OPEN CALL FOR PARTICIPANTS. Summer school and learning play. Go and Stop Progress!

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Focusing on the issues of progress/acceleration and counter-modernity.

07.08.-17.08.2018, @Vierte Welt, Berlin, Germany

 Initiated by

the collective Chto Delat in partnership with Vierte Welt, Berlin


The course is based on the on-going experiment in performative pedagogy of collective Chto Delat whose members are full time present and moderating all the school sessions.

Discursive program: Alessandra Pomarico (Free Home University), Baruch Gottlieb and Dmitry Kleiner (Telekommunisten), Oxana Timofeeva, Dmitry Vilensky and other guests.

Performance mentors: Nina Gasteva, Tsaplya Olga Egorova.

Set-workshops: Nikolay Oleynikov


“Go and stop the progress!” – starting with this legendary quote attributed to Kazimir Malevitch we want to test different ideas and practices which question the notion of progress.

Today we face two different approaches to the potentiality of liberation – one stems from rather classical Marxist link between emancipation and rather linear technical progress – this positive line is actively promoted in the work of “left accelerationists” or in the speculations on the “communism of the capital”. There is a lot of useful critique in this direction, but we have a growing feeling that there is not much time left until the capital digs its own grave. And it seems like this grave might turn out to be as much a gloomy dystopia as a flowerbed of bright new life.

We can observe another tendency, on one hand, of questioning the whole idea of western modernist progress, and on the other, of attending to so-called indigenous/vernacular knowledge and cosmogony. Very often these ideas are reduced to uncritical and kitch promotion of new age and escapism, and even traditionalism. But these ideas could also be linked to the most radical European way of negative thinking, where progress is considered as barbaric exploitation and destruction of resources and human lives, and it is based on genocide and ecocide.

Therefore, today, when we feel intensifying attacks from conservative and progressivist forces of all kinds the question how we would imagine and realise the values of emancipation and non-alienated ways of life is as pressing as ever.

In the school we will additionally focus on the ideas of international Zapatista movement, which stands as a viable example of a certain historical composition between the anti-capitalist struggle and the indigenous/vernacular way of life and knowledge. Based on the on-going research realized by the collective Chto Delat in Chiapas in 2016-2017, it will test the new possibilities for “rootedness” that could be used to overcome the conservative logic.

This confrontation of two position will be rehearsed and staged in a form of Learning Play – developing the Bertolt Brecht tradition of formulating and taking positions in front of engaged audiences.


– 80 hours (10 days approximately 8 hours a day)

Intensive performance training in the morning, followed by discussions, lectures and collective work on the play. Preparing a public performance, to be held on the last day of the event. The collective visit to Berlin Biennale is also planned during the School.


  1. To elaborate the knowledge on most urgent issues of current debate on emancipation and art.
  2. To develop performance skills inside a temporary collective. Get to know the unique devices of contemporary dance practice.
  3. To practice and develop the method of learning play.


– The suggested minimal donation (the participation fee) for the Summer school is 500 Euro.

– A jury will award 5 participants with stipends – free of the participation fee.

– The fee covers tuition and study materials during the school.
– Coffee brakes included.

The school is fully self-financed, by donations from the participants and with the support of Chto Delat Mutual Aid Fund. The donations will be used to cover the costs (travel and accommodation) of collective Chto Delat to Berlin, a donation to the Zapatista community (10%), a donation to the Vierte Welt and the fees for the faculty and basic administration work.

It should be payed by bank transfer to the Chto Delat e.V. (not for profit organization registered in Germany, tax deductible)

Arrangements for accommodation, transportation, visa (if needed) and other expenses is arranged by the applicants themselves.


– We welcome applications from artists, performers, activists, cultural workers, philosophers and generally open-minded people who share the urgencies raised in the concept of the school.

– Applicants should be curious and open to experience of different body practices and be ready for the collective form of working and learning.

– Applicants from all countries and age are eligible to apply.


– All applicants should apply with short motivation statement and short informal CV.

– The number of participants is limited to 25.

– Please apply by using the following link:


– Deadline for sending the application for stipend: till 03 June 2018

– The selection results for recipients of a scholarship: 10 June 2018

– Deadline for general applications – till 1st of July

– Payment due 10 July 2018


Chto Delat

Founded in 2003 in St. Petersburg, Chto Delat (What is to be done?) is a collective that counts Russian artists, critics, philosophers, writers and choreographer among its members. The collective came about with the intention of merging political theory, art and activism. Working across a range of media—from video and theater plays, to radio programs and murals—their activities include art projects, seminars and public campaigns.

