This year Work Hard! Play Hard! happens in a distributed manner: in order to be together, we do not always need to be present in one physical space. In the time of pandemic, border closures and restrained mobility, it would have been the most obvious decision to cancel the event. The working group proposes to test — test test test — the possibilities of dispersed collectivity and intimacy, where touches, connections, solidarity can happen at a distance: in chat rooms, scores and voice messages.
Work Hard! Play Hard! tests the changing possibilities of being together, working and relaxing together, not attempting to substitute collectivity with draining online activity and to reproduce the virtual double-gangers of our actions and experience, but rather trying to re-assemble and reconfigure digital tools and spaces. We question the usual frame of the event and the channels of its transmission, relying on underwater communication between the lines of the schedule, on the co-presence of practices, on the exchange of instructions.
For this, we use a system of chats and sound channels — of attraction, care, sharing and seduction; as a tool for self-organization, where you can find feeds with different discussions.
This year, WHPH suggests to experiment with intimate and collective infrastructures and interfaces, to find ourselves in time gaps and failures, to become friends with uncertainty and contingency. Our program was formed through a series of letters sent from the future. Each of them invited to join one of the drifting slots, which opened for a certain period of time.
underwater slot ⏰
This slot is overflowing with submarine current. Through it bodies swaying in the surface are seen. The current is warm. It is mixing with surface waters and tingles the skin with hot sprays ﻩﻩﻩ
This is a call to play with us in an intimate infrastructure and apply for the ROLE / CARE PRACTICES / MISSIONS / UNDERWATER, which will accompany us for one week.
We would like to reveal the synthesis of affect, to make sensual adventure accomplices out of us, floating in the computational waters, a distributed care cooperative.
You can claim the role of “being yourself” or become someone with a shifted identity, with shifted edges of your subjectivity. How much you shift your borders is up to you.
Roles thematise the space between events in the schedule grid. They happen somewhere between the lines when you glance at the color fill of the website. They are a hidden engine of events. We would like to think about physical distance and social intimacy. About the fragile infrastructure that tingles the skin with hot sprays ﻩﻩﻩ ﻩﻩﻩ
To do this, you are invited to the most secret and important ROLECARE PRACTICESMISSIONSUNDERWATER (several can be chosen):
~ those who rise to the surface of the water with caution ~ who feel not-like-fish-in-water among large groups of people and need a supporting fin ~
~ those who feel the power of the waves in themselves and the witching power to helpto mediateto support the drowning people ~ who feel the energy of collectivity and can become an active fellow ready to be there for others.
~ those who value the intimacy of random connections, who want to dive right into the network of strangers ~ who value temporary spontaneous intimate algorithmic zones.
~ those who want to offer a different underwater role ~ (please specify your role when filling out the form, we will take it into account while designing our watery realm of relations).
> you can dive into this slot via the link ——> here
> this form will close on 22/06/20 at 23:59:59 Minsk time ⏰
Do not tell anyone about your ~ role / practice of caring / mission / underwater / role ~ neither now nor during the week. How much you want to get it alive / activate / fit in / dive is up to you. Before the week, we will create an intimate infrastructure, let you know how to use it, and connect you according to your roles, (non-)motivation and contingency.
slot of uncertainties ⏰
Dear she-friend, he-friend, they-friends,
We look at the petals of the present, which is in dormancy. In a state of uncertaintу, adaptive adjustments, a state of “reduced functional activity of living organisms, due to environmental conditions, while maintaining their high vitality.”
Today is JanuaryFebruaryMarchAprilMayJuneJulyAugustSeptemberOctoberNovemberDecember 01020304050607080910111213141516171819202122232425262728293031 and you are reading an invitation letter into the slot of an extended present.
Machines, mechanisms, algorithms of apprehension, formulations glide along the “frames” of attention which not only frame, but also support.
Today is JanuaryFebruaryMarchAprilMayJuneJulyAugustSeptemberOctoberNovemberDecember 01020304050607080910111213141516171819202122232425262728293031 and we do not know how the situation will unfold in the future. This unknown has two overlapping dimensions — unknown of particularities and unknown of methods/tools they can be grasped with.
We invite you to join the game with unknown unknowns. To try to grab the joy from this situation. Let the game be called “how far everything can go.”
This slot is a collective mapping of uncertainties. Risk, volatility, blur, memory loss, flux, chaos, dance of statistical errors, perplexity from the invasion of all of the above into your locality.
With this letter, we suggest you make yourself comfortable in contradictions. Do not cancel or affirm one form of event. To be entirely not there and not here — in both places simultaneously and alternately.
We welcome:
~ not specific fantasms, but ways to generate them;
~ discussion of asynchrony, which go to asynchronous actions;
~ search for a fork, where everything went as it went ✸ ✸ ✸ from this fork-slingshot, the possibilities to beat the glass ceilings of the imagination are revealed;
~ present as coherenceconjunctionrupture.
Everything will be resolved by a round dance of uncertainty on one of the days of WHPH. Remember that your part of the round dance should be compact in order to leave space for other variants of blurred temporalities.
> registration form of your uncertainty —–> here
> this form will close on 11.06.20 at 12:34:56 Minsk time ⏰
* A round dance of uncertainties will condense on one of the days of the WHPH week 22—28 June 2020, or might go beyond its limits.
slot test test test ⏰
Dears,
On the way back in our letters we pass by:
Push notifications, red and green lines on the yandex map, voice assistants, traffic lights — which are all the time “online” — with an indicator of the number of cars, self-synchronizing ships in the same world of waters, surveillance cameras with a common “host”.
They lead us into the tunnels of new sensitivity. A machine of digital sensitivity where the sensitivity does not always belong to us.
The long-awaited torrent file that no one is distributing right now. A hot spot on an airplane designed just for two. An intimate alliance of interfaces moving in space at a speed of 950 km/h. Our machines in flight touch each other with tentacles of protocols.
We invite you to burrow holes in seemingly stable “online” frames, to occupy sensors that are (non)adherent to a body, to go off the roads that policies for using tools are offering, to thematize an algorithmically arranged distributed sensitivity, where the result is not equal to the sum of the parts. We invite you to test your ENVIRONMENTSSETTINGSTRAJECTORIES through technologically warmed-up landscapes.
test test test
> you can jump into this time slot via the link ——> here
> this form will close on 10.06.20 at 10:14:14 PM Minsk time ⏰
* The time slot test test test will be distributed through the week of WHPH 22—28 June 2020, or might go beyond its limits.
slot of broken temporality ⏰
Dear readers of the invitation to the slot of broken temporality,
You know, that something happens to time. It sparkles, overheats, leaks and disconnects. Alarm clocks are ticking according to their own calendars through a myriad of ringtones, redistributing the streams of conventional time, shared between us. Alarm clocks and other devices produce their chronopolitics — the way of living time through, of running wild and getting lost in time during the pandemic, of warning signs, deadlines and accelerated visions of the future. What happens if time gets back to its place? And where is its place in postsocialism? Not that scanty imposed geography of ruins and poverty, but as a global condition that defines living forms.
