ru

Decentric
circles
assembly

ЀБ
 

July 25 — July 28 2024

Warsaw, Poland

with SDK SƂonecznik, Center of the Roma Community, Turnus na Wolskiej + public spaces, anywhere, in-between

pre-programmed contributions + possibilities to spontaneously join and/or initiate activities during assemblies

In the course of the never stopping crisis of imperial warfare of Russia against Ukraine, destruction of networks of solidarities in Belarus, and multiple crises that are unfolding around the globe, driven by the entanglement of multiple imperialisms – in Artsakh, Palestine, Peru, Congo, Iran, Syria, Sudan, Kazakhstan, Belavezha Forest to name just a few – we are in need to think of the ways of surviving, struggling and supporting each other, of taking care of the existing and weaving new alliances. We propose to discuss, remember and make use of many things that we have been practising for centuries – mutual aid, solidarity, sabotage, striking – against the power of capital, police state, colonial dispossession and social deregulation. Building on the legacies and now-struggles of our comrades, we feel urgency to meet to regenerate, to archive, to define tools, to have a moment together. We would like to open the space of the assembly. As a horizontal space of discussions, as polyphony of contributions, as shared time. We propose an assembly of tools, intuitions, magnetisms, tricks, songs and deep hangouts. We imagine assembly not only as an anarchist tool of decision making with its own dynamics, discipline and patient velocities, but also as a medium – of struggle, of joy, of listening and performing. We see assembly not only as a flow of conversations, but also as decentric circles that derive from similar places but have various radius: thematically, spatially and involving temporalities of different kinds. Keeping in mind this as a structure for organising assembly days in Warsaw, we think that each circle can include both pre-programmed and spontaneous contributions during assemblies.

Participation in the assemblies are open for all. Assemblies will be shaped around following Decentric Circles:

ÖŻ ◌ْ◌۟◌۠◌⃘◌⃙◌⃚◌⃝⚆⚈ Decentric Circles Beyond Centres

redefinitions of solidarities, east-south, post-socialisms, sabotage, nonwestern imperialisms, hacking, cyber partisaning, geometries of imperialisms, sensing of dissensus, westernmost east, logistics, offshore-nearshore, outsourcing gradients, rural-urban divide, landscape dramaturgy, unevenness

ÖŻ ◌ْ◌۟◌۠◌⃘◌⃙◌⃚◌⃝⚆⚈ Decentric Circles of Anarchy

yard assemblies, self-publishing, mutual aid, indymedia legacies, weaving, fugitive infrastructures, comradeship, anarchopunk, contradictions of vertical / contradictions of horizontal, post-anarchism, affinities, economies of peripheries

ÖŻ ◌ْ◌۟◌۠◌⃘◌⃙◌⃚◌⃝⚆⚈ Decentric Circles of Immeasurability

scales, grids, projections, minor-, perpendicular-, intersection, materiality of circles we are in, commons of fantasies, walking, deep time / quick time, extraction, invasive infrastructures, (anti)psychiatric practices, something that is not possible to measure, away from solutionism and growth, how to go through the circles, de-centering as joyful practice, trans*feminist futures, Belavezha forest, anti-Frontex, exile bureaucracy

ÖŻ ◌ْ◌۟◌۠◌⃘◌⃙◌⃚◌⃝⚆⚈ Decentric ĐĄircles of Leisure Unrest

striking event, human strike, time strike, non-work, refusal to work, anti-capitalist leisure, burnout and around, time to survive, leisure on a periphery of empires, practices of co-presence, spare time, political dance floor, queer time

◌ْ

Working language of the event is English. Depending on needs, whispering translation to other languages can be possible.

