Allied – Kyiv Biennial 2021

 

 

 

The fourth edition of the Kyiv Biennial, an international forum for art, knowledge and politics that integrates exhibitions and discussion platforms, will take place from October 16th to November 14th 2021. The upcoming edition – Allied – emphasizes cross-border collaboration and is jointly curated by members of the East Europe Biennial Alliance: Biennale Matter of Art Prague, Biennale Warszawa, Kyiv Biennial, OFF-Biennale Budapest and Survival Kit Festival Riga.

The diverse biennial program will address various historical forms and contemporary examples of cultural and political alliances in Eastern Europe and beyond and their ability to create new social formats. Allied – Kyiv Biennial 2021 will present a series of art projects and educational events particularly focusing on the current conditions, political factors, and institutional actors that foster new alliances in the 21st century. Once again, the Kyiv Biennial will explore the architectural context of the city and the residuals of Soviet modernism – the main location of this year’s edition will be the House of Cinema.

The Kyiv Biennial is organized by the Visual Culture Research Center. Previous editions explored the emancipatory potential of the idea of the political International, and the political and cultural role of modern information technologies as well as social transformations that have happened in Eastern Europe over the past three decades.

East Europe Biennial Alliance was established in 2019 in order to propose new forms of international solidarity, expanding socio-political imagination and alternative cultural solutions. Through connecting aesthetics and politics, the Alliance constructs a different narrative of the East European region and redefines the way cultural institutions collaborate.

Address: The House of Cinema, 6 Saksahanskoho St.

Admission to all events will be free of charge.

https://kyivbiennial.org/

 

The project is supported by ERSTE Foundation, Foundation for Arts Initiatives, Ministry of Culture of the Czech Republic, Prince Claus Fund, State Cultural Fund of the Czech Republic, Sigrid Rausing Trust, and Ukrainian Cultural Foundation.

 

 


Lecture by Matteo Spanò “Notes on Radical Radio”

Photo provided by the lecturer.

Today, both in Europe and globally, the project of alternative information and communication, one that is positioned aside of mass media and social media alike – and beyond the power relationships and cultural values they respectively engender – acquires new relevance. Distributed production, decentralized organisation and collective participation can be, and have been, powerful driving factors for many instances of radical discourse and action. The question then is how these instances come to be mediated today, and whether an “old” medium such as radio can be reconfigured and alternatively employed – through a new, common understanding of its languages and possibilities – to bring about a change within the media landscape, a “third way” towards more free and open means and spaces for communicating together.

Matteo Spanò is a researcher, musician and radio maker. His work focuses on experimental radio practice, visual poetry and sound poetry. He holds a B.A. in Electroacoustic Composition from the Paganini Conservatory, Genoa and an M.A. in Sound Studies from the UdK, Berlin. He is co-founder and deputy chairman of Cashmere Radio. Together with the electro-acoustic orchestra Galata he participated in the 58th Biennale Musica in Venice. His works have been broadcast on Cashmere Radio, Deutschlandradio Kultur, Radiophrenia, WMFU, Resonance FM, among others. He is currently a doctoral candidate at the UdK – Sound Studies with a research project on Radio Alice and free radio culture.

The event will take place on December 8 at 12:00 live, the video broadcast will be available on the Facebook page of Visual Culture Research Center.

Organized by Cashmere Radio (Berlin, Germany) and Visual Culture Research Center (Kyiv, Ukraine).

The lecture will take place as part of the second part of the residency of electronic music “Nachtkultur/Нічна культура”. The project was implemented within the “MEET UP! German-Ukrainian Youth Encounters” programme with support from the Foundation “Remembrance, Responsibility and Future” (EVZ). The opinions expressed by the authors are not necessarily those of the Foundation EVZ. The author is solely responsible for the content.


Lecture by Dmytro Nikolaienko “Working with Musical Archives”

Photo provided by the lecturer.

