hallucinations & antics . tobias c. van Veen

drunker @ mUTEK / berlin robot sex

Sat, 19 Jul 2008 14:13:06 +0200

"MUTEK GROWS OLDER & WISER" .. well .. or at least so goes the XLR8R headline. [[ perhaps "OLDER & DRUNKER" would be more appropriate. ]] In any case: here's the youtube embed for the video I worked on with Ken Taylor. thanks to everyone involved & to the vid editorial team for making it look sweet. LONG LIVE XLR8R.

++ up next is the Kid Koala vid,

++ and some more words on Berlin, specifically a call-out: where are the underground techno DJs of this city..? or does everyone here take DJing to be a smoking sport & think that their reserved 'air of boredom' is at all becoming .. ?

a few recent experiences in Berlin clubs confirm my suspicion that the best dJs in the world come not from the centre but from the periphery. most dJs here approach the mixer like it's a barrel of uranium, a total poison for the fingers, or like some kind of sacred apparatus not to be fooled with. as if to make matters worse, these dJs seem to lack any sense of composition. they've got all the right threads -- the general availability of quality music speaks volumes about how *easy* it is to SOUND good with little or no effort -- but these dJs can't seem to weave a tapestry with the silk threads given them. instead, by the end of the night, you just have all these beautiful threads on the floor, stomped all dirty and in a big mess. where are the tapestry weavers of sonic silk, the journey shamans of sound?

indeed, no wonder that right now Canadian artists & turntablists are at the top of their game here: they have talent, and they truly love the music. for us Canucks, coming from a country that has long left its electronic musicians at the bottom of the heap, dJing & playing live is not a task to be belatedly performed, like a perfunctory bowel movement, but a moment to be savoured, like good sex.

i have yet to encounter a single dJ in all of Berlin (not counting famous foreigners) who knows how to make love to a crowd -- to stomp it, shake it, caress it, sweat it.

i hope to be proven wrong.

++ i've always thought that how someone dances & dJs (as well as cooks) reflects how they make love. side note: given the inability here for a lot of people to express rhythm, either as a dJ or a dancer, is this air of bored roboticism reflected in how the German technoheads perform in bed .. ?

experienced comments appreciated.

.././../.

XLR8_MUTEK // TV.

Tue, 08 Jul 2008 14:14:09 +0200

Deep, heavy clouds rolling into Berlin @ the moment.

Also rolling in is the final cut of over 24 hours of footage compiled during MUTEK 2008. Thanks to the XLR8R crew for editing together mass amounts of shaky footage into a delightful package that includes the Piknic Electronik Beaver, Poutine, and Crazy Raver Dude Dancing. Unfortunately no footage of Underground Resistance made it, but I will YouTube that another time.

--> [ XLR8R TV 67 ] <--

// , transmission out , //

michel waisvisz (crackles no more)

Fri, 20 Jun 2008 18:40:15 +0200

Michel Waisvisz, 1949 - 2008.

Michel, you invited me into your cracklehaus, opened a world for me, and gave me and countless others the space and time in which to breath and explore the world of sound with your hands, fingers and bodies. We will miss you, and your laugh, and your spirit, and your gestures, those swooping arms, and dramatic movements, that were the true signature of your art. May peace be with you, in love, namaste.

DEATH OF A DJ: STOP BILL C-61

Thu, 12 Jun 2008 23:58:43 +0200

[this kind of cut-up image could soon be illegal in Canada! don't chicken out!]

Those worldwide might not know this, but Canada is posed to put into place new copyright legislation that, according to Michael Geist, would be worse then the US' infamous DMCA. Check out Geist's first take on Bill C-61 here.

The first draft of this bill was defeated in December '07 as an unexpected resistance grew amongst us Canucks, with a large Facebook presence and a strong campaign to stop the Bill. Unfortunately much has fallen on deaf ears, and the Bill, if passed, will possibly make unlocking a cellphone illegal in Canada, as well as watching out-of-region coded DVDs. In short, according to Geist, "the DMCA provisions are worse than the U.S. and the consumer exceptions riddled with limitations as the government promotes a strategy of locking down content and launching lawsuits against Internet users."

Moreover, it will be illegal to "distort or mutilate a copyright performance" -- as in remixing will be illegal; hell mixing at all will be illegal. If you blend two pre-recorded sounds together, that's illegal. Turntablism and radio-art and collage will all be illegal. Mash-ups? Forget it. As for penalties? $500 for the first infringement, then $5000, then $10,000. And that's per infringement, as in, per MP3. You will be in jail for about 25 years to life with a debt the size of the GDP if you have a hard-drive of shared songs, remixes, mash-ups, transferred videos, an unlocked cellphone and a few Chinatown kung-fu DVDs.

