tag:blogger.com,1999:blog-64639067271670171522024-03-13T01:25:59.537+01:00K A R L I N G A R R Ø Y S Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comBlogger141125tag:blogger.com,1999:blog-6463906727167017152.post-42540598546092080212022-08-01T21:29:00.009+02:002022-08-01T21:33:50.741+02:00CONTINUE TO FOLLOW MY WORK AT<p style="text-align: center;"><br /></p><p style="text-align: center;"><br /></p><p style="text-align: center;"><span style="font-size: medium;"><a href="http://www.karlingarroys.com" target="_blank">www.karlingarroys.com</a></span><br /></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-84010744658662160672022-03-25T18:16:00.003+01:002022-03-25T19:12:23.200+01:00YO PEN<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy8Jo6ZUhxLMzTxBTTYOP68Ssz9CU_8uRCzwqxfyaCI_QO22d227Ohk-PK3ff9fX5_6QV-KzPT4YzwykjRGVv0oBZ3cOwap5Ew8LSxES5KjK-3Hz-7-u2u-D6FoBIjWGl2Y4xUUGtx1C-erXPxohlOtR01b-i_c13VW45wlWeoMAtmZ2cEesiieSM-hg/s4032/IMG-0854.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy8Jo6ZUhxLMzTxBTTYOP68Ssz9CU_8uRCzwqxfyaCI_QO22d227Ohk-PK3ff9fX5_6QV-KzPT4YzwykjRGVv0oBZ3cOwap5Ew8LSxES5KjK-3Hz-7-u2u-D6FoBIjWGl2Y4xUUGtx1C-erXPxohlOtR01b-i_c13VW45wlWeoMAtmZ2cEesiieSM-hg/w590-h786/IMG-0854.jpg" width="590" /></a></div> YO PEN /. Bangkok Feb.22 2022<br /><p></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-1346709160249539882022-03-25T18:02:00.004+01:002022-03-25T18:08:40.640+01:00Pawel Jankiewicz --------RADIO KLANG------NEW RUIN<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Jh2FKMdxoSdPcKLLsdhI5eB4qHXVUHUc-jvnVLigNxKmXf0tc0IUoP6vW11PH1u-jhy6i-Ul7HvWwd4amisk7a3SgRqj-L829NKbEC_WBjj_ifOKzSgnP86UzqrGdsQrGVtthMrxMgEJBWKIamgS1-XFmOn6iBIV8Sunitu4Cv7BvJPH35L_zgQO9w/s1080/273283535_456982386211003_777274789371687983_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5Jh2FKMdxoSdPcKLLsdhI5eB4qHXVUHUc-jvnVLigNxKmXf0tc0IUoP6vW11PH1u-jhy6i-Ul7HvWwd4amisk7a3SgRqj-L829NKbEC_WBjj_ifOKzSgnP86UzqrGdsQrGVtthMrxMgEJBWKIamgS1-XFmOn6iBIV8Sunitu4Cv7BvJPH35L_zgQO9w/w596-h596/273283535_456982386211003_777274789371687983_n.jpg" width="596" /></a></div><br /><p></p><div class="ecm0bbzt hv4rvrfc ihqw7lf3 dati1w0a" data-ad-comet-preview="message" data-ad-preview="message" id="jsc_c_6a"><div class="j83agx80 cbu4d94t ew0dbk1b irj2b8pg"><div class="qzhwtbm6 knvmm38d"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa ht8s03o8 a8c37x1j fe6kdd0r mau55g9w c8b282yb keod5gw0 nxhoafnm aigsh9s9 d3f4x2em iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><div class="ecm0bbzt hv4rvrfc ihqw7lf3 dati1w0a" data-ad-comet-preview="message" data-ad-preview="message" id="jsc_c_7b"><div class="j83agx80 cbu4d94t ew0dbk1b irj2b8pg"><div class="qzhwtbm6 knvmm38d"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa ht8s03o8 a8c37x1j fe6kdd0r mau55g9w c8b282yb keod5gw0 nxhoafnm aigsh9s9 d3f4x2em iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;">Dzisiaj, o 21:30, w <span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 q66pz984 b1v8xokw" href="https://www.facebook.com/RadioKlang/?