With the renaissance of the vinyl format in the last decade, the archive / reissue label phenomenon has emerged. Soundtracks marked “first time on vinyl” or “never heard before”, rare library music, works of unknown music amateurs and so-called “bedroom producers” – all this today finds a new breath in the music world.

In the early 10s, a group of enthusiasts asked themselves: Why is there no label in Ukraine that deals with local musical archeology? In response, after six years of preparation, the ‘Shukai’ Archive Record Label was founded in 2018. It focuses on the revival of tapes made by outsider composers between 1960 and 1991, also for films and television, but which were forgotten or have not even been heard by anyone. The lecturer seeks to lift the veil over the process of working with archives, not least by formulating problems that hinder its implementation. It is also proposed to consider why preserving the musical heritage of Soviet Ukraine is important.

The event will take place on December 5 at 12:00 live, the video broadcast will be available on the Facebook page of Visual Culture Research Center.

Dmytro Nikolaienko is a Ukrainian sound-artist currently based in Tallinn, Estonia. Nikolaienko works mainly with outdated musical gear which he uses to produce tape and cassette loops as a base material for his sound collages. At the same time, Dmytro is also a founder of Muscut and Shukai labels which focus on pseudo and practical audio archaeology.

Organized by Cashmere Radio (Berlin, Germany) and Visual Culture Research Center (Kyiv, Ukraine).

The lecture will take place as part of the second part of the residency of electronic music “Nachtkultur/Нічна культура”. The project was implemented within the “MEET UP! German-Ukrainian Youth Encounters” programme with support from the Foundation “Remembrance, Responsibility and Future” (EVZ). The opinions expressed by the authors are not necessarily those of the Foundation EVZ. The author is solely responsible for the content.



Residency of Electronic Music “Nachtkultur/Нічна культура”. Second Part


November 23 – December 13, 2020

 

The second part of the Residency of Electronic Music “Nachtkultur / Нічна культура” has started. The aim of the project is to establish intercultural dialogue and engage young people in social action. The residency first took place in July 2019.

The global pandemic, against the backdrop of a political and economic crisis, has affected all spheres of life. Night culture, which only yesterday was proclaimed the most progressive, today has received the status of illegal and is under threat of extinction. The activities of independent cultural organizations were terminated, international cultural ties were interrupted, and a lack of understanding of the problems and values of the cultural sphere, as well as the lack of support from the state, confronts us with the question of whether an electronic music scene can survive COVID-19.

Given such negative socio-political circumstances, the priority of the second part of the residency of electronic music “Nachtkultur / Нічна культура” is to create conditions for continued international communication and cooperation. First of all, the format of the residency makes it possible to consider the state of emergency and try to jointly look for potential ways out of it.

For three weeks, twelve representatives of German and Ukrainian night culture will meet with the help of digital technologies, being in organized studios in Kyiv and Berlin. The residency will be accompanied by practical and theoretical seminars conducted by invited professionals, as well as a public series of radio programs created by the participants.

Organized by Cashmere Radio (Berlin, Germany) and Visual Culture Research Center (Kyiv, Ukraine).

The project was implemented within the “MEET UP! German-Ukrainian Youth Encounters” programme with support from the Foundation “Remembrance, Responsibility and Future” (EVZ). The opinions expressed by the authors are not necessarily those of the Foundation EVZ. The author is solely responsible for the content.


Culture at Crossroads: What Collaboration Do We Want in Eastern Europe?

Friday, 18 September 2020, 12:00 – 16:30 (CET), online within Biennale Matter of Art Prague 2020

East Europe Biennale Alliance (EEBA) presents ‘Culture at Crossroads: What Collaboration Do We Want in Eastern Europe?’ – an online symposium which will be streaming on Friday September 18th 2020 from 12 pm (CET). The symposium will be held in English and is organised by the founding members of EEBA – Biennale Matter of Art Prague, Biennale Warszawa, Kyiv Biennial and OFF-Biennale Budapest.