Susan Buck-Morss admits that the prefix post in post-Soviet marks the ontology of time in contrast to the ontology of collectivity implied in the Soviet. This ontology of time, anchored in the prefix post- implicates the lack of right to be contemporary, embeds the clear relations of domination and submission.
But what if this uncertainty, this moving backwards and the lack of utopic horizon is the very queerrrr time of postsocialism?
Following feminist scholars one can see postsocialism through queer temporality, where different types of relations with historical past and unexpected connections that resists normative — linear and teleological — concepts of time could be found. This temporality can confront “straight time”, by amassing various forms of life and non-synchronised subjectivities. To think the notion of queer time broadly, is to think it as a rupture of regular rhythms, as the time against reproduction, (non)shared utopia, manifestations of forgotten sci-fies, as the night.
BY THIS LETTER, WE INVITE YOU TO PROPOSE ACTIVITY, THAT IMPLIES FAILUREERRORRUPTURECONDENSATION OF POSTSOCIALIST TIME:
The timeslot should include time failures — time bombs, calls from the past, songs from SUMMER MIX 2027 — something that would question the stream of time, counting time backwards, attacking the future.
1 second — 1 year — 2032 — night
> the form for your proposals is ——> here
> this form will close on 03.06.20 at 9.30pm Minsk time ⏰
* the slot of broken temporality will be distributed through the week of WHPH 22—28 June 2020, or might go beyond its limits.
slot of flickering co/presence ⏰
dear readers of the invitation to the slot of flickering co/presence,
while we are writing this text, we imagine how your gazes travel along the lines, catching up, surpassing, uniting.
we imagine how you imagine this invitation, the choreography of our visions, which transcends the body, room, house, neighbourhood, borders.
we imagine what will happen in late June, mid-June, early June, mid-May, late April, tomorrow morning, in 2 hours, yesterday.
we get up, we take a breath, pull the shoulder blades together, our calf muscles are relaxed, we make a circular motion with our right arm and start moving, we imagine that our spine is a fountain; it pulls the whole body along ↑
we would love this to be a letter and an impulse,
a letter as a hail
hey, yo, oh, ouch, hello, name, touch of a shoulder, call, flashing of a screen,
—— inertia of the unfolding of joint experiences <—–>–<—— ,—>
BY THIS LETTER, WE CALL YOU TO SHARE WITH EACH OTHER INSTRUCTIONSSCENARIOSEXERCISESSCORESALGORITHMS:
.. - ’ that may involve collective, duo or individual implementation,
’ ~ .. being simultaneous, random, regular, coordinated,
.. } ’ happening in any or in very specific spaces,
’ + .. presented in the form of text, scores, images (still and moving), sounds and so on,
.. / ’ their realization could be secret or manifested,
’ [ .. but it should be possible with spatial distance from each other.
instructions proposed as a practice of dispersed collectivity, as a choir, as a khorovod of gestures, as an attempt to find the possibility of co-living,
the synchrony of our inaction, our confusion, gaps, embodied imagination, or repetition, rehearsal, training, learning, invitation, awakening, fatigue, attempt, attention, solidarity, micro-gesture of the event,
.. the form to record instructions, scores, scripts, exercises, algorithms is ——> here
’ ’ this form will close on 01.06.20 at 9.30pm Minsk time ⏰
* instructionsscoresscenariosexercisesalgorithms will appear on the website on June 22, along with information on how to practice them
21.06.2020
Dears,
Tomorrow we had the same dream:
We know what will happen today, but don’t know yet what happened yesterday. We got a job as time players, where we try to grasp distributed collectivity by the tail, like a cat.
But how not to stumble upon our own tail and not to mislead ourselves? Our task is not to start reproducing online-double-gangers of our activity and experience, but rather to dive, with a time difference, into the nourishing pool of dispersed collectivities, inventing forms of co-presence, co-liveliness, co-stratifying, co-becoming and multitudes of co-.
We would like to construct and fill in with you one of the support structures, one of the calendars, one of the scenarios of the present. To extend the idea of temporality – the social organization of time, and infrastructures – caring and tyrannical carcasses. Deformation of time (alienation, dislodging, overlapping, theft) and fragmentation of space (thickening, control, passages making) formulate the grid of the abductive invitation by WHPH working group. Abductive reasoning, unlike other cognitive procedures, offers sensitivity to incorporate new variables and vague situations simultaneously to development of hypotheses, visions and practices.
Today is June 21, the day before WHPH begins.
Till the next letter,
your WHPH working group
⋪ infrastructure ⋫
We suspend how exactly WHPH will happen this year and invite you to join this abductive speculation. We will correspond with you throughout 2 months, together defining what will happen from June 22 to 28 2020. After this date, the time will overturn again.
The structure of the invitation this year is formed by drifting slots, which will open for a certain period of time. You can follow them through our letters. Maybe, you would respond to the opened slot-parameter, maybe, you would like to wait for the adjacent one and to play the lottery with time.
You can forward these letters to anyone, who might be interested, but we kindly ask you not to publish them to social networks.
Work Hard! Play Hard! is a self-organized initiative. Unfortunately we do not have the budget to provide financial assistance to participants, but we try our best to ensure all the desired conditions for your non/work and to set up a supporting infrastructure.