__cft__[0]=AZXjXCt1eePsHhyozMQa9tlyz018b8sOU9Ofa_dlGrYBy3qR0MB1pZmzAfzRRPmesYw3BODH9cQCzSWr181A7zyDj5duFcA_RG2JQ0cA7RJJ6g26JM5spDAAjbwvkFKyd9nBPgKeHKVBPA4LVQgIKV5O&__tn__=kK-R" role="link" tabindex="0"><span class="nc684nl6"><span>Radio Klang</span></span></a></span></div><div dir="auto" style="text-align: start;">NOWA RUINA #4</div><div dir="auto" style="text-align: start;">HAMOWANIE</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://www.mixcloud.com/radioklang/nowa-ruina-4-hamowanie/?fbclid=IwAR0buBPDmB_fFVPIToMEVyj0UYaeQoxlu2EZAEZZkidsmAOwHf2v_sN8iTI" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://www.mixcloud.com/radioklang/nowa-ruina-4-hamowanie/</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://anchor.fm/radioklang/episodes/NOWA-RUINA-4-HAMOWANIE-e1e8k4n?fbclid=IwAR0gY_XP_mMRsEAFyPyBbiGLQsyMpgGxE67WfCLEUyi8S0JQTgzV852MGN4" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://anchor.fm/.../epis.../NOWA-RUINA-4-HAMOWANIE-e1e8k4n</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">Triada za nami, możemy śmiało puścić się w metarefleksję. Ale... Zeszliśmy po brzydką kawę do kiosku, tylko tam i z powrotem, i tam złapał nas tytuł prasowy w BeZecie: „CZY W TAKIM RAZIE NIE MA JUŻ ŻADNEJ ŚWIĘTOŚCI?”. I, wisząc nad pierwszą stroną brukowca, wpatrzeni w fotografię podpalonego ołtarza, nagraliśmy wiadomość WhatsAppem: „Okay, Ingar, dlaczego wciąż płoną samochody w Berlinie? I już nie tylko samochody?”.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">GŁOSY:</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">Paweł Jankiewicz</div><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.waterstones.com%2Fbooks%2Fsearch%2Fterm%2Fpawe%2B%2B%2Bjankiewicz%3Ffbclid%3DIwAR0JrVW5VaLLcEr5ES4FGBUXtVoR9rUinMdUe3JdYlDMEVyIPBVV3tVzJIs&h=AT3k4Txy6ohYFT7G0Ej6xSDMJqeuk53Bit5CefdesvQZI_BnTf5wj7gRfWwcs3iYWGfr-gjbo_XsWUpKjeduhbJjRValXWQ5RH7KYYEvjEeHPKcy2P2oG4Tx-sDNynQQL3SLnhs&__tn__=-UK-R&c[0]=AT0TTJ-NAC_DsQY8y8iajkHDS1oLk4rJFFvoolxFw4Ux40YIl3isNxPpvFc6uFfyB1MZN7LnwuvLZz1PZDHG4XIy7Wq0T9rAknFHSaH1OpDXzmYOZ4pfyio9Ow8lU2LG8uxSsGMXt0mzUt6WFlMHz_ABWRAjoQcZpkuDTKKB_6eCFRbk" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://www.waterstones.com/.../term/pawe+++jankiewicz</a></span></div><div dir="auto" style="text-align: start;">Pisarz, nadaje z Berlina. Zrujnowana podmiotowość.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 q66pz984 b1v8xokw" href="https://www.facebook.com/karl.roys?__cft__[0]=AZXjXCt1eePsHhyozMQa9tlyz018b8sOU9Ofa_dlGrYBy3qR0MB1pZmzAfzRRPmesYw3BODH9cQCzSWr181A7zyDj5duFcA_RG2JQ0cA7RJJ6g26JM5spDAAjbwvkFKyd9nBPgKeHKVBPA4LVQgIKV5O&__tn__=-]K-R" role="link" tabindex="0"><span class="nc684nl6"><span>Karl Ingar Röys</span></span></a></span></div><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.zku-berlin.org%2Ffellows%2F483%2F%3Ffbclid%3DIwAR3mAyqjXbKSOmcR_iv__PCxJmmoXetqNhNhR6Thtl4gwgHYIUf4eajZsmM&h=AT2ws8cL8R-E0wPW03FDFri4ftp2NyReEFm3JEVsWHXV0J5tUWMMYkWoTVTdFs-soxtPW-zucl8zTZ9LxaM5u32PCVt-t6eEPd_OLDx8tn795Ul3rNs-EvAcbQZnlmRI9mfwQ9Q&__tn__=-UK-R&c[0]=AT0TTJ-NAC_DsQY8y8iajkHDS1oLk4rJFFvoolxFw4Ux40YIl3isNxPpvFc6uFfyB1MZN7LnwuvLZz1PZDHG4XIy7Wq0T9rAknFHSaH1OpDXzmYOZ4pfyio9Ow8lU2LG8uxSsGMXt0mzUt6WFlMHz_ABWRAjoQcZpkuDTKKB_6eCFRbk" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://www.zku-berlin.org/fellows/483/</a></span></div><div dir="auto" style="text-align: start;">Artysta multimedialno-spekulatywny między Oslo a Bangkokiem.