In 2013, Chto Delat initiated an educational platform—School of Engaged Art and also runs a Rosa’s House of Culture in Petersburg. From its inception, the collective has been publishing an English-Russian newspaper focused on the politicisation of cultural production in Russia, in dialogue with the international context. The works of the collective are characterized by the use of alienating effects, surreal scenery, typicality, but most of all, case based analysis of concrete social and political struggles.
see more at

Vierte Welt Collaborations was founded in 2010, initiated by the actor’s ensemble Lubricat in Central Kreuzberg. The Vierte Welt is a space where artists, specialists, activists and audiences come together on an equal footing for interchange and communication.  The Vierte Welt developed an open space of possibilities in which we assert a durable and continuous platform for creative work – in contrast to the market’s short-term, coerced exploitation.  Parting from the focus on singular aesthetic events and from scene confinement, we are working on changing how artistic production and presentation are practiced. Where we attempt to re-think the aesthetic and art-political position.

The program of Summer School is also a part of an ongoing conversation between Chto Delat / School of Engaged Art and Free Home University on the role of art, social transformation and radical pedagogy. (see here


 Dmitry Vilensky,

Elena Veljanovska,, +




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Open Letter – Who are the Friends of Political Critique (Krytyka Polityczna)?

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Not too long ago, we ran into some strange and worrying news from Poland. The story happened during a recent public talk of renowned philosopher and political commentator Slavoj Žižek. The discussion was moderated by Sławomir Sierakowski, the leader of the Polish journal and collective “Political Critique” (Krytyka Polityczna), which enjoys wide reputation as a leading Polish left-leaning think tank.

The talk was streamed online and then uploaded onto YouTube (

After Žižek’s talk, the discussion turned to the most pressing issues of the ongoing escalation between Russia, Ukraine and the West. At some point, Žižek noted that he has good friends in Russia, namely, the Chto Delat collective. He said that Chto Delat embodies a position different from both from the liberal-center mainstream that Sierakowski now praises and the mix of left-patriotic and neo-rightists who support in Putin in Russia and Europe.

All of this is true. But in his comment Sierakowski was quick to say something totally hallucinatory, as if it was a known fact. We quote: “Chto Delat supports Kremlin. We have better friends for you in Russia”. This is public now. As a Russian proverb says, “a word is not a sparrow, once it flies out, you won’t catch it”. And we got the message.

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Shivering with Iris – a new film by Chto Delat

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Shivering with Iris from chto delat on Vimeo.

Talk show: Shivering with Iris
Based on a learning play which was premiered at Sommer festival at Kampnagel, Hamburg in August 2014. The play was realised in a form of talk show and filmed with 5 cameras . The final result of the performance is a videofilm.
The play is dedicated to the problem of the romantic sublime in art, which it represents using the symbol of fish. The muteness of fish and its underwater position pose a contrast to the current condition of art from which everyone expects a statement. Like the fish lives in the water as its medium, art today lives in the environment of the media, which keeps compromising it both through profanation and sublimation. The play addresses this conflict by engaging a dialectic of the artificial and the real in the contemporary artwork.

Host of the show: Iris Minich
Participants: Vedrana Madžar, Alexey Markin, Alicia Agustín, Tatiana Baskakova, Fransis Jacobi, Genja Loginova, Antje Prust, Corina Lucia Apostol
Tom Frank: Marc Siemoneit

Chto Delat on the stage: Nina Gasteva; Artyom Magun; Alexander Skidan
Directing and narration: Artyom Magun; Alexander Skidan; Tsaplya Olga Egorova and Dmitry Vilensky
Cheer leaders: Nikolay Oleynikov /Chto Delat/ and Alicia Agustín
Cameras: Andrey Nesteruk, Marlene Denningmann, Dmitry Vilensky; Katharina Duve; Karsten Wiesel
Set: Nikolay Oleynikov
Sound effect at the play: Arvild Baud
Sound mastering: Alexander Dudarev
Special thanks: Oxana Timofeeva and Gluklya Natalya Pershina and Schwabinggrad Ballett (Ted Gaier, Margarita Tsomou, Christine Schulz and Christoph Twickel); Hamburger Kunsthalle (Brigitte Kölle, Mira Forte, Petra Pirsch) and many our friends from Hamburg who consulted us and provided help and hospitality.
Maria Markina performed a poem by Maxim Gorky “The Song of the Stormy Petrel” (1901) at the happening at Hamburger Kunsthalle
Music: Revolutionary Étude by Frédéric Chopin
At the happening at Reeperbahn the fragment of the poem by Nikolay Oleynikov “Inspiration” (1932) was used.
The play and film was produced with the generous support of
Otto Runge Stiftung, Kampnagel Sommerfestival, Hamburg;
the postproduction of the film is supported by Gallery Apart, in collaboration with “Joan of Art”