Contributions:

ATOM, Azar Mahmoudian, Gleb MichaƂowski and Urszula Kozak, Hanna Grzeƛkiewicz / SONIC TOMORROW, Iryna Loskot & Oleksii Minko, Joanna Zabielska, Kasia Wolinska, Kuba Gawkowski, Lera and Ania, Mark Cinkevich, Matthieu Levet and Lucie Pinier, Museum of Stones, Mycelium, Oleksii Minko, Post Brothers, Serena Lee, Tytus Szabelski-RĂłĆŒniak & Hubert KarmiƄski, Vera Zalutskaya and Kirila Cvetkovska, music by Olga Markowska, ysotopic xpecies

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

≋SCHEDULE≋

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

July 25 — July 28

 

 

25 July 16.00 - 20.30, near DRUZHBA pipeline, outdoors
26 July 11.30 - 22.00, SDK SƂonecznik, outdoors
27 July 11.00 - 21.30, Roma Community Center / Romano Kulturno Centro, Vistula River
28 July 11.00 - 00.00, Bazar Olimpia, Turnus na Wolskiej

⚡Ongoing events⚡

 

ATOM. Guided walk with
 / đŸš¶â€â™€ïžđŸš¶đŸżâ€â™€ïž

How does the city feel like when you recently moved here, especially if it is not easy to come back? What routes do you carve and weave in it? What places become familiar, where do you start to grow memories and new relationships and what places remind you of your hometown? What are those new mappings, crossroads and intersections?

For this year’s gathering we were asking ourselves a question of what voices we want to hear and that we would like not to lead a walk but to invite our friends who recently moved to Warsaw to become our local guides for an hour. We invited them to think of some places they have made connections with during their life here and to take us on an improvised intimate walking tour between them. We would like you to explore together with you and our friends how these new routes and places of our friends add to the fabric of the city and re-write and re-create it.

You don’t need to bring anything — just come. The walks will go in any weather and try to travel light.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
ATOM

ATOM is an art duo formed by Alisa Oleva and Timothy Maxymenko. ATOM creates situations and experiences within urban spaces of portals and spaces in between, shared encounters, places for meetings and encounters, scores for movement and listening.

 

Azar Mahmoudian. Social Bubbles and Prefigurative Platforms / conversation

In segregated societies, living in bubbles turns into a split experience. Insulation becomes a survival mechanism; creating spaces of self-affirmation against systemic erasures and maintaining pockets for sanity amongst eroding landscapes. They become “prefigurative platforms” to experiment with collective desires and political scenarios in nascent and loose forms, before solidify in the public sphere. Yet closed circles could end up in reproducing segragation too, where borders of self-care and care for others get either intensely blurred or violently polarized. Thinking of cultural infrastructures, what is to be learnt from working conditions which require limited visibility and scale? While often associated with precarity, practicing such limits could also be understood as strong ethical and political positions. They could introduce alternative value systems, in contrast to liberal notions of openness, transparency and myths of accessibility, which define leverage of cultural institutions in current times. This conversation will speculate over potential unfoldings caused by inward moves: acknowledgment of the already existing, relying on kinships and reformulating ones own relation with history. For instance, how trans-historical bonds, intergenerational time and memory turn into infrastructures? Respectively I reflect on how these have been formative for my curatorial practice, in terms of self organization, space making, and working with exhibitions as sensory technologies.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Azar Mahmoudian

Azar Mahmoudian is an independent curator and educator. She runs an independent study program in Tehran and mountains of Iran and Armenia, and was part of the collective that organized Kaf in Tehran. Both platforms refrained from having an online presence.

 

Gleb MichaƂowski and Urszula Kozak. bazaar olimpia. choreographic tour / Art Intervention and picnic

We meet at the entrance at 12.00 -> we split We have 1 hour to find an artifact to buy inside (please take at least 10 PLN in cash) After 1 hour we meet at the empty abandoned stadium, at the very centre of the bazaar.

We have a picnic there and discuss our artifacts and their possible histories from the point of view of the “anthropology of things”.

Note: we meet there close to 12.00 , bazar is slowly closing at that time. You still may buy fruit/antiques. You have to bring cash. 10 PLN should be completely enough to buy lots of stuff there. While we have a picnic all the vendors will be slowly packing up to leave.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Gleb MichaƂowski and Urszula Kozak

Gleb MichaƂowski. Anthropologist of contemporary dance and contemporary dance. Urszula Kozak. Visual artist and who/where

 

Hanna Grzeƛkiewicz / SONIC TOMORROW. SƂuchowisko: imaginaries of borderlessness / A listening session (sƂuchowisko), where participants gather to listen to a sound work together and discuss afterwards