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">Alberto Caffarelli</div><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fyoutu.be%2FZrUur8G1LqI%3Ffbclid%3DIwAR08oj10HRUZZlQx7Kvobai79Ft21FeEnxL87lRYgz1hxP0KrL1RA_6dwR4&h=AT35Yegapq3wMbKfq7OEvw0DM4fnUfE6Dt3JSjPxjwDXtVjH9OYzF920CsGMedXcz4mxGYV-oE_5kY8m70lO2jNwtAfpb04lejfZMEUAHZeLvgbml0N4OoyRRMd4tYLlA65YV7c&__tn__=-UK-R&c[0]=AT0TTJ-NAC_DsQY8y8iajkHDS1oLk4rJFFvoolxFw4Ux40YIl3isNxPpvFc6uFfyB1MZN7LnwuvLZz1PZDHG4XIy7Wq0T9rAknFHSaH1OpDXzmYOZ4pfyio9Ow8lU2LG8uxSsGMXt0mzUt6WFlMHz_ABWRAjoQcZpkuDTKKB_6eCFRbk" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://youtu.be/ZrUur8G1LqI</a></span></div><div dir="auto" style="text-align: start;">Świeżo z Sardynii,</div><div dir="auto" style="text-align: start;">gdzie <span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 q66pz984 b1v8xokw" href="https://www.facebook.com/alterazionivideo/?__cft__[0]=AZXjXCt1eePsHhyozMQa9tlyz018b8sOU9Ofa_dlGrYBy3qR0MB1pZmzAfzRRPmesYw3BODH9cQCzSWr181A7zyDj5duFcA_RG2JQ0cA7RJJ6g26JM5spDAAjbwvkFKyd9nBPgKeHKVBPA4LVQgIKV5O&__tn__=kK-R" role="link" tabindex="0"><span class="nc684nl6"><span>Alterazioni Video</span></span></a></span> kręcili teaser „Uwag do niedokończonego parku”.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">Filippo Anniballi</div><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.adestdellequatore.com%2Fshop%2Fmilingo-contro-tutti%2F%3Ffbclid%3DIwAR2g85cWW6ob9w-f-LBkwWWba6dUeYQ12FS1pbd3jaxtGiS4hhFajCZ4fMI&h=AT2GDI3oSx3lNhudhDlEP5GZB9Uww97Xt5u5obROPyZvI9vMzEdm7XDdKHW9izIH5sarHrU62d6UNzJDn43LLVKPwux7g7Vpil0XJaXhavbcGfqyYjQhRB_dNwpvjIW7L9wHGzg&__tn__=-UK-R&c[0]=AT0TTJ-NAC_DsQY8y8iajkHDS1oLk4rJFFvoolxFw4Ux40YIl3isNxPpvFc6uFfyB1MZN7LnwuvLZz1PZDHG4XIy7Wq0T9rAknFHSaH1OpDXzmYOZ4pfyio9Ow8lU2LG8uxSsGMXt0mzUt6WFlMHz_ABWRAjoQcZpkuDTKKB_6eCFRbk" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://www.adestdellequatore.com/shop/milingo-contro-tutti/</a></span></div><div dir="auto" style="text-align: start;">Pisarz, tłumacz, aktor. Wokalista, improwizator – jak w „Uwagach do...”.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">REALIZACJA:</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">Paweł Jankiewicz @jankiewicz.p koncept, parakoncept</div><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 q66pz984 b1v8xokw" href="https://www.facebook.com/ashar.mumtaz.12?__cft__[0]=AZXjXCt1eePsHhyozMQa9tlyz018b8sOU9Ofa_dlGrYBy3qR0MB1pZmzAfzRRPmesYw3BODH9cQCzSWr181A7zyDj5duFcA_RG2JQ0cA7RJJ6g26JM5spDAAjbwvkFKyd9nBPgKeHKVBPA4LVQgIKV5O&__tn__=-]K-R" role="link" tabindex="0"><span class="nc684nl6"><span>Ashar Mumtaz</span></span></a></span> dźwięk-koncept</div><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 q66pz984 b1v8xokw" href="https://www.facebook.com/michael.hazell.146?