The event will be livestreamed on www.facebook.com/biennalematterofart/

Participants:
Tereza Stejskalová, Veronika Janatková, Dominika Trapp, Kateřina Smejkalová, Noemi Purkrábková, Zoltán Ginneli, Eszter Lázár, Eszter Szakács, Serge Klymko, Wolfgang Schwärzler, Vasyl Cherepanyn, Aleksandra Jach, Michał Dąbrowski, Bartek Frąckowiak, Marta Michalak

What should we expect from art and art institutions in the next few years or decades? What is their role at a time of a major social transformation? Why do we make or present art, for whom, and does it make sense to continue using the same formats and materials as before? What should art be focusing on and what difference can it make? These are old questions but they need to be asked whenever conditions are changing—and they are changing now, drastically. Without a doubt, the current situation leads us to rethink and reimagine the way art institutions, art practices, and artists operate. We ask these questions from a perspective of artists and curators who operate in the Eastern European region—the periphery of Europe. As we have witnessed again during the COVID-19 pandemic, the interconnected global challenges take specific shape in our region. How are we, the art/cultural sector (institutions, curators, critics, artists, producers) preparing ourselves to operate in the future? How should we rethink the ways of creation, production, and distribution of artworks, projects, and events?

Perhaps, as a consequence of the COVID-19 pandemic, the art world will become smaller, more local, more grounded in local communities. This can be a good thing in terms of the sustainability of both: the human and non-human lives on this planet. After all, the opportunities for artistic and curatorial mobility have never been distributed equally or justly. But the notion of local can also be a trap. Under the rule of conservative governments in our countries, critical art, critical artists and critical art institutions have become extremely precarious, in some cases even directly persecuted. International connections are a crucial resource of not only intellectual exchange and finances but also of moral and political support. In what forms, formats, and mediums will this international cooperation be able to continue? How can we share gestures of solidarity with our Eastern European collaborators, partners, friends, comrades in struggle?

The newly established East Europe Biennial Alliance, comprised of the Biennale Matter of Art in Prague, Biennale Warszawa, Kyiv Biennial, and OFF-Biennale Budapest, aims to propose a different narrative of the East European region and redefining the way cultural institutions collaborate. As contemporary biennials have become an important vehicle reaching new contexts and audiences, the Alliance is designed to enhance the role of biennials in shaping innovative forms of international solidarity, expanding socio-political imagination and elaborating alternative cultural solutions. The Alliance brings biennials together to develop a shared vision and regional collaboration producing cross-border meetings, public events and working on the common agenda for upcoming years.

PROGRAM

TECHNOLOGIES AND THE WORK OF COLLABORATION
12:00-12:10 Tereza Stejskalová & Veronika Janatková: Introduction
12:10-12:25 Kateřina Smejkalová
12:25-12:40 Noemi Purkrábková
12:40-12:50 Discussion

12:50-13:00 BreakII. DECOLONIZATION AND/OF COLLABORATION
13:00-13:15 Zoltán Ginelli: Decolonizing the Non-Colonizers? Eastern Europe in Global Colonialism and Semiperipheral Decolonialism
13:15-13:30 Eszter Lázár & Eszter Szakács: Practices of Alliance Building
13:30-13:45 Dominika Trapp: Peasants in Atmosphere
13:45-14:00 Discussion

14:00- 14:30 BreakIII. ECOLOGIES AND VISUAL POLITICS OF COLLABORATION
14:30-14:45 Aleksandra Jach & Michał Dąbrowski: How to Talk about the Climate Crisis?
14:45-15:00 Wolfgang Schwärzler: Building the East Europe Biennial Alliance’s Graphic Design.
15:15-15:30 Vasyl Cherepanyn & Serhiy Klymko. Political in Content, Visual in Form: Notes on Cultural Internationalism.
15:30-15:45 Bartek Frąckowiak & Marta Michalak: Eastern Europe: Three Scenarios for the Future of Transnational Collaboration in the Cultural Field
15:45-16:15 Discussion


Чорна хмара – Київська бієнале 2019

blackcloud.info

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Artificial intelligence, big data and Europe after Chernobyl: the program highlights of the Kyiv Biennial

Black Cloud – Kyiv Biennial 2019 will present a series of art projects and educational events focusing on the political and social role of modern technology. The main locations of the Biennial will be KPI Library and the House of Cinema.

