevent depression. Their sounds resonate with vibrations of human body cells. There is a particular interference in Himalayan and Tibetan cups.

Swimming pool exercises. Water is a wonderful medium for treatment that is both stimulating, strengthening, and relaxing.

Light treatment. Among the varieties of depression there is one whose reasons are known clearly: seasonal depression. It takes place in Fall and Winter due to shortened daylight and thus lack of sunlight. Light therapy can prevent or alleviate this type of depression. Sunlight is conducive to Vitamin D, which is essential for production of brain neurotransmitters.

Earth exercises. Walking barefoot works because our bodies which are 60–70% water conduct electricity well. Earth has a negative ionic charge, thus neutralizing some of the distortions in our bodies.

Yoga. Concentration on posing and breathing engrosses body and mind in a balanced difficulty. Such simple poses as Sun Salutation chase depression away. Yoga’s dynamism and energy affects mental health positively.

Qigong. A simple sequence of exercises to tone back muscles, improve articulation of joints and regulate the psyche via blood circulation, breathing and self-massage (Egor Rogalev).

Meditative breathing for pain management and to allay destructive mindsets (Egor Rogalev).

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Union of Convalescents

Union of Convalescents is a collective artistic initiative to research constructions of psychiatric normativity. Privileging immaterial production and interdisciplinarity, its practice unfolds in local specificity and sustained participation. It was launched in 2014 as part of MediaImpact Festival of Activist Art. Its agents are Natalia Nikulenkova, Pavel Mitenko, Egor Sofronov. It is based in Moscow.

Regenerative practices will be led by:

Vanya Shatravin-Dostov is an artist. Graduated from Smolny College of Liberal Arts (Saint Petersburg State University, Bard College), and The School of Engaged Art “What is to be Done”. As an artist currently Vanya is working on an artistic research of surveillance cameras. Vanya’s main project is Studio 4413, which is an artist-run platform that intents to unite and coordinate diverse activist and artistic microcummunities. Born and raised in Moscow, he lives and works in Saint Petersburg, Russia.

Egor Rogalev is an artist whose practice touches upon the transition from documentary photography, which captures social transformations on the background of late modernist architecture of dormitory districts, to contemporary post-medial art, which considerably expanded the horizons of previous research and gave a wide scope to experimentation with large-scale installations, video and sound. Participant of numerous exhibition projects, including the Special Project of the 6th Moscow International Biennale of Young Art «Perfect age» (Education Center MMOMA, 2018), «Body copyleft», the first part — «Unrecognition» (CCI Fabrika, within the framework of the Fabrika Workshops residency, 2018), The exhibition of nominees for the Kurekhin Prize 2018 (Sergey Kurekhin Center for Contemporary Art, St. Petersburg, 2018), the V-A-C Foundation’s multi-disciplinary project «Hosting the Inhuman» (MMOMA, as part of the Carte blanche program, 2017) and others.

Natalia Nikulenkova is an artist. Born in 1987 in Nizhny Novgorod. Cofounder of the Union of Convalescents. She graduated from the School of Engaged Art “What Is To Be Done” and Baza Institute. Natalia is one of the few Russian artists who work at the intersection of participatory art and research into psychic conditions. Lives in Moscow.

09:00 - 10:00

Alisa Oleva. Lozhechka / one-to-one action

today you won’t need to put the spoon into your mouth, blow at the hot tea, clean your mouth with a napkin. i will do it all for you. seat comfortably, relax and enjoy your meal.

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Alisa Oleva

born 1989 in Moscow. based in London. alisa oleva holds an MA in Performance from Goldsmiths. her practice aims to offer an alternative way to experience and engage with the everyday urban life around us by shifting the sense of real and imaginary within the cityscape. she treats the city as her studio and urban life as material, to consider issues of private and public, visible and invisible, urban choreography and urban archeology, traces and surfaces, borders and inventories, voids and silences.

10:00 - 10:30

Union of Convalescents. Collective Struggle Against Depression / Moving practice (performance)

Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions—but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible? (Mark Fisher).

Many of us are familiar with depressive episodes: feeling one’s worthlessness, one distantiates from the world, staying in one’s room for weeks or months. A ceaseless feeling of guilt for incapacity to work and make decisions. Hostile environment deprives one of stability, panic and horror overtake until one is threatened with total loss of oneself. You have no right to be here and now, in this body, in this clothes, you are nothing and, as your senses whisper, this nothing is becoming more in you.

The dominant thinking in psychiatry sees origins of these ideations in a disorder of chemical processes in the brain to be corrected pharmacologically; psychoanalysis and therapies originating from it seek roots of mental disorder in family history, while cognitive-behavioral therapy is less interested in the origins of negative ideations than in displacing them with positive narrations.

But many forms of depression are better dealt with—or even fought against—on a level beyond the individual, politically, rather than on a personal and “psychological” level.

Natalia Nikulenkova, agent of the Union of Convalescents, has developed Collective Struggle Against Depression, a singular method of therapies specifically for those trying to rest, seeking inspiration with the therapeutical practices of Soviet sanatoria. Journeys to them were part of minimally guaranteed recreation for the absolute majority. Treatment and recreation in them thus became a dream realized: because this time of recreation meant no only regeneration of health, but also socialization, disinhibition, and environmental immersion.