__cft__[0]=AZXjXCt1eePsHhyozMQa9tlyz018b8sOU9Ofa_dlGrYBy3qR0MB1pZmzAfzRRPmesYw3BODH9cQCzSWr181A7zyDj5duFcA_RG2JQ0cA7RJJ6g26JM5spDAAjbwvkFKyd9nBPgKeHKVBPA4LVQgIKV5O&__tn__=-]K-R" role="link" tabindex="0"><span class="nc684nl6"><span>Michael Hazell</span></span></a></span> <span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fhazellhazellhazell.com%2F%3Ffbclid%3DIwAR2-ukr4eiVQUgh68rek-YNf4qU-zrbzwifn8E-nWcFa0OoGpLnBwOiK91g&h=AT3_fl8J9Ocze3Jfjmw3qF1eMIlv9gPBAGXAFS2lWWgqq2SOPtB6Qa7wgVndOeRNSpNFNN4uHlG7sEGcYEVndneeeQqSZ0lV1MWHeX27MYLYuNfx46DpjoOxopIlVyM6BOFU5Ik&__tn__=-UK-R&c[0]=AT0TTJ-NAC_DsQY8y8iajkHDS1oLk4rJFFvoolxFw4Ux40YIl3isNxPpvFc6uFfyB1MZN7LnwuvLZz1PZDHG4XIy7Wq0T9rAknFHSaH1OpDXzmYOZ4pfyio9Ow8lU2LG8uxSsGMXt0mzUt6WFlMHz_ABWRAjoQcZpkuDTKKB_6eCFRbk" rel="nofollow noopener" role="link" tabindex="0" target="_blank">hazellhazellhazell.com/</a></span> grafika</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fradioklang.pl%2F%3Ffbclid%3DIwAR2ZdsKjuptS04FN9DaHQdEmlBqz8p5XVKe-hNcPT-0OCgQib44jdpSLGes&h=AT11mFLKk56myI3mG390iDROFvQ-w1Eo6Zy9OytZS_VW3f2YlpJPyO1ZoSV2SJRz9gIAaJcxt0EgvS7MhMdjTR-ZxD3KLH6yZ3kP30KoQytsIvMD_NPY2aevpKErtAGH7ZWTVhw&__tn__=-UK-R&c[0]=AT0TTJ-NAC_DsQY8y8iajkHDS1oLk4rJFFvoolxFw4Ux40YIl3isNxPpvFc6uFfyB1MZN7LnwuvLZz1PZDHG4XIy7Wq0T9rAknFHSaH1OpDXzmYOZ4pfyio9Ow8lU2LG8uxSsGMXt0mzUt6WFlMHz_ABWRAjoQcZpkuDTKKB_6eCFRbk" rel="nofollow noopener" role="link" tabindex="0" target="_blank">http://radioklang.pl/</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 q66pz984 b1v8xokw" href="https://www.facebook.com/hashtag/ruinologia?__eep__=6&__cft__[0]=AZXjXCt1eePsHhyozMQa9tlyz018b8sOU9Ofa_dlGrYBy3qR0MB1pZmzAfzRRPmesYw3BODH9cQCzSWr181A7zyDj5duFcA_RG2JQ0cA7RJJ6g26JM5spDAAjbwvkFKyd9nBPgKeHKVBPA4LVQgIKV5O&__tn__=*NK-R" role="link" tabindex="0">#ruinologia</a></span> <span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 q66pz984 b1v8xokw" href="https://www.facebook.com/hashtag/gentryfikacja?__eep__=6&__cft__[0]=AZXjXCt1eePsHhyozMQa9tlyz018b8sOU9Ofa_dlGrYBy3qR0MB1pZmzAfzRRPmesYw3BODH9cQCzSWr181A7zyDj5duFcA_RG2JQ0cA7RJJ6g26JM5spDAAjbwvkFKyd9nBPgKeHKVBPA4LVQgIKV5O&__tn__=*NK-R" role="link" tabindex="0">#gentryfikacja</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">#1</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.mixcloud.com%2Fradioklang%2Fnowa-ruina-1-co-nowego%2F%3Ffbclid%3DIwAR1KHKsP6srGh_EXDuZHaNgcx-xXVZQSsw_PPNm3fQzQSj5-xSJtzJckP24&h=AT3QseAdST6JxCiNl5g6OdgzrLD398pRU0wfrhpXIPTS-FCmjTV8Zthv9Es2h5xQFrtnERE4Az14h-jZPNvic-NEbYO3KYWzsatcD_3geFPT1Xe0XzQqkYesJK-kgaKXZHJKT4o&__tn__=-UK-R&c[0]=AT0TTJ-NAC_DsQY8y8iajkHDS1oLk4rJFFvoolxFw4Ux40YIl3isNxPpvFc6uFfyB1MZN7LnwuvLZz1PZDHG4XIy7Wq0T9rAknFHSaH1OpDXzmYOZ4pfyio9Ow8lU2LG8uxSsGMXt0mzUt6WFlMHz_ABWRAjoQcZpkuDTKKB_6eCFRbk" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://www.mixcloud.com/radioklang/nowa-ruina-1-co-nowego/</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://anchor.fm/radioklang/episodes/NOWA-RUINA-1-CO-NOWEGO-e19q9jl?fbclid=IwAR2-ukr4eiVQUgh68rek-YNf4qU-zrbzwifn8E-nWcFa0OoGpLnBwOiK91g" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://anchor.fm/.../epis.../NOWA-RUINA-1-CO-NOWEGO-e19q9jl</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">#2</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://www.mixcloud.com/radioklang/nowa-ruina-2-turbo-incompiuto/?fbclid=IwAR2-ukr4eiVQUgh68rek-YNf4qU-zrbzwifn8E-nWcFa0OoGpLnBwOiK91g" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://www.mixcloud.com