Black Cloud, the third Kyiv Biennial of contemporary art, knowledge and politics organized by the Visual Culture Research Center, will take place on October 11 – November 23, 2019. The goal of the Kyiv Biennial 2019 is to reflect on social and political transformations in Eastern Europe over the past three decades, influenced by the Chernobyl catastrophe, the collapse of the Soviet Union, and the development of information and communications technology.

The Biennial’s program will incorporate an exhibition presenting the works of artists from Ukraine, Germany, Great Britain, India, Canada and other countries, as well as a public program featuring international researchers, scholars and activists. The exhibition will take place in KPI Library – a unique architectural masterpiece of the Soviet modernism which will become one of the locations of this year’s Kyiv Biennial. The events of the public program will also be held in the House of Cinema.

The Black Cloud exhibition will unite artists working with the topics of mass communication, artificial intelligence, environment and the Chernobyl catastrophe. In particular, it will feature a well-known installation “The Glass Room” by Tactical Tech collective, illustrating the mechanisms of personal data collection and the problem of privacy on the internet. A number of works will explore the liaisons between technology, politics and environment. For example, Susan Schuppli’s installation “Delay Decay” shows cover pages of the Pravda newspaper published in the 20-day gap between the Chernobyl nuclear accident and its public disclosure by the government, drawing parallels between radioactive threat and media manipulations. Other works question the anthropocentric perspective and address non-human life forms, such as Emilio Vavarella’s film composed of video fragments shot by animals.

The public program of the Kyiv Biennial 2019 will include around 15 lectures, presentations and panel discussions. For instance, international symposium “Communicative Militarism” focused on the phenomenon of cyberwar will take place on October 17-18, followed by a discussion on October 26-27 with Ukrainian experts and activists on how data is generated, used and protected online. A part of the public program called “Middle East Europe” will address contemporary historical conditions and ideological divisions in the countries of Eastern Europe and the Middle East that have become the battlefield for new authoritarianism and right-wing populism. It will consist of a series of lectures by the renowned philosophers, historians and political scientists, such as Geneviève Fraisse, Philipp Ther, Jan-Werner Müller, Sandro Mezzadra, Claus Offe, among others.

In 2019, Kyiv Biennial became part of the newly established East Europe Biennial Alliance, which also includes Biennale Matter of Art in Prague, Biennale Warszawa and OFF-Biennale Budapest.

Featured participants of the Kyiv Biennial 2019 include: Isabelle Alfonsi (France), Clemens Apprich (Germany), Arab Media Lab (Morocco), Keti Chukhrov (Russia), Geneviève Fraisse (France), Georgiy Kasianov (Ukraine), Oleksandr Kupnyi (Ukraine), Geert Lovink (Netherlands), Oliver Marchart (Austria), Svitlana Matviyenko (Canada), Sandro Mezzadra (Italy), Jan-Werner Müller (Germany/USA), Claus Offe (Germany), Niels ten Oever (Denmark), Nelly Pinkrah (Germany), Oleksiy Radynski (Ukraine), Raqs Media Collective (India), Kirill Savchenkov (Russia), Susan Schuppli (Great Britain), Tactical Tech (Germany), Aleksei Taruts (Russia), Philipp Ther (Austria), Emilio Vavarella (Italy), et al.