Resonating with the Polish word for ‘bonfire’ (‘ognisko — a place of/for fire’), the live format is a participatory listening experience in which the listeners become part of the work and the sound piece becomes the bonfire at the centre of the gathering. Combining field recordings, storytelling, speculative narratives, research, and music, this sound work reflects on the existing border fluidity of the Podlasie region (the region on the Polish side of the BiaƂowieĆŒa Forest), developing images and imaginaries of a borderless future.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Hanna Grzeƛkiewicz / SONIC TOMORROW

Hanna Grzeƛkiewicz is a curator, writer and researcher working with sound and words. Her artistic practice centres on the relationship of art with social movements, listening and sonic fictions. She works in collective, participatory and public settings in keeping with her engagement with queer-feminist, migrant and anti-capitalist movements. She is currently working on projects that explore sonic agency in feminist protests and Eastern European sonic fictions through queer-feminism and ecology. She works often as part of the SONIC TOMORROW collective.

sonictomorrow.org

Caption to this image: Image of the new fence on the Polish-Belarussian border, crossing the Narewka River

 

Iryna Loskot & Oleksii Minko . Touch some grass / narada (Ukrainian: Â«ĐœĐ°Ń€Đ°ĐŽĐ°Â»; meeting, conference)

To compensate for the enormous cognitive workload that capitalism and its accompanying imperialist wars impose, psychological bloggers often recommend outdoor recreation. In addition, the users of social networks send other people to “touch some grass” to overcome the delusion that comes with discussions on platforms filled with massive amounts of information. It is no coincidence that parks and gardens in cities are called recreational areas, which are supposed to recover workers after a hard week in the city or in the feed of Instagram. But doesn’t the recreation area then become a place of reproductive work for non-humans that delays the rest for all? If so, is it possible to turn the forced displacement of the workers to local recreation areas into voluntary participation in the recreational assemblies from which one can return to the city with a different sensitivity that will lay the foundation of the struggle for the emancipation of humans and non-humans from the outsourcing of recreation/reproduction? At the narada/meeting, we offer the participants and the environment to share the problems of the ghettoization of leisure and to look for ways of solidarity and cooperation in the situation of ontological differences between human and non-human languages.

The plan of the meeting will consist of conversations and several exercises that will help to distinguish the environment as a potential comrade and exchange with it the ways of escaping from the instrumentalizing framework for life and work.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Iryna Loskot & Oleksii Minko

Iryna Loskot (2001, Mirny, Yakutia/ moved to Kharkiv, Ukraine, in early childhood) is a Ukrainian multidisciplinary artist. Her practice explores the exploitation of the environment and resistance to this exploitation. In her works, Iryna creates a shared space of memory about humans and non-humans. Her approach involves evoking empathy for non-humans by revealing their presence in a person’s individual memory. The artist aims to undermine the anthropocentric view through images of blurring the boundaries between human and non-human experiences.

Oleksii Minko is a writer and artist. Born in 2000 in Berdyans’k, Ukraine. Based in Kyiv. He is a graduate of the Department of Philosophy at the Dragomanov Ukrainian State University. His interest lies at the intersection of digital humanities, art theory, and political philosophy. Oleksii creates videos, performances, and theatrical works based on socially-critical optics.

 

Joanna Zabielska. 
 Of the Anonymous / Performative Lecture

In the design of this anonymous project, individual bags can be worn on the body like garments. Numerous bags come together to form walls, creating a garment that acts as a third skin, a tent, and a collective body space. The material and the numerous bag handles hint at their original purpose. When the small space of a travel bag expands to encompass many bodies, it becomes a space of action in both a physical and symbolic sense.

We reflect on how strangely intimate and yet open to distant worlds this space feels. Why does this shell enable such specialness? Is it the agreement to share a space for a certain time? In this space, people who do not know each other place hands on one another, forming and playing in a common area for a set period. Pockets are unraveled and sewn anew, revealing personal treasures of experiences and stories from their luggage. We find ourselves inside a pocket, opening our own. Stories told are carried on and projected onto the tent skin, allowing the voices of those who have moved on to be heard. In this social and experiential narrative space, even people who have never met physically come together. The projections on the semi-permeable membrane reveal something of the inner world to outsiders.