Right about now I would highly recommend K.W. Jeter's Noir, which is all about future capitalism and the extreme penalties for copyright infringement -- to the point where, after one's spine has been removed (read the book), one lives on as a ghost, can't even die to escape the law, and as a ghost, must collect trash to pay back the massive amount of financial penalties, which accumulate interest faster than the trash-collecting allows. It's an endless purgatory, a living hell, and it's coming to a little capitalist state near you! Steven Shaviro provides an excellent analysis of Jeter's novel in his book Connected, wherein he mixes it with trends in contemporary capitalism. Well, here you go. (FYI in Jeter's novel, to be 'connected' means to be 'fucked' – the rich are unconnected, and can go offline, while the Suits and the worker bees are always online, always connected, and never able to escape the info-copyright-corporate economy.)

Today I got an email from Ministers Prentice and Verner who are pushing this bill. Here's their email. Let 'em know what you think. Let 'em know a LOT. I did:

==

Thanks for your email but it smacks of a PR move for this hugely unpopular bill, and for good reason -- Bill C-61 ignores the demands of Canadian ARTISTS, the CONTENT MAKERS, and panders instead to the corporations that are currently trying to lock down all culture and render it nothing less than a commodity to be bought and sold to the highest bidder.

For example:

> - implement new rights and protections for copyright holders, tailored to the
> Internet, to encourage participation in the online economy, as well as
> stronger legal remedies to address Internet piracy;

Yes, and this is a problem! We don't need 'stronger legal remedies to address piracy', we need a redefinition of piracy that leaves the door open for content creators and an open sharing system to encourage creativity. We don't need "new rights," we need to reduce the rights of copyright holders who, primarily being corporations, have extended the reign of copyright far beyond what is productive, useful or ethical.

> - clarify the roles and responsibilities of Internet Service Providers related
> to the copyright content flowing over their network facilities; and

As in : clamp down on ISPs for allowing BitTorrent and other sharing networks endorsed by, for example, the CBC..! This is like shutting down telephone traffic because people talk about TV shows. ISPs should NOT be pressured in this manner, and sharing networks should be *encouraged* rather than villified. That I cannot access Canadian-taxpayer funded content from the CBC using BitTorrent due to the ISP restrictions is a HUGE problem.

And is there any talk here of the CRTC breaking up the current monopoly we have in Canada between Rogers/Bell/Shaw/Videotron, that is driving up Internet, cellphone, landline and TV access prices, leaving Canada one of the most expensive places in the world for telecommunications?

> - provide photographers with the same rights as other creators.

Fine, what of DJs? Audio-collage artists? Electronic musicians? The list goes way past photography (which was invented in the late 19th century!). C'mon folks, get with it. We're in the 21C now. Stop trying to turn back the clock.

> What Bill C-61 does not do:
>
> - it would not empower border agents to seize your iPod or laptop at border
> crossings, contrary to recent public speculation

The border guards can ALREADY seize your laptop and copy all of your data -- as the CBC has been reporting -- so what you are saying here is that nothing has changed! Sure, border guards aren't *empowered* because they already are seizing data!

> What this Bill is not:
>
> - it is not a mirror image of U.S. copyright laws. Our Bill is made-in-Canada
> with different exceptions for educators, consumers and others and brings us
> into line with more than 60 countries including Japan, France, Germany and
> Australia

No, it goes much farther than that, and is directly a pressure of the MPAA and RIAA on Canadian interests. We all know this. The rhetoric is the same. The scare tactics over camcording in Quebec, etc, are easy to see. Stop trying to pull the wool over our eyes: this bill will open the door for the RIAA and MPAA to sue Canadian consumers.

> Bill C-61 was introduced in the Commons on June 12, 2008 by Industry Minister
> Jim Prentice and Heritage Minister Josée Verner.

Who should be tarred & feathered for selling Canadian culture to the corporations.

You will be remembered for sending us all down the pipe, dear Ministers -- but then we wouldn't expect anything less from the Harper Gov't: while Canadians at home see their culture cleaved into pieces by corporations eager to sell & sue, Canada abroad pretends it can fight more wars. We're just trying to be just like our Southern neighbour -- and right when the old Bush regime is on its way out, finally. Disgusting. We're running years behind with the cost of our telecommunications and now trying to become like everybody else in the race to the bottom rather than thinking creatively as to how to address the massive technological changes that have already taken place.