PROGRAM

October 11, Friday, 19:00 – KPI Library
“Black Cloud” exhibition opening

October 12, Saturday, 18:00 – KPI Library
“Час не чує, але він чекає на нас. On the nth Ground of the 6th Ocean: Ocean-Sensing Practices.” Performance by Kirill Savchenkov (Russia)

October 12, Saturday, 19:00 – KPI Library, Auditorium 6.5
“The Deregulation of Representations.” Lecture by Geneviève Fraisse (France)

October 13, Sunday, 19:00 – The House of Cinema, Blue hall
“Arab Stereotypes in Western Media. Hollywood as an Example: From Silent Movies to the Late 90’s and the Beginning of 2000.” Presentation by Abdelaziz Taleb (Arab Media Lab, Morocco)

October 17-18, Thursday-Friday, 18:30 – KPI Library, Auditorium 6.5
“Communicative Militarism.” Symposium curated by Svitlana Matviyenko (Canada)

October 19, Saturday, 19:00 – KPI Library, Auditorium 6.5
“History and Memory: Use and Abuse (Ukraine and Post-Communist World).” Lecture by Georgiy Kasianov (Ukraine)

October 24, Thursday, 19:00 – The House of Cinema, Blue hall
“From Neoliberalism to Illiberalism. The Great Transformation after 1989.” Lecture by Philipp Ther (Austria)

October 25, Friday, 19:00 – The House of Cinema, Blue hall
“Queer Art, Herstories and Emancipatory Strategies.” Talk by Isabelle Alfonsi (France)

October 26, Saturday, 14:00 – KPI Library, Auditorium 6.5
“(Toxic) State of Data: Data Politics and Data Policies in Ukraine.” Symposium curated by Digital Security Lab (Ukraine)

October 29, Tuesday, 19:00 – The House of Cinema, Blue hall
“Is there Really a Crisis of Democracy?” Lecture by Jan-Werner Müller (Germany/US)

November 2, Saturday, 19:00 – The House of Cinema, Blue hall
“Proliferating Borders in the Battlefield of Migration. Rethinking Freedom of Movement.” Lecture by Sandro Mezzadra (Italy)

November 15, Friday, 19:00 – The House of Cinema, Blue hall
“Conflictual Aesthetics. Artistic Activism and the Public Sphere.” Lecture by Oliver Marchart (Austria)

November 16, Saturday, 16:00 – The House of Cinema, Blue hall
“Borderlines in the East of Europe.” Symposium of the “Europe in the Middle East – The Middle East in Europe” (EUME) research program at the Forum Transregionale Studien (Germany)

November 17, Sunday, 19:00 – The House of Cinema, Blue hall
“Data Sonification.” Seminar and workshop by Daniel Siemaszko (Switzerland)

November 17-18, Sunday, 17:00, Monday, 19:00 – Metaculture
“Open Call (For Opinions).” Theatre exhibition by Studio Lajf (Czech Republic / Slovakia)

November 19, Tuesday, 19:00 – The House of Cinema, Blue hall
“Philosophy beyond Computation. On Evald Ilyenkov’s Critique of Artificial Intelligence.” Lecture by Keti Chukhrov (Russia)

November 22, Friday, 19:00 – The House of Cinema, Blue hall
“Transitioning from State Socialism to Democratic Capitalism. Observations on Ten Construction Sites.” Lecture by Claus Offe (Germany)

Locations:
The Scientific and Technical Library of the National Technical University of Ukraine “Igor Sikorsky Kyiv Polytechnic Institute” (37 prospect Peremohy, metro Politekhnichnyi Instytut).
The House of Cinema (6 Saksahanskoho Str., metro Palats Sportu).
Metaculture (31 Nyzhnioyurkivska Str., metro Tarasa Shevchenka).

Admission to all events is free of charge.

Institutional Partners: Biennale Praha (Czech Republic), Biennale Warszawa (Poland), European Alternatives (France), Forum Transregionale Studien (Germany), OFF-Biennale Budapest (Hungary), Transeuropa Festival 2019 (Italy), The Scientific and Technical Library of the National Technical University of Ukraine “Igor Sikorsky Kyiv Polytechnic Institute”, Digital Security Lab

With the Support of: ERSTE Foundation, Foundation for Arts Initiatives, Goethe-Institut Kiew, Prince Claus Fund, Ukrainian Cultural Foundation.