Participants:
Alba Baeza, Albert Allgaier, Alex Anikina, Alisa Oleva, Alyona Isakhanyan, Anna Kinbom, Anya Marchenkova, Anastasia Ryabova, atom, Apl315, Roman Mikhailov and Matvej Krylov, Choterina Freer, Chto Delat, CommOnist-Raver, Daria Iuriichuk, Eastyn Agrippa, Varvara Gevorgizova and Vanya Shatravin-Dostov, Gleb Napreenko, Great Circus of Failure and Masha, Group ZIP, Ingeborg Henriksen and Johanne Bøckmann, Ira Konyukhova and Daria Prydybailo (TransitoryWhite), Judith & Franca, just_smthg_seen (Ann Prikhodko), krёlex zentre. Maria Vilkovisky & Ruthia Jenrbekova, Lena Klab, Lika Kareva, MAAILMANLOPPU postanatomy theater, n i i c h e g o d e l a t (eng. “Research Institute for Doing Nothing”), Natalia Nikulenkova, nice company, Nikita Nechaev and Arina Nesterova, Oleksiy Radynski, Olexey Minko, Olia Sosnovskaya, Omsk Social Club, Patrick Riechert and Elena Vogman, Problem collective, Raman Aksionov, Rodion Kitaev. Gerondot, Sanna Samuelsson, Sasha Puchkova, Sasha Smirnova and Sena Partal, Sergey Babkin, Supercalifragilisticexpialidocious, Tatiana Efrussi, The vocal-instrumental ensemble \"Krasny Borschevik\", Timothy Maxymenko, Tony Trubitsyna, Victor Artiga Rodriguez and Elshan Azadi, Victoria Sarangova, Vita Zelenska, Vladivostok school of contemporary art, XYANA
≋SCHEDULE≋
ALL DAYS
⚡Ongoing events⚡
Alisa Oleva. let me be your eyes on this walk / one to one walks / audio call
start walking through the city and wait for my call. you won’t need to talk. i will be walking at the same time in my city describing you everything i see. you are invited to just listen and wonder, overlaying your landscape with mine. i will be your eyes on this shared distance walk.
Registration is required NB! event time is BST (-2 hours from Minsk time) you should have a mobile phone with internet connection and be ready for a phone call. you can use headphones if preferred.
Born 1989 in Moscow. Based in London. Alisa Oleva holds a BA and MA from The Courtauld Institute of Art and an MA in Performance from Goldsmiths. She treats the city as her studio and urban life as material, to consider issues of urban choreography and urban archeology, traces and surfaces, borders and inventories, intervals and silences, passages and cracks. Her projects have manifested as a series of interactive situations, performances, movements scores, personal and intimate encounters, parkour, walkshops, and audio walks.
Alisa Oleva. listening point / one-to-one walk / audio call
come to the listening point which i provide for you. call me. share that listening moment with me. describe what you hear as you are listening and i will describe sounds around me. we will create a mixed soundtrack between our two places.
Registration is required NB! event time is BST (-2 hours from Minsk time) the participant will need to register for a one-to-one experience and provide in advance their address. i will send you a listening point. then, on arrival they will need a phone with internet connection which can work for audio call.
Born 1989 in Moscow. Based in London. Alisa Oleva holds a BA and MA from The Courtauld Institute of Art and an MA in Performance from Goldsmiths. She treats the city as her studio and urban life as material, to consider issues of urban choreography and urban archeology, traces and surfaces, borders and inventories, intervals and silences, passages and cracks. Her projects have manifested as a series of interactive situations, performances, movements scores, personal and intimate encounters, parkour, walkshops, and audio walks.
Anastasia Ryabova. Discord Show / Sticker pack
You will find the emojis based on different drawing series by Anastasia Ryabova in our collective chat at the server in Discord.
Image: Fragments of tattoo costumes for performances Mondo DVR-2019 (Together with the group “Far Eastern romance wreckers”)
Anastasia Ryabova is a contemporary artist, curator and educator. She won the 2011 Kandinsky Prize in media projects. The author of Artist’s Private Collections, a virtual “museum of contemporary art based on artists’ private collections”. She is known for works that play “linguistic games.” Together with Varavara Gevorgizova, they launched “Night Movement”, a series of events in the relational aesthetics genre.
atom. walking next to each other / audio
We are now walking next to each other, each of us recording this journey for two of you. Both of you will be far, yet you will be able to walk this route together, listening to it at the same time, hearing the footsteps of a stranger next to you, walking in between the real and the imaginary. Who knows, at the end of the walk you might want to have a talk with each other.
To take part please fill in the google form and we will find you a walking partner.
to take part you would need a smartphone with the WhatsApp application installed, internet access and headphones. you can be anywhere, but it should allow you to listen to the soundtrack.
In Russian and English
atom is an art group formed by Alisa Oleva and Timothy Maxymenko. we move, listen, trespass, infiltrate, climb, jump over, overhear, touch. we are interested in testing and programming and then offering portals, spaces in between, shared encounters, meeting places, scores for movement and communication. our experiences are most often one-to-one, in small groups, outside, intimate, in between.
Eastyn Agrippa. Avatar / Writer/garage philosopher
Eastyn Agrippa is writing a book, an avatar ontology.
You can contact the avatar through the instagram eastynagrippa.
Building Angeldevilentities (Ade) with so many people online. Large forms capable of shifting consciousness through collective voice and collective action. Identity is sinking away to be with the Ades.
Lika Kareva. Pokemon D / counter detective game
We invite you to play the counter-detective game Pokemon-D, in which participants who are deprived of real names are divided into teams, inside of which they must RECOGNIZE each other. Yes, there are no those who are hiding, no fugitives — there are only those who are desperate to reveal their identity. Which would be simple if they could communicate directly.
But they do not have such a possibility. Counter-detectives use the Pokemon Go game interface to communicate.
Install Pokemon Go app to your phone. Create an account with a FAKE NAME/NICKNAME. Don’t connect it to your Facebook page!!
After initial training, click on your avatar and go the FRIENDS section, then +ADD FRIEND. Send your friend code to game bot in Telegram @PokemonD_bot (still don’t connect to Facebook!).
The friend feature in Pokemon Go allows gamers to send ONE GIFT per DAY to each other. Gifts contain postcards — PHOTOS AND NAMES OF REAL PLACES — that is the only personal information that can be transmitted through Pokemon Go.
LET’S GO!!! The admin responds you with a list of 5 names of WHPH participants and 5 friend codes. Now your detective job is to IDENTIFY each other — connect PokeTrainers to WHPH participants. The only accessible information is the locations that they visit, which the GIFT system provides. To do your detective job you can use all external resources (Google, social networks etc) — there are no limitations (excluding asking your real friends what are their nicknames in the game of course ..).
Look careful on the information about your visiting spots that you provide by GIFTS! The group of players forms a UNIT — you need to BE IDENTIFIED as well as DOING identification. The UNIT with the greatest identified number of participants wins.
LET’S GO!! You have only time before the closing-game event on WHPH week to do the job.
The game takes ~ 30 minutes to install and 10 minutes every day.
+ technical requirements:
To START and get more information connect to GameBot in telegram app: @PokemonD_bot
Philosophy scholar, dunmer
nice company. [collective virtual plein air_ (not) / own room] / alone in a room, pretending that we are together
virtual community hopelessly drawing together
Nikita Nechaev and Arina Nesterova. Fire state / Game
“Why not assume in this case, that thought is precisely that most qualitatively peak form in which is realized the accumulation and productive use of energy, emitted by the suns?