-- tobias c. van Veen
turntablist, artist & curator

> For more information, please visit the Copyright Reform Process website at
> www.ic.gc.ca/epic/site/crp-prda.nsf/en/home
>
> Thank you for sharing your views on this important matter.
>
>
> The Honourable Jim Prentice, P.C., Q.C., M.P.
> Minister of Industry
>
> The Honourable Josée Verner, P.C., M.P.
> Minister of Canadian Heritage, Status of Women
> and Official Languages and Minister for
> La Francophonie

..////.
.
.

digital breakdown

Thu, 24 Apr 2008 22:02:22 +0200

DIGITAL BREAKDOWN
[GIMME A BREAK]
object, 2007.
Assembled (used + non_used) digital hardware.
Digital percussion object includes Nietzsche’s hammer.

soundOBJECTS exhibition,
curated by Wilfied Agricola de Cologne

17 April - 10 May 2008.
dis_organised by
La Sala Naranja,
La Nau, Valencia, Spain.

part of _
. DIGITAL MEDIA VALENCIA

* unfortunately I have no idea as to what the hell is going on with the exhibition. The whole thing seems to have fallen apart, if not into complete chaos (the organisers -- Toni Calderon, Imo Pico and Jose Mir -- apparently summarily announced on April 16th it was to be an self-organised artist exhibition, in order to absolve themselves of responsibility?), and I have not heard anything reliable since from either the curator or the organisers. See Wilfried's attack on what he calls a 'scandal' of the 'TRIO INFERNAL' here. If it's at all like he makes it out to be, I can only reiterate his frustration, and I just hope the object makes it back to me safe & sound.

../.././../...

'til death do us a part

Sun, 13 Apr 2008 20:02:25 +0200

--> [ 'til death do us a part ] < --

\commissioned by Turbulence
communiqué with the dead.

" Experiments in Electronic Voice Phenomena (EVP) using two reel-to-reel machines in an attempt after Konstantin Raudive & William Burroughs to establish contact with the dead. In the 21C electromagnetic tape is an anachronism. Dead media unwinds time from its spools. The dead are no longer human; and when the inhuman expire, do the inhuman become more human than human, at the moment of death? Two electromagnetic machines capture the unfolding of an era in which memory encodes the loving caress of electron imprinted tape. Two tape machines in tandem share their memories, silent at first but slowly amplified through continuous re-recording & simultaneous playback. Time out of joint falls in & out of tape sync; more inhuman than human loops the frequency."

././

SERIAL CONSIGN INTERVIEW. The ever_crisp Greg Smith has kindly elaborated a few cut_up questions over on Serial Consign concerning the recent [ 'til death do us a part ] project for Turbulence ...

--> [ serial . consign. interview ] <--

.. / the words open up a few of the wires & inspirations that spirit into the work, from exappropriating static machines for dynamic interventions (or rather fingering these machines to quivering states) to digging up Burroughs & Konstantine Raudive. I feel like the words reverse the old maxim (at least for DJs) that crate-digging is grave-digging... Who knows what records are buried in the blank media? But I digress. The piece itself is the place for further words. And for the persistent, one will even find a slapshot at MTL.

/. / ./ ..

Programmable Media_II ./

Thu, 03 Apr 2008 19:59:14 +0200

On April 11th / 08 I will be speaking at the Programmable Media II conference hosted by PACE Digital Gallery, NYC. The event is organised by Turbulence.org as part of their Networked_Music_Review and Networked_Performance projects that aim to document the evolution of performance & sound in network culture. I'll be dialoguing on the relationship between the ears & the eyes, or sound performance and the visual, on a panel featuring others including Helen Thorington, Adam Nash (speaking from Second Life, no less) & LoVid. [bios of participating artists]

Friday April 11th, 10am_6pm (EST)
Pace University, Multipurpose Room, 1 Pace Plaza
Second Life - 10am_6pm (EST) at this link.

Turbulence has been commissioning net & technology arts since 1996 (!), and before that Turbulence (aka New Radio & Performing Arts) was behind the New American Radio series of national radio-art broadcasts. As the curators & minds behind Turbulence, Helen Thorington & Jo-Anne Green deserve more than can be said here for supporting up-and-coming artists in the technology arts and for providing inspiration, infrastructure & wisdom ...