/.../nowa-ruina-2-turbo-incompiuto/</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://anchor.fm/radioklang/episodes/NOWA-RUINA-2-TURBO-INCOMPIUTO-e1b6evl/a-a716o0i?fbclid=IwAR1UeUSkO3iXQrpnHaBxx7JskLs4gK7KkojjFTcJAOX_WMgfPGwmJbInODY" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://anchor.fm/.../NOWA-RUINA-2-TURBO.../a-a716o0i</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;">#3</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.mixcloud.com%2Fradioklang%2Fnowa-ruina-3-permam%25C4%2599tny-remam%25C4%2599t%2F%3Ffbclid%3DIwAR3N5Fp5JgAQDK2kIDg_8BhxFnwxKiqwIQV5Kt-XercwWHW6m18ylgHrs2A&h=AT07Xj47v871VTzeIifkLCCq0jULCqUKhNEkJ2aZtzh4XiAGi8qnv-IV4mQOfPsVa2egN2s5sgx87Ga4prBdu2ch_3m1cEY1-JtMG8ujhDfgGnLGUnw9UJi13CCFFUExHFvYdW0&__tn__=-UK-R&c[0]=AT0TTJ-NAC_DsQY8y8iajkHDS1oLk4rJFFvoolxFw4Ux40YIl3isNxPpvFc6uFfyB1MZN7LnwuvLZz1PZDHG4XIy7Wq0T9rAknFHSaH1OpDXzmYOZ4pfyio9Ow8lU2LG8uxSsGMXt0mzUt6WFlMHz_ABWRAjoQcZpkuDTKKB_6eCFRbk" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://www.mixcloud.com/.../nowa-ruina-3-permam%C4.../</a></span></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q"><div dir="auto" style="text-align: start;"><span><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl gpro0wi8 py34i1dx" href="https://anchor.fm/radioklang/episodes/NOWA-RUINA-3-PERMAMTNY-REMAMT-e1ckota?fbclid=IwAR08oj10HRUZZlQx7Kvobai79Ft21FeEnxL87lRYgz1hxP0KrL1RA_6dwR4" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://anchor.fm/.../NOWA-RUINA-3-PERMAMTNY-REMAMT-e1ckota</a></span></div></div></span></div></div></div> </div><div dir="auto" style="text-align: start;"> <br /></div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"> </div></div></span></div></div></div>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-55814414259675760822022-03-16T08:22:00.003+01:002022-03-25T19:12:42.908+01:00Kawi Kanmuang<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEghyiNXsE07lRpYIsolZPWJBJHBQZNGAMKxwxFy4RvVcCrM4ZqM1L1YR1CJ7LUOUnZgFFpyrEr8de4zmnysO3I4LGyfa_nxDDrFHA5i0AxC0Bz1Vk_SsfOXSGF2T9qjjtzw1Qwg_1knKcBeiIb7NgbMDJuBgJxWTtnuMpWtXNqyw9BpVj6sGfrhF-UMkw=s4032" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" src="https://blogger.googleusercontent.com/img/a/AVvXsEghyiNXsE07lRpYIsolZPWJBJHBQZNGAMKxwxFy4RvVcCrM4ZqM1L1YR1CJ7LUOUnZgFFpyrEr8de4zmnysO3I4LGyfa_nxDDrFHA5i0AxC0Bz1Vk_SsfOXSGF2T9qjjtzw1Qwg_1knKcBeiIb7NgbMDJuBgJxWTtnuMpWtXNqyw9BpVj6sGfrhF-UMkw=s16000" /></a></div> Kawi Kanmuang/. Bangkok Feb 12, 2022<br /><p></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-10072812053089725142021-10-19T22:24:00.001+02:002021-10-19T22:24:29.559+02:00CAMINATA NOCTURNA <p><br /> </p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidR79snm1eZEdBgcDlAAfOIf0jM-igKHiaHMXnJdECpgJmrnh1fIttaDMatBS9bOr_5OEzs_KqvtgwCLPrjww2cseBCXA4nXKWXJBs42IptPZnuZ3Wdypf8YL9fzluXVIciuUpasLFzuTJ/s2048/caminata+invite3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidR79snm1eZEdBgcDlAAfOIf0jM-igKHiaHMXnJdECpgJmrnh1fIttaDMatBS9bOr_5OEzs_KqvtgwCLPrjww2cseBCXA4nXKWXJBs42IptPZnuZ3Wdypf8YL9fzluXVIciuUpasLFzuTJ/s16000/caminata+invite3.jpg" /></a></div><br /><p></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-69328367493045107842021-10-07T20:16:00.002+02:002021-11-22T14:36:34.985+01:00Kastanien Projectraum<div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnxbRB9-FR8NBfAo4zZQElYVXlyo2-ss9Q1zWOwVUfJ3o-_ZPI4s9wWaVe4jKTpco9ED4DZjx7ItpfzOwsVYGmYoAzZbjOUiGiZ-A-2ct5qWky8QJPWvzznjsw8BnYbKyM0SKw_SfePF5m/s1350/ambactia-memoria_KSTN.