This project explores stories of migration, and notions of home, belonging, and otherness. For this iteration, we propose a performative reading, involving the sewing of the ‘carrier bag’ and using texts and theories by Ursula Le Guin as a starting point. Projections of stories and experiences collected during the public iterations of this project will also be included. The checkered bag, familiar in many parts of the world, particularly among marginalized and migrant groups, serves as a focal point. Together with the audience, we open the discussion to unpack our individual experiences with notions of home and belonging. https://www.instagram.com/designdesanonymen/

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Joanna Zabielska

Joanna Zabielska (born in Warsaw, living in Vienna) works at the intersection of digital art, exhibition design, architecture and urban planning. After graduating in Spatial Planning at the Vienna University of Technology and in Social Design at the University of Applied Arts Vienna, she expanded her digital skills at Digital Art at the University of Applied Arts Vienna. As a freelance designer, she has collaborated with various curators, offices and institutions, including: MAK — Museum of Applied Arts, Das Metro Kinokulturhaus, Das Wien Museum, Schallaburg, NS-Dokumentationszentrum MĂŒnchen, Das JĂŒdische Museum Augsburg Schwaben, Graz Museum, Museum fĂŒr Geschichte Graz. As an artist she was supported by SHIFT Basis.Kultur Wien, KÖR- Kunst im öffentlichen Raum Wien, MA7 Stadtteilkultur und InterkulturalitĂ€t and Foreign Ministry with Austrian Cultural Forums.

 

Kasia Wolinska. Heartfelt spaces and (collective) self-regulation  / Movement practice and collective reflection

I would like to offer sharing of my current research — the brief introduction will be followed by a movement practice incl. a reflection on a body mind experience. Departing from a personal crisis, I dived into a pool of questions regarding (any) future of artistic practices (coming from the context of Eastern European subjectivity) and a formation of community that can resist the polycrisis. These led me to investigate religious practices related to spirit possession, choreo-musical catharsis and female destinies. Following the ethnographic work of Ernesto De Martino and his reflection on apocalypse, I am experimenting with ways in which the self and the environment can be brought into a different kind of relation, one of porous intercommunication and transformation. I would like to share this in the form of a score aimed at “healing” — the word itself I would like to appropriate and contest at once, propose it as something structural, social and systemic rather than individual self-discovery — even if such self-interrogation is a step towards it. I would like to share and reflect collectively on certain aspects of working with spirit while bringing them back into a socialist context, looking at the construction of self and community, role of devotion and the transcendental in formation of resistance practices.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Kasia Wolinska

Kasia Wolinska – choreographer, dancer, and writer born in GdaƄsk, living in Berlin. As a dancer and choreographer, she collaborated with, among others, Lina Gomez, Sergiu Matis, Anna Nowicka, Rosalind Crisp, Anton Vidokle, Rob Hayden. She created a few choreographic works of her own e.g. KISS (2022), Salvage (2021), Dance, Pilgrim Dance (2017). Since 2018, she has been writing a blog on dance and politics www.danceisaweapon.com. Her collectively and individually written texts were published in e.g. e-flux, Palletten, Dialog, and in books Danceolitics or Choreography Autonomies . In 2019-23 she was a board member of ZTB e.V. Currently she is a member of systering, a transnational collective of artists, writers, dramaturges and cultural workers.

 

Lera and Ania. Solidarity practices of Belarusians: Is going beyond seeing ourselves as unique state violence survivors possible? / discussion / reflexion

This is an interactive event focused on reflexions and personal experiences. At this event we would like to engage the participants in taking a critical approach to the hailed solidarity and mutual aid practices developed by Belarusians in and after 2020 and look at how they react to the treatment of “other” migrants storming the Fortress Europe, as well as to other wars beyond the war in Ukraine. We will explore what the idea of the nation-state and the media and international organisations’ discourse have to do with our solidarity trends and try to understand if it’s possible to stop competing for attention of “the high and mighty” and gain strength and learn from others who are hurting.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Lera and Ania

Lera is an exiled Belarusian anarchist, mostly focusing on anti-repression work, education on anarchist theories and practices, translations, and fighting the western leftist pacifist rhetoric in the context of the war in Ukraine. Ania is a queer-feminist and anarchist from Belarus interested in the ideas of nationalism, identity, and solidarity.