Treatment will be accompanied by readings from Mark Fisher and Franco “Bifo” Berardi.

Music and sound therapy: the sound of Tibetan cups is said to prevent depression. Their sounds resonate with vibrations of human body cells. There is a particular interference in Himalayan and Tibetan cups.

Swimming pool exercises. Water is a wonderful medium for treatment that is both stimulating, strengthening, and relaxing.

Light treatment. Among the varieties of depression there is one whose reasons are known clearly: seasonal depression. It takes place in Fall and Winter due to shortened daylight and thus lack of sunlight. Light therapy can prevent or alleviate this type of depression. Sunlight is conducive to Vitamin D, which is essential for production of brain neurotransmitters.

Earth exercises. Walking barefoot works because our bodies which are 60–70% water conduct electricity well. Earth has a negative ionic charge, thus neutralizing some of the distortions in our bodies.

Yoga. Concentration on posing and breathing engrosses body and mind in a balanced difficulty. Such simple poses as Sun Salutation chase depression away. Yoga’s dynamism and energy affects mental health positively.

Qigong. A simple sequence of exercises to tone back muscles, improve articulation of joints and regulate the psyche via blood circulation, breathing and self-massage (Egor Rogalev).

Meditative breathing for pain management and to allay destructive mindsets (Egor Rogalev).

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Union of Convalescents

Union of Convalescents is a collective artistic initiative to research constructions of psychiatric normativity. Privileging immaterial production and interdisciplinarity, its practice unfolds in local specificity and sustained participation. It was launched in 2014 as part of MediaImpact Festival of Activist Art. Its agents are Natalia Nikulenkova, Pavel Mitenko, Egor Sofronov. It is based in Moscow.

Regenerative practices will be led by:

Vanya Shatravin-Dostov is an artist. Graduated from Smolny College of Liberal Arts (Saint Petersburg State University, Bard College), and The School of Engaged Art “What is to be Done”. As an artist currently Vanya is working on an artistic research of surveillance cameras. Vanya’s main project is Studio 4413, which is an artist-run platform that intents to unite and coordinate diverse activist and artistic microcummunities. Born and raised in Moscow, he lives and works in Saint Petersburg, Russia.

Egor Rogalev is an artist whose practice touches upon the transition from documentary photography, which captures social transformations on the background of late modernist architecture of dormitory districts, to contemporary post-medial art, which considerably expanded the horizons of previous research and gave a wide scope to experimentation with large-scale installations, video and sound. Participant of numerous exhibition projects, including the Special Project of the 6th Moscow International Biennale of Young Art «Perfect age» (Education Center MMOMA, 2018), «Body copyleft», the first part — «Unrecognition» (CCI Fabrika, within the framework of the Fabrika Workshops residency, 2018), The exhibition of nominees for the Kurekhin Prize 2018 (Sergey Kurekhin Center for Contemporary Art, St. Petersburg, 2018), the V-A-C Foundation’s multi-disciplinary project «Hosting the Inhuman» (MMOMA, as part of the Carte blanche program, 2017) and others.

Natalia Nikulenkova is an artist. Born in 1987 in Nizhny Novgorod. Cofounder of the Union of Convalescents. She graduated from the School of Engaged Art “What Is To Be Done” and Baza Institute. Natalia is one of the few Russian artists who work at the intersection of participatory art and research into psychic conditions. Lives in Moscow.

10:30 - 11:30

Sasha Puchkova . Detachment / On/off line tactics with/out of participating

Ways of entry and exclusion are born in the “current” methods of communication.

We discover for ourselves this methods. Or capitalist race force us to discover it.

There is a to be in touch and to expand for this connection not only your voice and the visible image, but also your body.

It’s a to regulate and self-regulate constantly.

There are a lot of group chats, vibrations transmitting our messages at a distance, sensors, coordinates with a zero point in the helmet vr-reality. Is this all new sensuality?

New sensitivity?

That is to perceive a new way of communication, as a habitat, to become stratified in it and re-assemble.

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Sasha Puchkova

Sasha Puchkova
Artist
Baikonur ‘89
Based in Moscow
Graduated Rodchenko Art School, Moscow
Important topics for Puchkova: the plasticity of the laws of the digital world’s logic sistem, the body in online space, the new materialism, artificial synesthesia, the decolonial paths.

Supervisor of projects:
Syntax (series of performances, laboratory)
(Im)-possible object (research and exhibition projects)
Capture Map (performative project and communicative platform)
Member of the research group “Speculative Practices of Body Mutations”
“Speculative practices of corporal mutations” (Sasha Puchkova, Katya Pislari, Daria Yuriychuk)

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≋Entrance to all events is free≋

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≋The schedule may change≋

Working group:

Aleksei Borisionok curated series of exhibitions and events, connected to the issue of the event and writes about culture and politics for various magazines.

eeefff (Nicolay Spesivtsev and Dzina Zhuk) works with emotional effects of the new economic regimes driven by computation, materiality of sensibility, affects within creative industries, frictions between user interfaces and protocols, test settings for collective imaginaries.

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

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In memory of Sasha Novozhenova