Second and third part of the installation is a display with few objects specially made for performances documented in the film – the artificial fishes hang from the ceiling of the gallery and collection of hand painted aprons with a texts from the most famous Russian revolutionary poem of Maxim Gorky "The Song of the Stormy Petrel" and from the absurdist Soviet poet Nikolay Oleynikov (1932) which formed a base for the conceptual narrative of the play and whole composition of the installation.

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Current events

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Texts // Dmitry Vilensky

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INTERVIEW WITH DMITRY VILENSKY by Cosmin Costinaş and Maria Hlavajova

  • Location: Amsterdam
  • Date and time: 12 March 2010 at 12:00
  • Duration: 1:42:26


Они говорят…

стихотворение 2005 года – впервые опубликовано в ХЖ №60


Dmitry Vilensky // Theses on the Soviet Experience


Dialogue Victor Misiano – Dmitry Vilensky // Singular Together!

Published at the catalogue of Chto Delat solo exhibition at Kunsthalle Baden-Baden

(see here:


Дмитрий Виленский // Критика «живого романтического образа».
Комментарий к взаимоотношениям нового акционизма и искусства в России

Опубликовано в Московском Художественном Журнале №81, 2010


О репрезентации и участии. Современное политическое искусство и социальные движения.

опубликован в журнале Luxemburg 01 на немецком языке




Искусство траты (заметки о питерской ситуации) /// 2001

опубликовано в 2001 – Художественный журнал N°33 (не опубликовано на сайте)


Sven Spieker in Conversation with Dmitry Vilensky

Artmargins, internet journal, Aprill 2010

Chto delat’? The Theory and Practice of Critical Intervention: Sven Spieker in Conversation with Dmitry Vilensky (St. Petersburg) (Podcast)


We Teach With Our Works And Our Lives

DMITRY VILENSKY IN CONVERSATION WITH BORIS BUDEN published at transversal journal, An-academy, 12-2010


Activist Club or On the Concept of Cultural Houses, Social Centers & Museums

at New Productivism, 09 201; eipcp  transversal


Искусство будет оставаться левым или его не будет вообще

опубликовано на


Lolita Jablonskiene & Dmitry Vilensky // Hybrid Spaces for Common

Published in “Printed Project”Nr 10, 2009


Dmitry Vilensky // On the current situation for engaged artist in Russia today, distribution of knowledge and the political transformation of aesthetic experiences

Interview with Bankleer, Berlin, 2008


Marina Gržinić in conversation with Dmitry Vilensky // What is to be done?

Published at Reartikulacija 03, 2008 


Интервью Дмитрия Виленского // Обществу нужно демократическое пространство площади, агоры, а не фаллосы

Опубликовано на Закс.ру, 2008


Thomas Campbell’s interview with Dmitry Vilensky

A Funny Thing Happened on the Way to the Forum


Redas Dirzys in a dialogue with Dmitry Vilensky // On Alytus Art Strike Biennale

published at (in Lithuanian) and


Олеся Туркина задает вопросы Дмитрию Виленскому // Ответственность художника

Опубликовано в 2006 году


Frédéric Maufras and Dmitry Vilensky dialogue // The case of first Moscow Biennale

Published at Neue Review, 2005, Berlin


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Materialities of Independent Publishing: A Conversation with Aaaaarg, Chto Delat?, I Cite, Mute, and Neural

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Jodi Dean, Sean Dockray, Alessandro Ludovico, Pauline van Mourik Broekman, Nicholas Thoburn, and Dmitry Vilensky

This text is a conversation among practitioners of independent political media, focusing on the diverse materialities of independent publishing associated with the new media environment. The conversation concentrates on the publishing projects with which the participants are involved: the online archive and conversation platform AAAAARG, the print and digital publications of artist and activist group Chto Delat?, the blog I Cite, and the hybrid print/digital magazines Mute and Neural. Approaching independent media as sites of political and aesthetic intervention, association, and experimentation, the conversation ranges across a number of themes, including: the technical structures of new media publishing; financial constraints in independent publishing; independence and institutions; the sensory properties of paper and the book; the politics of writing; design and the aesthetics of publishing; the relation between social media and communicative capitalism; publishing as art; publishing as self-education; and post-digital print.