That is, this same link which as yet is lacking, in order for an actual big circle to be possible, and not a one-sided and irrevocable process of dispersal of matter and motion in intergalactic space?”
Instruction-game, made in the form of a script in Twine. Algorithms of movement executed in different contexts, are accompanied by audio. Instruction, script and a plot lives in a tension between the abstract and the concrete. Based on a method of ascension from the abstract to the concrete by Ilyenkov, we are offering the participant to move away / approach the objective and evaluate the role of the instruction as an ally or distracting interlocutor, explore the excesses of rational production, raptures of “techno-naturalistic isomorphism”.
Start game: https://firestate.space/
Nikita Nechaev – research curator of the Garage Digital programm at Garage Museum of Contemporary Art. Study at the New Centre for Research and Practice. Member of Dungeons&Stuff and WHPH self-organizations. Science fiction lover.
Arina Nesterova – works as a manager of offsite projects at Garage Museum of Contemporary Art. Study museology at RSUH. Cinema and podcast enthuthiast.
Sergey Babkin. The Exquisite Corpse of Our Shared History / e-mail game
Temporalities happen to crystalize in histories, while histories are constantly revised. But when post- had not yet happened, it seemed that the source of the revisionism is concentrated enough to revise history in a centralized way, according to the logics of the bipolar world and party intrigues. In the condition of post- the total revisionism of our shared history that seemed so necessary:
Even though an act of microrevisionism is produced after each time the button Send is clicked (either by an activist or by an employee of the Troll Factory), it seems that a central public territory of the History Revisionism appeared – the Wikipedia. It was created as a promise of a peer-review approach to the written knowledge but became a territory of the Battle of Corrections. This overlapping of corrections has something to do with the surrealist practices of juxtapositions, accumulations, doublings and searching for lower layers while looking at the upper ones. The game The Exquisite Corpse of Our Shared History is based on the game The Exquisite Corpse but uses found content and e-mails. The game should satisfy the desire for new historical revisionisms that are intrinsic to our dynamic subjectivities, power up the disintegration of micronarratives — through the anonymous collectivity of the chain of e-mails, provoke the fact-checking instincts in their interaction with a vice of trust to anything anonymous. What would motivate you in reinterpreting history: sense of justice? The claim to comply with the cause-effect principle? The urge to provoke people around you?
During the game you will receive an e-mail with a text of a Wikipedia article about a historical event you might be acquainted with. You can change one sentence in it, but don’t make it visible. Then you send the text to the next player who does the same. In the final, the results of a collective anonymous act of revisionism will be published online.
To take part in the game, please, fill in the form.
Sergey Babkin (*1991, Moscow) — art worker, curator, participant of dungeons’n’stuff project, regular contributor for aroundart.org. He lives and works in Moscow.
VSCA / Vladivostok school of contemporary art. Vice versa dreams / collective dream diary
During the week, record all your dreams and add them to the group’s general dream diary. Trying to live a dream in the opposite way. Your dream or a dream of your mate. To observe how an attempt to live non-being from the past distorts the time in the present.
Try collective dreams. Dream notebook link: https://pad.riseup.net/p/Vice_versa_dreams
VSCA is a group of Vladivostok artists who like to sleep and firmly believe that sleep distorts our perception of time, taking us into oblivion somewhere in between.
MONDAY / JUNE 22
We invite you to start this day with a night that opens with a 4-minute song by Anna Kinbom. We invite you to begin your acquaintance with the infrastructure and calendar of WHPH and prepare for diving inside of collective practices. In the evening, we will join online activities for several hours through video calls and streams that touch, play, or explore existing online platforms, practices, tools ~ ~ ~
⚡Live⚡
All events are held in Minsk time (CET+1)
00:00 - 00:04
Anna Kinbom. 3 days / Song / audio-channel in the collective chat
I would perform my song “3 days” online
I work with performance and the base of my work is writing. I make songs and images and videos. I live in Stockholm and I studied Fine Art in Stockholm and Vienna. I am interested in what I call ”almost nothing” and humour.
⚡Virtual Library⚡
⚡Live⚡
All events are held in Minsk time (CET+1)
18:00 - 18:40
n i i c h e g o d e l a t (eng. “Research Institute for Doing Nothing”). AliStopkran / unreal imaginary fictional internet shop / audio-channel in the collective chat
n i i c h e g o d e l a t for slot “round dance of uncertainty”:
AliStopcran online shop, with elusive objects of desire, wild descriptions and forever slamming opportunities.
During the session / operation of the store, (c) lots will be offered, one of which will be selected in a contingent way (roll of dice) and presented to the viewer / consumer of the content:
The AliStopkran online store is full of elusive desires, crazy descriptions and eternal possibilities of punching.
During the store’s session / work, advertising spots will be provided, one of which will be selected by a temporary method (dice) and presented to the viewer / consumer of the content:
The AliStopkran online store is full of intense passions, crazy descriptions and, possibly, verwelkomd ribs.
During the session / store operation, a place for advertising will be provided, one of which will be selected in a preliminary format (dice) and submitted to the competition:
AliStopkran’s repository is full of lust, crazy ideas, and possibly verwelkomd ribs.
During the course / store, a place for advertising will be provided, one of which will be selected in a short period of time (dice) and shown on joo:
AliStopkran’s data warehouse is full of passions, jokes, and possibly nervous jokes.
During the reading / showroom, a space will be created in which it will be selected for a short time (dice) and displayed in the zoo:
Slots:
(s) lot of temporal synchronization (deadlines, apparatus for regulating collectivity). Temporal violence n (work “for uncle”) and temporal emancipation (common cause). Queer temporality.
(s) lot of attention modes, about dispersion and concentration (scanner, achieving success, with the side effect of burnout / combustion of thinking machines), about post attention (bodily attention, attention in the stream, surfing).
(s) lot of uncertainty (“I just look”; the uncertainty immediately after passing the exam / work and until the result is obtained) about the environment of opportunities and frustration that forms subjectivity.
(s) lot gate of binarity.
(s) lot of missed desires and expectations / slot of missed opportunities.
(s) lot of superposition (whether the action gave a result and whether it is the result of an action that could have occurred or not, I/we are the Schrödinger/Heisenberg cat).
(s) lot “Terminator — neither fish nor meat”. Slot of freedom from choice.
(s) lot of obsessive conditions
Additional features of the store environment:
Empty / beaten (s) lot
Fake (s) lots>
(s) lot does not meet expectations
During preparation, the slots may change or disappear.