 

Matthieu Levet and Lucie Pinier. Orphids / sound performance

Orphids is stable music: circular, repetitive, everchanging and meant to induce various effects on the audience. It convokes visual images by using simple electronic pulsations and fragmented elements and connotations. The idea of shifting elements and connotations was our departure point. We aim to produce a sound that isn’t meant for a particular context.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Matthieu Levet and Lucie Pinier

Brussels based Matthieu Levet and Lucie Pinier are artists and musicians. Active in a number of solo and duo projects, Orphids is their third collaborations as a duo (after two editorial projects : Fruiting Body in 2020 and Eastern Voices — w/ Anatoly Belov, Zofia NierodziƄska, Sasha Zubritskaya, Krasnye Zori — in 2021). Matthieu runs the music label Cold Moss. Lucie is an independent curator, co-responsible for the exhibition of the queer festival Homografia in Brussels.

 

Museum of Stones . Museum of Stones Reading Situations / Reading Situations

The Museum of Stones was created as a reflection and speculative extension of the self-publishing practices that appeared during the protests in Belarus and continue today. As a hybrid infrastructure, such publications, also known as neighbourhood newspapers, are created through grassroots initiatives and distributed via digital platforms and streets. Everybody can download the issues from Telegram channels, print them out at home and put them in mailboxes, cafĂ©s or other public places. Protest neighbourhood newspapers create common solidarity structures that disseminate essential political information, in light of the majority of independent media in Belarus having been closed down and deemed ‘extremist’. By utilising political imagination, The Museum of Stones provides opportunities for more voices to be heard, creating alternative or additional ramifications in the existing infrastructure of neighbourhood newspapers. The newspaper issues are devoted to the possibilities of organising care infrastructures in a particular neighbourhood, with the practices of the ‘cybernetics of the poor’ serving as an antithesis to ‘high technology’ through multiple interviews with anarchists, representatives of the LGBTQ+ community and militants, among others. Telegram bot @stones_museum_bot

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Museum of Stones

The Museum of Stones editorial collective is an experimental cooperative that brought together nine artists, cultural workers and social workers. It was formed in 2021 and is based on collective reflections on residential neighbourhood protest activities and alternative support infrastructures in Belarus.

 

Mycelium. Mycelial Gathering / picnic/workshop/tea party

Food and emotions are our everyday but are also deeply embedded in colonial practices and entanglements. Building on the idea of the mycelium — as a complexly interdependent network of communication, exchange, vulnerability, and losing ground beneath our feet, we offer a picnic/tea party to explore together the colonial machine of producing emotions, and feelings that are not neutral or personal but deeply political. Like food, feelings can reproduce ambivalent effects — being a practice of exclusion, oppression, and a means of solidarity and togetherness. We invite everyone to a picnic/tea party to think together about our connections and sharing.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Mycelium

Mycelium is a research laboratory focusing on the exploration of colonial dependencies, decolonial practices and infrastructural entanglements in relation to the Belarusian context. Based in Warsaw spreading its mycelium everywhere

 

Oleksii Minko . The waves have gone, leaving dead fish on the shore / Reading of the play

The play is an impossible debate between Mykola Khvylovy (1893-1933), Mark Fisher (1968-2017), their friends and enemies about their versions of unrealized or delayed futures, West, and (trigger warning!) suicide, with episodes of role-playing discussion for the audience. The reading/role-play discussion will expose the contradictions of Western leftist melancholy in the face of new challenges to solidarity, which include reactivated non-Western imperialisms and historically disseminated resistance to them in the Westernmost East. In addition to mapping out multiple transtemporal polemics, it will attempt (with the help of participants) to invent a situational platform for an open, unfinished togetherness.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Oleksii Minko

Oleksii Minko is a writer and artist. Born in 2000 in Berdyans’k, Ukraine. Based in Kyiv. He is a graduate of the Department of Philosophy at the Dragomanov Ukrainian State University. His interest lies at the intersection of digital humanities, art theory, and political philosophy. Oleksii creates videos, performances, and theatrical works based on socially-critical optics.