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Александр Скидан // Pawel Lwowich Tselan, russkij poet

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Die Liebe loscht ihren Namen: sie

schreibt sich dir zu.

Paul Celan

Редко какой текст, посвященный Паулю Целану, упускает случай припомнить сакраментальную фразу Адорно о «невозможности поэзии после Освенцима», с тем, чтобы посрамить философа, а в его лице и мысль вообще: дескать, суха теория, а искусство дышит где хочет. В самом деле, разве не опровергает «Фуга смерти», да и вся поэзия Целана, еврея, чьи родители сгинули в немецком концлагере, максиму Адорно? Между тем, никакая это не максима, а вырванная из контекста, покалеченная цитата, которую, как культю, не возбраняется пользовать в культурных целях, что в точности соответствует той диалектике культуры и варварства, о которой как раз и ведет речь Адорно в работе «Критика культуры и общество». Целан знал, более того, в 1968-ом участвовал в семинаре Адорно (задолго до этого тень философа мелькает в «Меридиане» и «Разговоре в горах»); год спустя в письме он так отозвался на его смерть: «Я почувствовал боль, я и сейчас чувствую боль. Это тяжелая потеря. Он был гениальный человек, богато одаренный, и одарил его не дьявол. Теперь мы читаем некрологи – они такие безлюбые, кажется мне, ну что ж…». После этих слов, мы, быть может, сподобимся иными глазами прочитать то, что в «Негативной диалектике» (1966), переосмысляя сказанное им в 1949-м, говорит Адорно: «Многолетнее страдание имеет такое же право выразить себя, как истязаемый – кричать; поэтому, должно быть, ошибочно было утверждать, что после Освенцима писать стихи невозможно. Не ошибочен, однако, менее “культурный” вопрос: а можно ли после Освенцима продолжать жить тому, кто по справедливости должен был умереть, но благодаря случайности избежал смерти? Их длящееся существование уже с необходимостью подразумевает равнодушие, этот основополагающий принцип капиталистической субъективности, без которого Освенцим был бы невозможен: глубочайшая вина тех, кого пощадили. Как своего рода воздаяние, втайне их преследуют сны, в которых они не живы, а задохнулись в газовой камере в 1944 году, как если бы все их существование после этого свелось к чисто воображаемому, к эманации блуждающего, бесприютного желания того, кто был убит двадцать лет тому назад».

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Когда необходимо сказать мы: искусство как практики солидарности /выставочный проект/

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Exhibition project

When it is urgent to say WE

a project of Laboratory of Critical Art at

European Univercity, Sain Petersburg

Документация выставки

Проведенные в рамках выставки мероприятия:

29 мая в помещении выставки “Искусство как практики солидарности” в Европейском Университете состоялось обнародование крафт-книги Романа Осминкина Товарищ-вещь

голос: Роман Осминкин / гитара: Антон Командиров

Также выступила активистская группа “Аркадий Коц

стихи: Александр Бренер / голос, гитара: Кирилл Медведев / клавиши: Олег Журавлев

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Борьба на два фронта

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Книга о «маоистском» периоде Годара, вышедшая в «Свободном марксистском    издательстве»

Борьба на два фронта
Жан-Люк Годар и группа Дзига Вертов. 1968 — 1972

Москва, 2010, 111 стр.

Составление : Кирилл Медведев, Кирилл Адибеков.

Перевод: Кирилл Адибеков, Борис Нелепо, Станислав Дорошенко, Кирилл Медведев,

Марксистский период в творчестве Годара некоторыми воспринимается как одна из   причуд его эксцентричного гения, другими — как лишнее доказательство того, что  подлинное новаторство в искусстве невозможно вне связи с освободительной политикой  и левой мыслью. Точно можно сказать одно: интуиция Годара привела художника в нужное время в нужные обстоятельства, и за несколько лет, прежде чем заодно с большинством интеллектуалов разочароваться в прямом политическом действии он сумел не только кардинально обновить собственное искусство, но, что важнее, существенно и глубоко, а вовсе не на уровне поверхностных веяний и конъюнктуры, развить критическую, брехтианскую линию в левом искусстве и арт-теории. В книге собраны материалы, связанные с этим периодом.