Part of my involvement with the conference stems from a sound-art piece, [ 'til death do us a part], investigating 'networked sound' commissioned by Turbulence... The twisted evolution of the concept went through a metamorphosis for me as I pondered what love might mean for machines, or that for machines to communicate, they must begin with love (*by love I think I mean, something from the raw intensity of anger to zen companionship -- somewhere inbetween is the erotic).

I didn't want to tread into the digital realm, as so much of Work is a digital interface these days that I wanted my human experience with machinic love to have the intensity of a hands-on relationship. Thus I ended up turning to reel-to-reel machines & the experiments of Konstantin Raudive with blank media in his attempt to record & communicate with the 'voices of the dead'. (I had no idea at the time that John Hudak was exploring similar terrain -- though in the digital realm -- for his Turbulence commission, Voices from the Paradise Network.) This led to a series of investigations of the sonic realm arising between two networked R2R machines, a simple mixer and a DSP processor (to add spatialization and stereo channel manipulation to sometimes mono signals). These investigations revealed a performative realm, a space to improvise and develop a capacity to 'play' the machines, or rather tweak & twiddle their hard knobs into spasms of ecstasy, cries of joy &, at times, moans of despair. The machines sang to me & each other, & I was drawn into the deadzone... the project launches live on April 11th & I will blog it here.

../ ../ ..

FRAGMENTS FROM A DEVIANT.

Thu, 13 Mar 2008 15:34:48 +0100

FRAGMENTS FROM A DEVIANT.
dev/fragment.1: radio_art resurrects_itself

Thx to nova deViator, my trite & caffeinated ruminations on CKUT are paired with the likes of Artaud, Michael Hardt, Foucault, Bataille and Maya Deren. With others thrown in for good measure -- afx, squarepusher & like beatmanglers. At least I can claim to have actually performed with hecate.

I be immersed in new work. Documentation, recordings, some words soon.

.//./. .. /./ .

ART IS A DEAD MAN.

Mon, 04 Feb 2008 04:34:48 +0100

it all started a 17th of January, one million years ago.
a man took a dry sponge and dropped it into a bucket full of water.
who that man was is not important.
he is dead, but art is alive.
I mean, let's keep names out of this.

ART IS A DEAD MAN.

[ art's birthday 2008 broadcast ]

[ ART IS A DEAD MAN / tV]
+ the interventions of Queen Charlotte

January 17th is the birthday of art // when, approximately 1, 045 000 years ago someone (well, a some-him) dropped a dry sponge in a bucket of water. The birth of art was born in 1963 with Robert Filliou of Fluxus. ART IS A DEAD MAN. Fillou's concept of the Eternal Network lives on. We've stolen in, date after date. We've stolen it, time after time. The Eternal Network, a kind of drop-in hospitality to the freaks of the world, the pranksters of passion, comedians of aesthetics, the interconnected world of telecommunications tricksters, radio guerillas, frequency pirates who occupy & intervene in the airwaves & cables. In 1963 as now the channels of communication are locked-up by the cabals of consumption. The Eternal Network reoccupies telecommunications and sets the channel back to the fuzz.

Me, I prefer radio. If anything because radio remains the primal and first medium of the 20thC to transmit the unconscious. Subliminal messaging to the aural core. Since 1997 I've been involved in The Western Front's '24 hours of Radio Art' through CiTR 101.9FM (as co-host of noiz-r) and lately CKUT. Check out Anna Friz's history of this era.

as I was saying, at about 10 o'clock, a 17th of January, one million years ago, a man sat
alone by the side of a running stream.
he thought to himself:
where do streams run to, and why?
meaning why do they run.
or why do they run where they run.
that sort of thing.

But why A MAN. ?

[ art's birthday 2008 broadcast ]

[ ART IS A DEAD MAN / tV]
+ the interventions of Queen Charlotte

... // .. ./ .

decade of dissidence: APEC '97

Fri, 25 Jan 2008 21:18:57 +0100

The 10th anniversary of the Vancouver anti-APEC protest took place back in November, the 25th to be precise, but even this late I wanted to post something in memory of what was a formative political experience for what became known as the alterglobalization movement and, in many ways, the precursor to the largely effective and successful protests of Seattle WTO '99 (the 'Battle of Seattle'). By 'precursor' I mean not only that many lessons were learned from APEC and translated to larger actions at Seattle -- what I want to spotlight here are the media tactics which went on to inspire and inform what became known as Indymedia.