Seasonal Works


Photo by Oleksandr Kovalenko

June 18 – 23, 2019

On June 18, Visual Culture Research Center will open “Seasonal Works” session on the territory of the abandoned Petrivska Street, also known as “Хащі” (“Khashchee,” Ukrainian for “thickets”). For several years, “Хащі” has been functioning as a community-based cultural space, a place for the development of music counter-culture, graffiti, performative arts. This year’s program will include a greenery workshop, solar batteries installation and a picnic in the finale.

Solar power station will help to achieve a partial energy autonomy for “Хащі”. The construction process will be open for everyone who is interested in installing an own home SES.

The botanical workshop will be held by Nastya Kolenkova (plant explorer, green space worker) and Nina Direnko (designer of sustainable plant communities). It will continue last year’s exploration of possible ways of interaction of people and local plants. As part of the workshop, it is planned a planting of a new species and landscape design elements, without affecting the local ecosystem. Participants will also learn how invasive flora and weeds can be an alternative source of food and survival in the city.

Nina Direnko – sustainable plant communities designer
Anastasia Kolenkova – plant explorer, green space worker

With the Support of Prince Claus Fund


Screening of The Cosmist Trilogy by Anton Vidokle

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Wednesday, December 7th, 2016, 19:00

During the period of 2014-16 the artist Anton Vidokle worked on the series of films about cosmism as a philosophical movement. This Is Cosmos draws on the thinking of the early 20th Century Russian philosophical movement “cosmism.” Filmed in Siberia, Crimea, and Kazakhstan, This Is Cosmos draws on diverse materials including poems, philosophical texts, scientific writings, academic papers, and historical studies. It particularly centers on the writings of the philosopher Nikolai Fedorov, who advocated the development of scientific methods for the radical extension of life, and the resurrection of the dead. For the Russian cosmists, cosmos did not mean outer space: rather, they wanted to create “cosmos” on earth. “To construct a new reality, free of hunger, disease, violence, death, need, inequality – like communism.” Vidokle’s film re-engages this Utopian project, seeking out the traces of such philosophy after the end of the Soviet Union and in the present day.

The second film of Anton Vidokle’s trilogy on Russian cosmism, The Communist Revolution Was Caused By The Sun, looks at the poetic dimension of solar cosmology of Soviet biophysicist, Alexander Chizhevsky. Shot in Kazakhstan, where Chizhevsky was imprisoned and later exiled, the film introduces Сhizhevsky’s research into the impact of solar emissions on human sociology, psychology, politics and economics in the form of wars, revolutions, epidemics and other upheavals. aligns the life of post-soviet rural residents and the futurological projects of Russian cosmism to emphasize that the goal of the early Soviet breakthroughs aimed at the conquest of outer space was not so much technical acceleration, but the common cause of humankind in their struggle against limitations of earthly life.

The last film in Vidokle’s trilogy on Cosmism is a meditation on a museum as the site of resurrection — a central idea for many Cosmist thinkers, scientists and avant-garde artists. Filmed at the State Tretiyakov Gallery, Moscow Zoological Museum, The Lenin Library and The Museum of Revolution, the film looks at museological and archival techniques of collection, restoration and conservation as a means of the material restoration of life, following an essay penned by Nikolai Fedorov on this subject in 1880s.

Anton Vidokle (b. Moscow) is an artist based in New York and Berlin. Vidokle is co-editor of e-flux journal along with Julieta Aranda and Brian Kuan Wood. Vidokle’s work has been exhibited internationally, in venues such as the 56th Venice Biennale (2015) and Documenta 13 (2012). He has directed several films including 2084: A Science Fiction Show (2012-2014) with Pelin Tan, which has been exhibited at the Bergen Assembly (2013), La Biennale de Montréal (2014), the Istanbul Biennial (2015), Home Works 7, Beirut (2015) and the Museum of Modern Art, Warsaw (2016). Vidokle’s series of films on the Russian Cosmists, This Is Cosmos (2014) and The Communist Revolution Was Caused By The Sun (2015) have been exhibited and screened internationally at the Shanghai Biennale (2014) Witte de With, Rotterdam, (2015), the 65th and 66th Berlinale International Film Festival, Forum Expanded (2015, 2016), the Moscow Biennale (2015), the Gwangju Biennale (2016); amongst many others.