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Networks, partners and friends

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Here we mention our long-term collaboration partners and good friends – very sorry if we missed anyone

our works are represented by KOW Berlin


> Street Univercity, St. Petersburg

> MoscowArtMagazine ///Московский Художественный Журнал

> Russian Socialist Movement/ Российское Социалистическое Движение

> DSPA /// Движение Сопротивления имени Петра Алексеева

> May congress of creative workers /// Первомайскийконгресстворческихработников

> Collective Action Institute //ИнститутКоллективныхДействий

> FreeMarxistPublishingHouse /// Свободное Марксистское Издательство (С.М.И.)

> Translit /// Альманах актуальной поэзии и теории “Транслит”

> Галерея Экспериментального Звука (Experimental Sound Gallery)

> Европейский универиситет Спб/ European Univercity Saint Petersburg


> Р.Е.П. / R.E.P. Revolutionary Experimental Space

> Visual Culture Research Center


> Rosa Luxemburg Stiftung
> KOW Gallery 

> Rosa Perutz is a self-organised discussion context, dealing with nationalism, statism, and the specific conditions of production and reproduction in contemporary art

> NGBK (Neue Gesselschaft fuer Bildende Kunst)

> Interflugs ist eine selbstverwaltete und von Studierenden geleitete Organisation an der Universität der Künste Berlin

> Ex- Argentina & Potosi Principle net-work
(Alice Creischer and Andreas Siekmann)

– Hito Steyerl, Simon Sheikh, Boris Buden, Kathrin Becker, Kesrtin Stakemeier


> Biro for Culture and Communication (Vladan Jeremic and Rena Raedle)

> Prelom Collective & Jelena Vesic

> TkH is a Belgrade based independent platform for performing arts theory and practice

> KUDA centar za nove medije, Novi Sad (Serbia)

Buenos Aires

> Etcetera… formed in 1997 in Buenos Aires the group is composed of visual artists, poets, puppeteers and actors, most of who were under 20 at that time. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions.!/grupoetcetera

Collectivo Situationes; Federico Geller; Eduardo Molinari


> ex. Free University (Jakob Jakobsen)

> The Learning Site focuses on the local conditions in which its art practice is located. This entails a critical examination of the material resources and economies available within specific situations. Each situation may entail examination of economic and environmental factors, but also labor rights, property rights and the production and distribution of knowledge, which are investigated in tandem to produce a variety of different critical perspectives.


Perpetuum Mobilε, co-founded by Ivor Stodolsky and Marita Muukkonen, is a conduit and engine to bring together art, practice and enquiry. It acts as a vehicle to re-imagine certain basic historical, institutional as well as theoretical paradigms in these fields, which often exist in disparate institutional and political frames and territories. Perpetuum Mobilεzations include projects such as RE-ALIGNED (, the Perpetual Romani-Gypsy Pavilion (, The Arts Assembly ( and Perpetuum Labs.


> Rotor


> The Israeli Center for Digital Art in Holon

> Anarchists Against The Wall

The Netherlands

> Artist at Occupy Amsterdam network!/groups/155194434576968/

> BAK, Utrecht

> Van Abbemuseum, Eindhoven

– Charles Eshe;Merijn Oudenampsen; Jimini Hignett; Matthijs de Bruijne; Thomas Peutz & Una Henry


> Universidad Nomada& Marcelo Exposito


> Mute Magazine – Culture and politics after the net

>Third Textis an international scholarly journal providing critical perspectives on art and visual culture. It examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field.

> Precarious Workers Brigade are a UK-based growing group of precarious workers in culture & education. We call out in solidarity with all those struggling to make a living in this climate of instability and enforced austerity.

> Historical Materialism is a Marxist journal, appearing four times a year, based in London. Founded in 1997, it asserts that, notwithstanding the variety of its practical and theoretical articulations, Marxism constitutes the most fertile conceptual framework for analysing social phenomena, with an eye to their overhaul. In our selection of materials, we do not favour any one tendency, tradition or variant.

> is a not for profit artist run organization based in Tower Hamlets

– Steve Edwards, Gail Day, John Roberts, Susan Kelly


> REARTIKULACIJA is an art project of the group Reartikulacija (Marina Gržinić, Staš Kleindienst, Sebastjan Leban and Tanja Passoni). It is based on a precise intervention logic; through contemporary political theory, critic, art projects, activism and self-organization, it aims to intervene in the Slovene, Balkan and international space. The platform allows networking with other political subjects, activists, artists, who are interested in the possibility to create and maintain a dialogue with concrete social and political spaces in Slovenia, Europe and worldwide.