 

Post Brothers . We address you as an orderless party
  / Lecture / Presentation / Discussion

Around 1905, insurrectionist anarcho-communist movements became a major political force in Bialystok, serving as a prominent node in a regional and global network of revolutionary activity. These radical groups held regular BirĆŒa “worker exchanges”, where different political factions would come and discuss ideologies and revolutionary tactics, distribute literature, tell about worker struggles in the surrounding cities, shtetls, and villages, and organize public demonstrations, strikes, and acts of expropriation and overt violence against the ruling class, the police, and the Russian army. Anticipating the political occupation of public space today, the BirĆŒa was a kind of self-organized street parliament where everyone had the right to participate, vote, speak, and organize, serving as both a revolutionary school and a social club for diverse communities. This presentation will draw on the echoes of this volatile history and will reflect on the 2021 exhibition In the beginning was the deed! at Galeria ArsenaƂ in BiaƂystok (curated by Katarzyna RĂłĆŒniak and Post Brothers), which incorporated anarchist working methods and used contemporary art to bridge the past with current struggles, reintroducing this repressed legacy of workers rebellion to the local context. Exploring what this movement could mean for political, artistic, and intellectual life today, the presentation will also examine the radical potentials of ‘an-archival’ history telling.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Post Brothers

Post Brothers is a critical enterprise that includes Matthew Post, an enthusiast, word processor, educator, and (co)dependent curator often engaged in artist or politically-oriented projects or occupying the secondary information surrounding cultural production. From 2016-2019, Post Brothers was the curator at Kunstverein MĂŒnchen, Munich, Germany, and from 2021-2023, they were an Associate Professor at the Royal Danish Academy of Fine Arts, Copenhagen, Denmark. They have curated numerous exhibitions and projects across the world, and regularly publish essays in artist publications, exhibition catalogues, and cultural journals. They also participate in exhibitions with text-based and performative contributions, and lecture in art and educational contexts across Europe. They live in Kolonia Koplany, a small village near Bialystok in eastern Poland.

 

Serena Lee. Floating resistance / Play with material and weather

I’m interested in flying/not-flying – what is between moving and not moving? I’m curious about de-centring “the centre” through movement practices. I want to make kites with “no centre” to try this out. I have a loose idea of making a huge, weird kite and trying to fly it together. I would prepare the fabric/structural elements and we could sew/assemble it together, and then go to a park or open area to see if/how it flies.

if you have lightweight scrap fabric for the kites — please bring it with you ~

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Serena Lee

Serena is interested in how energy circulates. Her artistic practice follows this curiosity through different aesthetic modes. She was born in Canada, where her family moved from southern China, and she is currently based in Vienna, finishing a PhD at the Akademie der bildenden KĂŒnste Wien.

 

Tytus Szabelski-RĂłĆŒniak & Hubert KarmiƄski. Flow Control / Expanded guided tour

Infrastructure for transporting raw materials such as oil and gas can be as much a tool for building trade relations as for waging conflict – as became clear after Russia opened a new phase of its war against Ukraine in February 2022. Throughout a walk we will tour a section of the “Friendship” oil pipeline, running from Siberia to refineries in PƂock, Poland and Schwedt, Germany. The structure emerges from under the ground at the point where it crosses the Narew River, between ZegrzyƄski Reservoir and Nowy Dwór Mazowiecki. This is where the strategic fuel pipeline – now dead, but until recently transporting crude oil from Russia to the European Union – materializes before our eyes and becomes vulnerable. Interestingly, the pipeline is also accompanied by a transcontinental fiber-optic cable transmitting vast amounts of data – sometimes referred to as “new oil.” The walk will be narrated with stories of the pipeline and its natureculture surroundings, accompanied by live and pre-recorded soundscapes.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Tytus Szabelski-RĂłĆŒniak & Hubert KarmiƄski

Tytus Szabelski-RĂłĆŒniak, photographer and visual artist. Graduated journalism at Nicolaus Copernicus University in ToruƄ, Poland, and photography at the University of Arts in PoznaƄ, Poland where he completed his doctoral studies. His works are part of Arsenal Municipal Gallery in PoznaƄ art collection and Raffles Europejski Hotel in Warsaw art collection. Finalist of Polish and international contests for best art master’s diploma work (e.g. StartPoint Prize 2016 in Prague, Czechia). Laureate of Konrad PustoƂa memory scholarship for socially engaged photographer (2017), awarded with Visegrad Fund Sound and Visual Arts Residency (TrafĂł Galery, Budapest, 2021) and Biennale Warszawa residency (2020). Currently works at Visual Narratives Laboratory at ƁódĆș Film School | tytusszabelski.com

