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.

WRITTEN & STAGED:
Chto Delat

DRAMATURGY:
Dmitry Vilensky

WITH PARTICIPATION:
Tsaplya Olga Egorova, Nikolay Oleynikov,
Dmitry Vilensky, Gluklya Natalya Pershina

SPECIAL GUEST:
Martina Malinová
(song Who thus spoke of solitude? –
the fragment from a text by ALAIN BADIOU “Of an Obscure Disaster”)

The play consists of 5 elements

1. The film program (run in loop) compiled of two films which directly confront the history of the communist ideas and its realization: The Partisan Songspiel: A Belgrade Story (2009) and The Baden-Baden Lessons of Dis-consent (2011) (Both directed by Tsaplya Olga Egorova). Both films are staged reconstructions of situations in which the ghost from the past appears completely out-of joint and at a wrong moment and place.

2. Installation Anti-anticommunism specially created for the space of Transit display and which will be a poetic metaphor on the topic (realized by Nikolay Oleynikov and Dmitry Vilensky).

3. The recording of a fragment of the Alen Badiou article “Of an Obscure Disaster. On the End of the Truth of State” which will be a sound track in the installation and played by Martina Malinová.

4. The newspaper publication where we publish a few texts reflecting the current state of the discussion on the idea of communism.

5. Open discussions on the topic of the show.

the publication with the concept of the show and related texts: 

In recent months, our friends (members of Chto Delat collective) to comment on the situation around the realization of Manifesta 10 in Petersburg. We have had many personal conversations, skypes and mails but now, it looks like it is time to summarize things in public.

I have already written a critique on the boycott position (recently updated call to boycott Manifesta can be seen generic cialis at the official web-site of AICA: https://www.aicanederland.org/manifestas-unfortunate-choice-of-location/), and my position has not changed: a boycott focusing on the local attack on LGBT rights will not benefit but rather harm both local civil society as well as the potential audience of contemporary art in Russia. Putinism never took seriously such measures. Without further discussing why the boycott doesn’t work, it is quite buy viagra online clear that if the goal is to repeal repressive legislation, one needs to use more sophisticated and complex modes of pressure cialis tadalafil by creating new zones of public life where all forms of confrontation could become visible.

So, what could be done with Manifesta here?

A)

We have received and accepted a pre-invitation of Kasper Konig to participate in his exhibition. It is very important heart attack for us and we are in a process of developing a full scale project around our old film “The Tower: a Songspiel”. This musical order cialis online was realized in 2010 and it was our reflection on the civic resistance to the construction of the Gazprom Tower in St. Petersburg. Unfortunately the film has not lost its political actuality – four years later, we still face the shameless greed of corporation like Gazprom, the disgraceful clericalization of public life, a glut of sheer physical violence, the conscious destruction of civil society and its social space. Our work focuses on finding an artistic language for reflecting and opposing such issues, and therefore often meets a cold reception from Russian institutions, aside from some exceptions. Thus, it is crucial for us to show this piece to the local public. It was never shown properly in Petersburg, and the visibility that Manifesta-Hermitage could provide would vault into above the safe horizon of invisibility into the realm of broader political and artistic significance. This is a minefield of dangers, including direct censorship, at the first sign of which we will have to withdraw from the show.

Active ingredient also we are 36 hours looking forward to participate with our new School for Engaged art (1) in different forms increased blood of collaboration with the Manifesta Public Program as long as it makes sense for our mutual interest. At the moment, it looks like that our possibilities of collaboration with the Manifesta’s Educational program buy cialis is not welcomed from their side.

B)