The screening takes place within the framework of the exhibition Kinotron.

Admission is free.

Partners: Oleksandr Dovzhenko National Centre

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Museum of Modern Art in Warsaw

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International Human Rights Documentary Film Festival Docudays UA

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Organizers: Visual Culture Research Center, Krytyka Polityczna

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Media partners: Українська Правда. Життя, KorydorMoviegram, Cultprosir, Update, Політична критика

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DEFENSIVE ARCHITECTURE. Lecture by Lucien Gurbert

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August 22, 2016  19:00

Lecture by Lucien Gurbert
DEFENSIVE ARCHITECTURE AND «CRIME PREVENTION THROUGH ENVIRONMENTAL DESIGN». Between police fantasies and urban reality

In the streets of many metropolises of the western world, a new kind of urban furniture is emerging. In Brussels, London, Paris, Toulouse or Nantes are growing spikes, pins, blocks, fences, inclined surfaces, diced public benches, CCTVs and many other technological control and surveillance tools. All of these devices aim to a single purpose : excluding a range of the citizens apart from the public space, as unwanted individuals. These “defensive devices” do not only stigmatize persons, such as beggars or homeless people : they mainly deter the “bad” practices, and therefore indirectly express the good practises one must follow to stay a reasonable citizen : not lying on the streets, not skateboarding, not begging, etc.

A threat of defensive devices, emerging in our cities, prevents people from the use of  public space, increasing the number of brands in the urban landscape and serving as an instrument for police brutality.

Lucien Gurbert – Architectural Bureau “Vendredi” Nantes France, art member of the collective ”Radio as Paper”.

Supported by:  ERSTE Stiftung and Charles Stewart Mott Foundation
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Contacts:
+380639535143 Natalka Neshevets
Fb: VCRC


NEEDS. The first Petr Pavlensky’s talk out of prison

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Sunday, 19 June 2016, 19:00
The first Petr Pavlensky’s talk out of prison
NEEDS

The first public talk out of prison – Needs – will be given by Petr Pavlensky in Ukraine, where he was invited by Hromadske.

Russian artist was released on June 8 as a result of a trial for setting the door of central administration of Russian Federal Security Service on fire. Pavlensky turned his proceedings into a performance making the repressive apparatus work for art.

In his first TV interview out of prison Pavlensky said: “Being in custody, I saw a lot of dignity among prisoners, but also how law enforcement system tries to discipline people working out the habit to obey orders, and they are being disciplined, namely, by needs. This is very important.”

Moderated by Natalia Gumenyuk

Petr Pavlensky is Russian performance artist, author of radical actions in public space. He is an editor of Political Propaganda magazine and publishing house. Lives and works in Saint Petersburg. In February 2014 as part of his Freedom, action dedicated to Ukrainian Revolution of Dignity, Pavlensky reproduced Maidan in Saint Petersburg. In November 2015 he made his Threat performance by setting the door of central administration of Russian Federal Security Service on fire. During the trial he asked to classify his case as “terrorism” to be associated with Crimean political prisoners.

The talk will take place on June 19 at 19:00 in Visual Culture Research Center.

Admission is free

Organizer: Hromadske

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Partners: Visual Culture Research Center

VCRC

Political Critique

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Contacts:

Hromadske

+38 (067) 505-67-40
+38 (067) 505-67-59

Visual Culture Research Center
Kyiv, 44 Hlybochytska Street, 1 floor

+38 (067) 669-54-57 Ganna Tsyba
+38 (063) 953-51-43 Natalka Neshevets