In Russian language
We honestly admit to ourselves that our present desire is to do nothing. We honestly admit to ourselves that we doubt. And we see that we are many. n i i c h e g o d e l a t (eng. “Research Institute for Doing Nothing”) is a network of flickering laboratories, researching opportunities for overcoming present standards of labour behaviour. n i i c h e g o d e l a t raises questions of emancipation of workers from alienated labour, and the unemployed from social stigmatization, it deals with the problem of unpaid invisible labour, and resurrects the utopian tradition of striving for the future world without work. The main goal of the Research Institute is to consider “doing nothing” and its other varieties (procrastination, passivity, apathy, idleness, etc.) as a public phenomenon requiring comprehensive study, both theoretical and practical.
19:00 - 19:30
MAAILMANLOPPU postanatomy theater. “What is knocking in my box?” / play/art mediation / audio-channel in the collective chat
They are knocking in a box. They want your attention and we will give it to them in the format of art mediation of boxes.
In this project, it is interesting for us to test such a state as carelessness from ignorance and willingness to receive the most diverse, designating, re-designating, evaluating or re-evaluating/overestimating stuff. This practice gives the possibility to face a miracle: you can get something you did not know existed. Or, it’s something that didn’t exist before but here you are — you take it from the box
We made jewellery film with toys hat rattle in the box (originally they were made as decorations, but all of them were unfinished, because they are good as they are) . Labels are sewn to the images of toys in the Google document. We combined everything into art mediation. You will see screen with quick iMessenger. We do not use messenger app for communication but as a window / canvas / box where we place the text for art- mediation.
We want to turn everything upside down and shake it up!
The play/art meditation will be in Russian and English.
MAAILMANLOPPU postanatomy theater project (Alexandra Abakshina and Alina Shklyarskaya) from Saint-Petersburg, — forms mobile alliances, creative groups, integrates various types of knowledge and practices to investigate the phenomena of modern reality. The authors claim that only modern theatrical practices can present the phenomenon (including scientific one) as a real experience. The group’s artistic practice is emergency mode, the image abandoning, preferring to implement literally to provoke the audience’s gaze/hearing without involving them.
19:45 - 20:30
n i i c h e g o d e l a t (eng. “Research Institute for Doing Nothing”). AliStopkran / unreal imaginary fictional internet shop / audio-channel in the collective chat
n i i c h e g o d e l a t for slot “round dance of uncertainty”:
AliStopcran online shop, with elusive objects of desire, wild descriptions and forever slamming opportunities.
During the session / operation of the store, (c) lots will be offered, one of which will be selected in a contingent way (roll of dice) and presented to the viewer / consumer of the content:
The AliStopkran online store is full of elusive desires, crazy descriptions and eternal possibilities of punching.
During the store’s session / work, advertising spots will be provided, one of which will be selected by a temporary method (dice) and presented to the viewer / consumer of the content:
The AliStopkran online store is full of intense passions, crazy descriptions and, possibly, verwelkomd ribs.
During the session / store operation, a place for advertising will be provided, one of which will be selected in a preliminary format (dice) and submitted to the competition:
AliStopkran’s repository is full of lust, crazy ideas, and possibly verwelkomd ribs.
During the course / store, a place for advertising will be provided, one of which will be selected in a short period of time (dice) and shown on joo:
AliStopkran’s data warehouse is full of passions, jokes, and possibly nervous jokes.
During the reading / showroom, a space will be created in which it will be selected for a short time (dice) and displayed in the zoo:
Slots:
(s) lot of temporal synchronization (deadlines, apparatus for regulating collectivity). Temporal violence n (work “for uncle”) and temporal emancipation (common cause). Queer temporality.
(s) lot of attention modes, about dispersion and concentration (scanner, achieving success, with the side effect of burnout / combustion of thinking machines), about post attention (bodily attention, attention in the stream, surfing).
(s) lot of uncertainty (“I just look”; the uncertainty immediately after passing the exam / work and until the result is obtained) about the environment of opportunities and frustration that forms subjectivity.
(s) lot gate of binarity.
(s) lot of missed desires and expectations / slot of missed opportunities.
(s) lot of superposition (whether the action gave a result and whether it is the result of an action that could have occurred or not, I/we are the Schrödinger/Heisenberg cat).
(s) lot “Terminator — neither fish nor meat”. Slot of freedom from choice.
(s) lot of obsessive conditions
Additional features of the store environment:
Empty / beaten (s) lot
Fake (s) lots>
(s) lot does not meet expectations
During preparation, the slots may change or disappear.
In Russian language
We honestly admit to ourselves that our present desire is to do nothing. We honestly admit to ourselves that we doubt. And we see that we are many. n i i c h e g o d e l a t (eng. “Research Institute for Doing Nothing”) is a network of flickering laboratories, researching opportunities for overcoming present standards of labour behaviour. n i i c h e g o d e l a t raises questions of emancipation of workers from alienated labour, and the unemployed from social stigmatization, it deals with the problem of unpaid invisible labour, and resurrects the utopian tradition of striving for the future world without work. The main goal of the Research Institute is to consider “doing nothing” and its other varieties (procrastination, passivity, apathy, idleness, etc.) as a public phenomenon requiring comprehensive study, both theoretical and practical.
20:45 - 21:45
Alex Anikina. Chrome Autoethnography / Screensharing / audio-channel in the collective chat
I feel burned out from the self-imposed (and fake) necessity to come up with wholesome, conceptual, academically valid projects. So I would like to try some amateur autoethnography instead — autoethnography of Google Chrome, saved pages in Facebook and other tools of digital forgetfulness. In the last 4 years while I was writing my PhD project I kept saving — and never opening again — various urls. I think now is a good time to open them. What will we see? I don’t know, but I’m curious. At the moment of writing this proposal, I still haven’t opened them, so I’m not even sure what exactly I’m proposing. I’m curious what I will consider worthy of public discussion or not. How secretive will I feel about sharing my ideas and interests? What was I interested in, in the first place? What consoled me? What upset me? What did I want to remember (and couldn’t)? What would Aby Warburg say about this? Or Marianne Hirsch? What gave me joy? What rooms did I enter and got scared? I would like to be scared again.
Will be held in Russian and English.