Hubert KarmiƄski (ꓘrmnƚʞ), a versatile artist with a background in electronic music, graduated from the Danish Institute for Electronic Music (Royal Academy of Music Aarhus). He debuted as a composer and director with “Information Cage” in 2023. He is a co-founder of projects such as the net-label Wielu Nagrania, the Hiatus festival and UFFF. He has performed with various bands, including Drogi Krajowe, Hirjjo. KarmiƄski has composed music for various plays and exhibitions, including AMZN or Divide and Connect | www.krmnsk.com

 

Vera Zalutskaya and Kirila Cvetkovska, music by Olga Markowska. Sedimented Motion / Video, 8.32 min

A story of a friendship and its seemingly impossible passage between North Macedonia and Belarus, and everywhere else in between. What happens when the return home is a shared experience that remains only a reference for a future out of reach? How do systems of power impact a mundane daily life? Who gets access to the imagination? And how to live with a memory that becomes heavy overnight, without warning? Questions, rules, surveillance, control. Yet, there is so much to hope for.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
Vera Zalutskaya and Kirila Cvetkovska, music by Olga Markowska

Kirila Cvetkovska (b.1990, Kriva Palanka, North Macedonia) is an independent cultural practitioner. She holds a BA in Art History with a minor in Psychology from John Cabot University and is a United World Colleges alumna. Cvetkovska is part of the curatorial team for EternalTiber, a multidisciplinary cultural project for the revival of the Tiber River in Rome, Italy, through collective urban reimagining and site-specific contemporary art. As part of this initiative, she has worked in the research and curatorial team to William Kentridge’s Triumphs and Laments project, a large-scale public artwork for the Tiber River in Rome. She is also the producer and curator at the Center for Audiovisual Arts in her little hometown (Kriva Palanka) in North Macedonia, and a founding member of the Zone Collective, together with historian/curator Megan Hoetger, developing interdisciplinary methodological and narrative approaches to research. Cvetkovska has taken part in numerous curatorial and artistic residencies in the Balkans and internationally. Her practice engages with themes of collective memory, loss and detachment, investigating the dynamics of economy and power structures between ‘central’ and ‘peripheral’ regions, at the intersection of culture, politics and language.

Vera Zalutskaya (1991, b. Grodno, Belarus) – contemporary art curator, writer and manager. Co-editor-in-chief of the Blok Magazine (2021-2024), co-founder of MOST magazine. President of the GESSEL Foundation for the National Museum & Zachęta — National Gallery in Warsaw. Member of the Artistic Council of the Konrad and PaweƂ Jarodzki artist-in-residence program (together with Zbigniew Libera, Dorota Monkiewicz, Ruth Noack and Joanna SokoƂowska). Since 2014 she has curated exhibitions and edited publications in Belarus, Denmark, Poland and Serbia, showcasing the works of artists from Belarus, Bosnia and Herzegovina, China, Croatia, Denmark, India, Japan, Macao, Poland, Serbia, Spain, Sweden and Ukraine. In the years 2020–2022, she was a member of the artistic, curatorial and activist ZA*Grupa (together with Yuriy Biley and Yulia Krivich). A graduate of the European Humanities University in Vilnius and the Jagiellonian University in KrakĂłw. As an invited mentor, Zalutskaya has taught among others at Salzburg Summer Academy (assistant to MaƂgorzata Mirga-Tas), POST MA at Latvian Academy of Art, Warsaw Academy of Fine Arts. Lives and works in Warsaw.

 

ysotopic xpecies. Random timespace distribution / street performance/ intervention

We would like to make a performative exploration and street performance/ intervention, which exposes processes that are used in AI for instance Markov chains and random walks. Our performance is a grid mapping exercise, where participants are chosen to perform a set of tasks provided by the algorithm. The intervention is based on the experience of AI tutoring in which you must imagine yourself as AI. Our prompts are: time, space, reasoning, probability distribution, computational ecology, state, transition. We connect it to the grid, walking, commons of fantasies and (the loss of) commons of imaginations to neo-capitalist structures. Whether decentering your decisions to computational processes can bring you joy or some other feelings. Please take with you your smartphone.

Place and time (if it is relevant): The location will be announced soon, it will be near the Palace of Culture and Science.

Duration: 1 hour

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
ysotopic xpecies

ysotopic xpecies is a bio techno collective that looks at cross-contamination between biology, design and technology.

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

≋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.