> Radical Education Collective

Bojana Pishkur, Marina Grzinic, Zdenka Badovinac, Vadim Fishkin, Mladen Dolar, Slavoj Zizek


> Disobedience Archive is an ongoing, multi-phase project curated by Marco Scotini and produced and presented by PLAY platform for Film & Video. The first phase started in Berlin in January 2005 and after Prague the next step will be in Mexico City in September 2005. Disobedience is a video station and a platform of discussion dealing with the relationship between artistic practices and political action.

Sao Paolo

> The BijaRi is a visual arts and multimedia breeding center. Developing projects in various platforms, the group operates between analog and digital media offering artistic experimentations, especially of a critical nature. Urban interventions, performances, installations, video art and design become a means to engage people, generating impact that generates a questioning of the current reality.


>Zanny Begg – artist and activist web site


> 16 Beaver is the address of a space initiated/run by artists to create and maintain an ongoing platform for the presentation, production, and discussion of a variety of artistic/cultural/economic/political projects. It is the point of many departures/arrivals.

> Greg Sholette web site

> Artist Organisation

> Brian Holmes blog

> Creative Time

> Tidal, occupy strategy journal


> WHW (What, How and for Whom?) / Galerija Nova, curators collective!/groups/70785898206/

> Theater collective

> FRAKCIJA, a Performing Arts Magazine

International networks

> eipcp – European Institute for Progressive Cultural Policies and multilingual web journal

> Former West a long-term international research, education, publishing, and exhibition project (2008–2014), which from within the field of contemporary art and theory: (1) reflects upon the changes introduced to the world (and thus to the so-called West) by the political, cultural, artistic, and economic events of 1989; (2) engages in rethinking the global histories of the last two decades in dialogue with post-communist and postcolonial thought; and (3) speculates about a “post-bloc” future that recognizes differences yet evolves through the political imperative of equality and the notion of “one world.”

> ArtLeaks is collective platform initiated by an international group of artists, curators, art historians and intellectuals in response to the abuse of their professional integrity and the open infraction of their labor rights. In the art world, such abuses usually disappear, but some events bring them into sharp focus and therefore deserve public scrutiny.

> International Errorist movement

> Ultrared
Activist art has come to signify a particular emphasis on appropriated aesthetic forms whose political content does the work of both cultural analysis and cultural action. The art collaboration Ultra-red propose a political-aesthetic project that reverses this model. If we understand organizing as the formal practices that build relationships out of which people compose an analysis and strategic actions, how might art contribute to and challenge those very processes? How might those processes already constitute aesthetic forms?


Documenta_12_magazines – was very important!

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The First Open 48-hours May Congress-Commune of creative workers will take place in Moscow, April 29-30, 2010.

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In the course of the two days, artists, researchers, translators, teachers, curators, union leaders, journalists, writers and musicians from all over the country will take part in several round-table discussions, talk-marathons, poetry readings and concerts. In the recent years, most of the participants have been part of important artistic and research initiatives that address the social and economic situation of creative professionals in contemporary Russian society. As neo-liberalism continues to establish its hold, its ugly manifestations are becoming a daily reality for all of us. Not only are exploitation and lack of freedom taking on increasingly elaborate forms, but also the very resourcefulness and the creative potential of an artist or researcher are appropriated and capitalized on by employers. It is against this backdrop that the issues raised by the phenomenon of precarious labor are becoming ever more pressing. It is our conviction that the reassessment of precarious workers’ position in today’s economic structure calls for a joint action in search of a new cultural space and an alternative educational platform outside of and beyond the fraudulent logic of the neo-liberal market economy. Alongside the struggle against the injustice at a work-place, collective advocacy of civil rights within professional unions, and the street-politics of manifestations and protests we are now making another crucial step towards the re-examination of our position and therefore, towards change. The May Congress builds on and develops the experience of several earlier projects, such as “Drift. Narvskaya Zastava” (St. Petersburg – Moscow, 2004-2005), “Self-Education(s)” (exhibition, Moscow, 2006), “68.08. Street Politics” (exhibition, Moscow, 2008) and “Leftist art. Leftist history. Leftist philosophy. Leftist poetry.” (seminar, Nizhny Novgorod, 2009) among others. The Congress proceedings will be organized around two main thematic clusters: LABOR and SELF-ORGANIZATION. The third, practice-oriented, part will take place in the morning, on May 1, the International Workers’ Day that celebrates unity and solidarity, when the Congress participants will walk out into the streets of Moscow to form their own joyful and creative column.

The Congress will provide modest dorm-like accommodations for its participants on the premises of Proekt-Fabrika.

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