Alex Anikina (b. Kolomna, Russia) is a media artist, film-maker, researcher and curator. She recently completed her PhD at Goldsmiths, University of London, and currently teaches at London South Bank University. Her current project focuses on political aesthetics of ‘procedural films’ – media works that use generative algorithmic techniques but operate in a succinctly filmic domain. As an artist, she works with moving image, digital media, software and lecture-performances. Her work has been shown internationally, including VI Moscow Biennale of Contemporary Art; Haus der Kulturen der Welt, Berlin; Gaîté Lyrique, Paris; Anthology Film Archives, New York; NCCA Moscow; Korean Film Archive and, most recently, Art Sonje museum, Seoul, Sanatorium gallery, Istanbul, Krasnoyarsk Museum Biennale. Her works are held in the collection of NCCA (ROSIZO), Moscow. In 2018 she co-curated IMPAKT media art festival with the theme ‘Algorithmic Superstructures’.
⚡underwater slot⚡
we want to call you to play with us in an intimate infrastructure and apply for the ROLES ~ CARE PRACTICES ~ MISSIONS ~ UNDERWATER ~ CHARACTERS, which will accompany us for one week ➟ http://workhardplay.pw/en/2020/invitation.html#letter-06
to play, follow the link with the description and fill out the form TODAY until 23.59 Minsk time
TUESDAY / JUNE 23
Today we call you to follow the instructions ~ scores ~ exercises as a practice of dispersed collectivity — as an attempt to live this day together at a distance. There is no exact schedule for this day — the schedule is self-organized in a collective chat where you can lure others into joint practice and share your performance experience.
⚡Virtual Library⚡
WEDNESDAY / JUNE 24
The day when we offer to acquire new connections, to explore the boundaries of intimacy and new sensuality, to travel for, to live in synchronism and time shifts through a series of evening events that turn into night.
⚡Virtual Library⚡
⚡Live⚡
All events are held in Minsk time (CET+1)
18:00 - 18:40
Ira Konyukhova and Daria Prydybailo. Healing Anti-Capitalistic Mantra Which Helps You To Welcome Your Hysterical (Non)White Self / mantra/exercise / audio-channel in the collective chat
Any place, any time, preferably during hysterical states.
TransitoryWhite is a journal of overlapping, multi-voiced accounts documenting peripheral artistic productions. We aimed to create an intersectional platform for discussing decolonization, post-neoliberalism trauma and the possibility of dispersive views on the so-called post-communist territories. Since 2019, the platform has also operated in the trajectories of migrant and post-displacement discourse, expanding its activities from the geographical pole “East” to the global. In response to the growing nationalistic discourse, it is crucial for our investigation to represent artists and theorists with different identities and ideas for the future. In this way, TransitoryWhite emphasizes the productive interaction between different multitudes rather than dualities. TransitoryWhite understands whiteness as a metaphor for colonialism, or as a white, self-contained exhibition space where the hierarchy of discourses and images is prejudiced. Instead, we turn to the idea of White Noise; a signal or constant disturbance, something cacophonic, turbulent and restless which fluctuates and transforms our perspectives.
18:45 - 19:10
Choterina Freer. The DIY Mycologist / Live video performance / audio-channel in the collective chat
The performance will focus on a first person account of a woman who has an overwhelming and obsessive interest in Mycology (a branch of biology concerned with the study of fungi) and consciously decides to symbiotically merge into the wet rot fungi growing in her home. In mythology there are many tales of women turning into plants and trees; mainly not through choice and sometimes as a punishment. However the central character in the performance decides to merge with the fungi in her house through choice in order to become a part of the network of mycelium (the roots spreading from the fungi through the house). Her obsession with fungi has led to a desire for her to exist symbiotically with the organism – in this work she describes her fascination with the environmental and medicinal benefits of fungi, and why she has an intense need to become part of the fungal network. As the central character merges and metamorphoses into the organism she finds that she can control the growth of the mycelium through meditation and breathing patterns. The growth speed is shown through the timelapse video of slime mould that begins slowly and gradually accelerates as she reaches symbiotic bliss with the wet rot fungi which has spread into every section of the house.
I work mainly with video, which are material manipulations of our digital environment. I composite taken and found footage, CGI animations, and hand-drawn graphics to examine and define digital social realisms and futurities. My practice is often collaborative, and I have collaboratively developed several performances over recent years which examine feminist collectives and possible futures. I’m one of the founders of 0s+1s Collective; and I have been privileged to show my video and performance work with other members of the collective at WH!PH! In 2017 and 2019. Recent exhibitions include: Arte por los Aires, Buenos Aires, Argentina (2020); The Tallinn Feminist Forum, Estonian Academy of Arts, Tallinn, Estonia (2019); Nina, K and Connie, WH!PH! Side Affects, Minsk, Belarus (2019); The Future was at her Fingertips: Digital ambivalence, Cyborging and Technofeminism, Södertälje Art Gallery, Sweden (2018;) Mozart’s Ghost, Gothenburg Art Museum, Sweden (2017-2018); The Legacy Complex, Casa Victor Hugo, Havana, Cuba and Gotland’s Art Museum, Visby, Sweden (both 2017); WH!PH!, Minsk Belarus (2017); Artists’ Moving Image Festival, Tramway, Glasgow, UK (2016); and The London Feminist Film Festival, Rio Cinema, London, UK (2016). I have a BA (Hons) in Fine Art from Central Saint Martins College of Art and Design and an MFA in Fine Art from Goldsmiths, University of London.
19:25 - 20:30
Patrick Riechert and Elena Vogman. Scenes of Extimacy / video and discussion / video conference / audio-channel in the collective chat
This exercise poses the question of intimacy from the perspective of the machinic. Coming back to Guattari and Deleuze’s notion of machines, we aim at excavating one of its most recurrent and striking qualities: desire. Emerging from the psychiatric context—e.g. the clinic of La Borde—these desiring-machines open a plane beyond the “technic:” beyond “gadgets, or little home-made inventions, or … our phantasies;” they cannot be equated with real machines. Politicizing the unconscious, desiring-machines rather name a radical process of transmutation: a hybrid between inner and outer spaces, between human and non-human: “the existence of a machinic phylum.” This exercise invites revisiting contemporary forms of intimacy, ridding thought of cliched dualisms and classical continuities. Desiring-machines are neither subjects or objects of interaction, neither triggers of intimacy nor its conditions of possibility. Rather, they offer a phylogenetic decomposition of the very notion of subjectivity. From this vantage point we restage an array of scenarios in which the prevailing insistence on interiority and depth coexists with proliferating rampant processes of extimacy. Abnegating a distinction between inside and outside, this analytical lens instead focuses on a machinic coupling of heterogeneous elements.
In English
Patrick Riechert is a researcher working at the intersection of politics, cultures, and history of the digital. Elena Vogman is media theorist and independent curator teaching at the Art Academy Weißensee, Berlin and working on a research project on media and milieus of critical psychiatry.