LISTEN //
[ CiTR : APEC RADIO : COMPILATION ]
//

As an undergrad student at UBC back in '97 I was heavily involved with the CiTR 101.9FM Nooze team. As well as providing coverage for months leading up to the event, including providing background on the issues involved, we reported directly on the actions of APEC ALERT, the anti-APEC activist organisation that staged a series of provocative and often Situationist-inspired actions -- including being there when Jaggi Singh, without warning, was thrown to the ground by plainclothes policemen, dragged off into an unmarked van, and thus pre-emptively 'arrested'. It's hard to imagine the atmosphere at UBC today: half of the campus cut off by a barbed-wire fence; helicopters overhead; snipers on top of the Chan Centre; the Student Union Building freed to become a space for teach-ins and sleep-overs; an activist tent camp in the park; armed vessels off the point; the Graduate Student Association building behind razor-wire with GSA members denied security clearance for flying the Tibetan Flag; Craig Jones, law student, arrested for holding signs saying 'Democracy' outside of Green College; and CSIS agents infiltrating every organisation -- including our own Nooze team. As the subsequent APEC Inquiry discovered, many of these actions breached the Canadian Charter and presented a grave betrayal of democracy in Canada.

November 25th: N25. Live-to-air, we covered APEC direct from the melee with analog and early digital cellphones -- a procedure largely unheard of with major news media at the time. Because of our communication savvy (and blatant eschewing of censorship and filtration, going direct to air, cellphone held to the sky), we got the jump on all the major news media when it came to quickly reporting the heavy-handed and sometimes violent response of tactical police units to the protests. Many protesters started tuning into CiTR to hear what we were reporting, as campus was so large, and by the end of the day, the strategic blockades so spread out, that information was a scarce resource (the protest 'managers' with their bicycles had been arrested early on for exactly these reasons -- to quash activist self-knowledge of the territory). So, Andrew Newman on our team was there and broadcast live-to-air the infamous and crude actions of RCMP officer Hugh Stewart who became known as "Sgt. Pepper" for his indiscriminate use of pepper-spray -- a coup for the underground press. I broadcast live-to-air the storming of the fence.

But more importantly, we were able to quickly transmit the ongoing action to the press convention centre which was located in downtown Vancouver & quite aways from campus. This direct contact and direct-to-air coverage meant that during the sparsely attended press conference with Canadian Prime Minister Jean Chretien, held much later in the day on November 25th, no other news outlet knew that the protests had dissolved into a series of skirmishes with police (the activists had realised early on that there were only three roads off campus for the motorcade: with activists blocking each roadway, one of the arteries was going to have to give).

Our information allowed our secret weapon, Nardwuar the Human Serviette to corner Chretien. (Nardwuar is a punk_style gonzo-journalist who now reports for MuchMusic, but already well-known for his crazy ability to dig up odd details on celebrities and for asking Gorbachev 'which world leader has the biggest pants?'). Nardwuar asked Chretien, in a round-about way, what he thought of the use of pepper spray against protesters. Chretien, amazingly, hadn't been kept up to speed by his own staff, and so he threw out the offhand wit, "Pepper? I put it on my plate." What was a throw-away remark to an oddball journalist became *the soundbyte of APEC*. The mainstream news then contrasted "Pepper? I put it on my plate" with the footage coming in from the mainstream news camera_people who, by this point, had been thoroughly doused in pepper spray themselves. The result was public uproar, an inquiry, intense reportage, and many, many questions as to the nature of surveillance and counterintelligence operations by State agencies against not only political protesters and dissidents but public journalists (such as CBC reporter Terry Milewski).

In short, though many don't realise it, CiTR provided the goods & stole the show. For our efforts, we received a NCRA radio award for broadcasting excellence but more importantly, the knowledge of indie media power was quickly disseminated as part of the alterglobalization infrastructure readied for Seattle '99. This is only one factor, of course -- one of the others being the connection made with Australia's anarchist media group C@talyst, who developed the participatory software that runs Indymedia online [1]. To this day Seattle is the favourite buzzword of many leftist intellectuals who, without pause, never saw it coming, weren't there to begin with, and now idealize it beyond belief.

//.

[1] Murray, Enda. 'Sound Systems and Austalia DiY Culture: Folk Music for the Dot Com Generation," in FreeNRG: Notes from the Edge of the Dancefloor, ed. Graham St. John. Altona: Common Ground, 2001. pp. 57-70.