20:30
Raman Aksionov. The urban comedy or the journey beyond / happening / group call and a walk / audio-channel in the collective chat
All participants should pick a place in the city center where the network is good enough for calls. After a group call, everyone starts their journey to any location where the signal disappears. Having discovered the place, they can make a short description or a big story about the trip.
In Russian and English
I am an artist, i live in Minsk, I practice various types of art.
24:00
Ingeborg Henriksen, Johanne Bøckmann. Clay Shoes / Digital performance / stream stream in WHPH instagram
The performance takes place on Instagram live — and is a 2 person shared screen. Both screens — will feature a pair feet. One screen will be set in an urban environment (Oslo) stomping a pair of shoes made of clay — in Oslo there is night — and traffic sounds. The other screening is set in a rural environment — happening in Northern Norway where there is still sun(midnight sun) we will see a pair of naked feet — sinking in to a mud hole. The piece is a grounding ritual for the summer solstice — where we are exploring ways of becoming one with the ground. As the sun in North of Norway never go down in summer — we want to play with these contrasts — as the movement of the sun is how we define time. Light — dark, day-night, Urban — rural. What connects us. In the same way that the sun get born every morning.
Ingeborg and Johanne has been friends since teens — and has always used art as a way to explore and challenge the friendship. Now in their mid thirties they keep exploring friendship trough a series of rituals, events and LARPs that has been happening in Berlin, Oslo and North of Norway.
THURSDAY / JUNE 25
The day when we rethink the practice of movement: from digital surfaces towards the drift along the streets of your cities and other landscapes.
⚡Virtual Library⚡
⚡Live⚡
All events are held in Minsk time (CET+1)
16:00 - 17:00
Natalia Nikulenkova. To Tell Fortunes by Guy Debord / A performative walk / video conference / audio-channel in the collective chat
We are disoriented, confused and immersed in a situation of uncertain duration and an unknown end that may not come. The constant feeling of fatigue, the loss of a sense of time, the increasing anxiety become part of everyday life. We must observe the new rules related to social distance, which become a ritual, but are in fact an external order. We must make the choice between health and friendship, between freedom and security, but that choice has already been made for us.
When we go out into the street, we become a kind of dissident who breaks the “stay home” order.
What has changed while we were at home?
I propose that we take part in an artistic study that should rethink the new language woven into the fabric of the city. It will be a walk that every participant can take in their country, city, district.
It will be necessary to leave the house at a certain time, taking a smartphone and an external battery (power bank).
Once connected to the video conference, the participants will take turns reading the inscriptions that they will encounter on their way. This walk will be a joint poetic improvisation, which will then be deciphered and presented as text.
Natalya Nikulenkova. Artist, activist, documentary filmmaker. Born in Nizhny Novgorod. She studies interactive practices, combining social activism with artistic expression. Focuses her artistic search on urban space changes, playing with them in a subversive way. Makes video art and projects that are based on documentary material.
FRIDAY / JUNE 26
The day when we offer to flood with underwater connections, dive into an intimate infrastructure, gently touch the fins swimming with you at a distance ﻩﻩﻩ follow the underwater instructions and intuitions. If you haven’t applied for the ~ underwater slot ~, it’s time to come up with your own game in the collective chat ﻩﻩ ﻩﻩ
⚡Virtual Library⚡
SATURDAY / JUNE 27
The day when we can visit a fictitious farm at noon, and then spend time with a collective writing, slowly, somewhere among the trees; to pay attention to the recordings of dreams, listening to sounds from each other’s virtual plein airs.
⚡Virtual Library⚡
⚡Live⚡
All events are held in Minsk time (CET+1)
12:00 - 12:20
Sanna Samuelsson. NO TIME / video / audio-channel in the collective chat
In English. NO TIME is a sound and text performance by Sanna Samuelsson, based on found text in her own laptop, both written by her and from random pdf’s. Fluttering between fragments of manure and decomposing bodies, to the image of Marie Antoinette’s mock farm The Hameau de la Reine burning during the revolution, the performance explores connections between the supposed standstill of the pastoral landscape, with the capitalist notion of certain places as irrevocably irrelevant.
Sanna Samuelsson is a Swedish writer. She is a recently examined master student at Literary Composition at Valand, Gothenburg and works with different mediums, mainly prose and poetry, and experimental sound. She is also one of the organizers of the LGBTQ-focused reading night Lavendelläsningar in Gothenburg.
12:30 - 13:30
Vita Zelenska. Circulating hope seminar / Collective writing/reading game / audio-channel in the collective chat
Sounds or words
How do slow hopes operate us these days, how does waiting creates our online tracks and routes? Slow down is often presented as the hope of new ecological and more attentive to inequalities futures, but how the slowdown is performed as hope for nothing? New pointless rounds are rounds of hope betrayed are plays of hope for nothing, the hope of hope’s nonexistent.
Writing together a poetry letter that goes round and round, round a clock we could say, the clock that works for nothing.
Expressing our pointless erotical love for plants that can’t touch us, plants-for-nothing, hopelessness — a matter of future, up and down, greens and to the Earth.
Circulation of hope which entails hopelessness is overwhelming and can be put in a far-away sound of losing that is sound of loosening and tightening again as if gathering yourself for wholesome hope, that would make us sick and back again to the promising hope for nothing.
In Russian and English
anthropologist, artist, curator, doctoral researcher (Leibniz ScienceCampus Regensburg.
SUNDAY / JUNE 28
Today we call you to follow the instructions ~ scores ~ exercises as a practice of dispersed collectivity — as an attempt to live this day together at a distance. Some of the instructions are in the schedule grid, some of the instructions you can self-organize in a collective chat, luring others to joint practice and sharing your performance experience.
⚡Virtual Library⚡
⚡Live⚡
All events are held in Minsk time (CET+1)
13:00-13:30
Great Circus of Failure and Masha. Randevu / SIC (Short Introduction to Communication) / Performance of the score / stream / audio-channel in the collective chat
“Score for 3 participants and several spectators / guests
Skype
Participant intervals (min.)