//. thx to Sarah Efron, ex-CiTR Nooze Director, for posting online the APEC comp audio and to the rest of the Team for inspiring times: Newman, JJ, A.Friz et al.

writing is a cancer

Wed, 26 Dec 2007 20:09:35 +0100

locus . suspectus issue 4 is out -- featuring the piece ' digging up the corps of BIOTEKNICA ', writ on MTL_based artists shawn bailey & jennifer willet. i dig a bit into their investigation of cancer cells, the bioart of the eternal, the longing to be found in the laboratory, the politics of the microbiological & the aesthetic of the white-coated scientist. a copy can be had from the website for $6.95, a real steal, as the magazine is a work of print beauty, featuring glossy colour & fine papering.

///
..
///

UpgradeMTL :: Artivistic

Fri, 19 Oct 2007 19:30:34 +0200

===================
upgradeMTL :: ARTIVISTIC
25 _ 27 octobre . 2007 .
[ unoccupied . spaces ]
===================

[ http://upgrademtl.org / ]

QU'EST QU'UN ESPACE NATUREL?
/ WHAT IS NATURAL SPACE?
. table_ronde avec artistes .
. 26_ octobre . 16H00 - 18H00 .
. @ OBORO New Media Lab, 2ième étage, 4001 Berri.

INFOs:
http://upgrademtl.org/archives/Oct26a07.htm

++

LISTEN! SONIC ECOLOGY & THE CITY
/ ECOUTEZ! L'ECOLOGIE SONORE ET LA VILLE
. cabaret numeriques & politiques de danse, performance et musique .
. 26_ octobre . 19H30 - 23H00 . gratuit .
. @ la SAT, 1195 St. Laurent .

INFOs:
http://upgrademtl.org/archives/Oct26b07.htm

++

UpgradeMTL is pleased to be a part of ...

ARTIVISTIC [un.occuped spaces] 2007
http://artivistic.org/

Artivistic est une rencontre transdisciplinaire internationale de trois jours sur l’interAction entre art, information et activisme. Artivistic émerge de la proposition selon laquelle les artistes ne sont pas les seuls à parler de l’art, les académiques de la théorie, et les activistes de l’activisme. Fondé en 2004, l’évènement a comme objectif de promouvoir un dialogue interculturel sur l’art activiste au-delà de la critique, de créer et de faciliter un réseau humain d’individus divers, et d’inspirer, proliférer, activer.
//
Artivistic is an international transdisciplinary three-day gathering on the interPlay between art, information and activism. Artivistic emerges out of the proposition that not only artists talk about art, academics about theory, and activists about activism. Founded in 2004, the event aims to promote transdisciplinary and intercultural dialogue on activist art beyond critique, to create and facilitate a human network of diverse peoples, and to inspire, proliferate, activate.

For the third edition of Artivistic, the expression [ un.occupied spaces ] was chosen to stimulate new ideas in response to the hidden confusions caused by the infinite networks of 21C globalization and neo-liberalism. [ un.occupied spaces ] dares to link the charged issues of environmentalism, indigenous and migrant struggles, and urban practices together through the angle of occupation. In an interconnected world, critical thought and action cannot but become flexible and uncompromising at once. To think with occupation consequently becomes a strategy for approaching these issues in a way that will reveal their interdependence, and fuel creative and tactical collaborative actions between “co-artists” (artists and non-artists). Built around three interrelated questions, the event consists of roundtables, workshops, interventions, exhibitions, performances, and screenings at our temporary headquarters at 5455 av. de Gaspé, #701 and in different venues and spaces of Montreal.
//
Pour la troisième édition d'Artivistic, l'expression [ espaces in.occupés ] a été choisie afin de développer de nouvelles idées relatives aux diverses définitions et confusions provoquées par les réseaux infinis composant la réalité néo-libérale du XXIe siècle. [ espaces in.occupés ] se donne le défi de rassembler des questions portant sur l'environnement, les luttes des autochtones et des immigrants ainsi que les pratiques urbaines tout en les abordant sous l’angle de l’occupation. Dans un monde interconnecté, la pensée et l'action critiques se doivent de devenir à la fois flexibles et intransigeantes. Penser en termes d’occupation devient par conséquent une stratégie pour souligner l’interdépendance de ces questions et permet des actions de collaboration créatrices et tactiques entre "co-artistes" (artistes et non-artistes). L'événement est construit autour de trois questions interreliées et se compose de tables-rondes, d’ateliers, d’interventions, d’expositions, de performances et de projections qui auront lieu à notre quartier général temporaire au 5455 av. de Gaspé, #701 et dans divers autres endroits à Montréal.

++