1: 56312737
2: 4672365
3: 667727
+N ———––
GRR (General Rules of Randevu):
Participants agree on the time of ‘Randevu’
Participants get acquainted with the score and invite guests
Guests are not acquainted with the score
One of the participants creates a group call in Skype
‘Randevu’ starts when all participants are present in a group call
It is advised to turn off the microphone and camera at the beginning of Randevu and to turn them on in the moment when you want to join the event
Guests can leave and return to ‘Randevu’ during the process
Guests can react to events and join them, but it is not required
‘Randevu’ ends at the expiration of the score
RRP (‘Randevu’ Rules for the Participants):
For the each participant, active intervals alternate with the passive ones
The participant chooses by him-/herself which one to start with
The duration of the time intervals can be measured by internal sense
For each interval, the participant selects a random object (*) from the environment and interacts with it by use of the available Skype tools: sound, video, photos, text messages, screen translation Interaction tools should differ in the adjacent intervals of activity
In such a way the participant broadcasts the selected object to all the others, who are present at ‘Randevu’
Non-verbal broadcasting is recommended
It is advised to pay attention to the activity of other ‘Randevu’ participants and use the reaction in your own activity”
In Russian and English
The score ‘Randevu’ is an attempt to formalize and structure an experience in distance communication explored by Masha Komarova and Great Circus of Failure from winter 2019 and spring 2020.
Great Circus of Faliruse was found by Masha Fomenko and Petr Laden in the spring of 2018. Working with interactive performances and new media, Circus is exploring the forms of co-creation and fragile sincere interspecies coexistence.
Masha Komarova is a Belarusian artist, currently based in Brussels. She is interested in postdramatic theatre and intermedia arts. Everyday aesthetics plays an important role in Masha’s artistic approach. The perception and experience of objects from both points of view of a spectator and a consumer afterwards find a reflection in Masha’s art works.
https://www.greatcircusoffailure.com/
https://mariakomarova.wordpress.com/
14:00
Alisa Oleva. zoom walk / collective walk / a shared WhatsApp group
everything seems so far away these days. we are so far away from each other. let me invite you on this zoom walk which might bring all things closer. as close as possible. on the agreed day at agreed time we all start walking wherever we are. once you want to take a photo of something to share, do that on your phone camera with the maximum zoom only and send to the group. let’s bring it close.
participants should have a mobile device with internet connection and possibility of sending photos via WhatsApp. Link to the WhatsApp group
In Russian and English
Born 1989 in Moscow. Based in London. Alisa Oleva holds a BA and MA from The Courtauld Institute of Art and an MA in Performance from Goldsmiths. She treats the city as her studio and urban life as material, to consider issues of urban choreography and urban archeology, traces and surfaces, borders and inventories, intervals and silences, passages and cracks. Her projects have manifested as a series of interactive situations, performances, movements scores, personal and intimate encounters, parkour, walkshops, and audio walks.
21:00 - 21:30
The vocal-instrumental ensemble Red Hogweed. Shift / Dance / stream stream in WHPH instagram
Over a certain period, we will dance, according to pre-prepared instructions. We will move outwardly asynchronously, as one body, and inside ourselves — synchronously. In this way we can be at a timeless point and explore the space around us and our thoughts and feelings about it.
Everyone can join the dance. To do this, use the instructions.
Can a dance be timeless? How human body feel during the dance? Do we own our body during the dance? Who or what does it belong to? At what time point is it located? Can we, while dancing, exist simultaneously in the past, present and future? Time is always about synchronism and asynchrony. Asynchrony is a mismatch in time. Is it possible to assume that asynchronous dance is timeless? We are sure that it is.
“Red Hogweed” is a group of artists and artists from different cities of Belarus who, as one organism, explore the themes of exclusion / inclusion, physicality and sexuality. Each and every project participant is an independent artist, but together we have a lot more solutions and forms.
MONDAY / JUNE 29
A fracture-day, which leaks beyond the schedule and ruptures regular rhythms of the event. The day when we propose to test extended and limited features of online cinemas, shows and streams.
⚡Virtual Library⚡
⚡Live⚡
All events are held in Minsk time (CET+1)
20:00 - 22:00
Albert Allgaier. Cinema Shiro / Online screening / audio-channel in the collective chat
Cinema Shiró is an international film festival dedicated to a single movie. By using an obscure recording of a late night television broadcast on VHS tape it explores the social, sculptural and situationist dimensions of collective movie experiences. For WHPH we will re-examine and re-configure the possibilities and limits of online screenings – expanded cinema, literally.
Albert Allgaier completed an M.A. in Japanese Studies in Vienna and Yokohama. He is the co-founder of the collective GRUPPE UNO WIEN and the curator of the BregenzBiennale (2012, 2014, 2016, 2018, 2022).
TUESDAY / JUNE 30
A day-manifestation of the post-socialist queerrrr time: reconstruction of time and collective filmstrip watching.
⚡Virtual Library⚡
⚡Live⚡
All events are held in Minsk time (CET+1)
19:10 - 19:40
Timothy Maxymenko. Digital walk / Digital walk 💥💥💥💥 To take part please fill in the google form before **23:59 June 28**. ❗️❗️❗
I invite everyone to participate in a collective digital walk which will be a created online space with many different paths and portals that will use hyperlinks to move from one to another. At some point, those wandering in hyperspace will be able to intersect and diverge in the same way. Something is open access but something is private, somewhere you can add and leave a message and somewhere just pass through. Privacy settings will determine the texture and materiality of the spaces. 🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗🔗
To participate, you will need to register via Google form ⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩⏩ Then each participant will receive a confirmation letter with instructions and a personal starting page.
In Russian and English
Timothy Maxymenko is an Ukrainian artist who works with audio, video, installation and performance. In his art practice the city becomes an organism for research and interaction. Currently based in London, UK.
20.00 - 20.50
Judith & Franca. t.b.a. / Reenactment of late GDR lesbian-feminist utopian gathering / video conference / audio-channel in the collective chat
Late Socialism in Germany was the time of awakening of lesbian-feminist potentialities. During the few and long months when everything seemed uncertain and possible, groups of (lesbian) women gathered in all GDR-towns to redefine their place in society. Few months later, their new-found voice was drowned in the noise of neoliberal chit-chatting. But when we listen closely, their agitated, angry, loving voices still resonate in us.
We want to examine the queerfeminist potentialities of late socialism, letting its dreams and ideas slip through broken time into our realities, connect to past present and examine our present past. What has been there all the time? What was lost on the way? Time to re-connect.
In English
We are two queerfeminist
21:00
Supercalifragilisticexpialidocious. «How to climb on a branch and stir it» / Collective diafilms (filmstrip) screening / audio-channel in the collective chat
Collective diafilm (filmstrip) screening: Tales from Turi by Antonio Gramsci
The slides will be translated into English if necessary. Instructions in Russian can be found here
Artistic group focusing on the production of filmstrips and organising situations of collective viewing/ reading
WEDNESDAY / JULY 1
The day and days that are let for slipping and mixing your connections, accidents, network touches ﻩﻩﻩﻩﻩﻩﻩﻩﻩ ﻩﻩﻩ
≋Entrance to all events is free≋
≋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.