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnxbRB9-FR8NBfAo4zZQElYVXlyo2-ss9Q1zWOwVUfJ3o-_ZPI4s9wWaVe4jKTpco9ED4DZjx7ItpfzOwsVYGmYoAzZbjOUiGiZ-A-2ct5qWky8QJPWvzznjsw8BnYbKyM0SKw_SfePF5m/w512-h640/ambactia-memoria_KSTN.jpg" width="512" /></a></div><br /><br /></div><div style="text-align: justify;">Ambactia Memoria is an international visual arts group exhibition that offers artists, critics, and activists an open framework to articulate non-normative artistic positions and peripheral perspectives regarding tradition, memory, and identities in relation to “the Hispanic.” By exploring the intersection between feminism, transculturalism, and (post)migrant approaches on the representations, practices, and diverse forms of identity in contemporary society, the selected works deconstruct the idea of Hispanicness and collectively imagine its future transformation.<br /><br />The myth of the Hispanic image has been violently pierced by a cultural historiography riddled with wounds. In the name of glory, heroism and progress, a homogenizing symbol of colonialism acts as a mass grave mark to level what it is considered to be “the Spanish” and a great part of “the Latin”: the Hispanicness (la Hispanidad). It is, in fact, a prosthetic symbol, full of political devices for the normalization and administration of a selected but still collective memory, which operates in the same way in which abject bodies are confronted across the border in many bureaucratic and institutional levels.<br /><br />The conflict inserted at the very core of the “Hispanicness” term is an act of administrative and institutional erasure that has not only looked the other way, but also it has burned all the papers inside the filing cabinet. With this exhibition, we propose a critical decolonial cartography that starts (and now it is even much more evident because of the COVID crisis) with the collapse of institutions in the midst of another pandemic that has been with us for a much longer period: the crisis of experience and truth that calls into question the legitimacy of cultural institutions. The international (re)presentation which the so-called “Spanish-speaking cultures” perform outside their frontiers as well as their epistemological and political soil, is falling apart. The impostor veil of culture that used to hide the real face of the political failure has dropped.</div><div style="text-align: justify;"><br />Now we can talk about both politics of the Hispanic image and politics of the Hispanic gaze, composing new visual devices that did not yet exist for certain realities that have been resisting for a long time. Why, then, do these organizations continue, even with greater force than ever, the strategies for promoting the “authentic” culture of Spain and many Latin American countries, while speaking of “hybridization, “multiculturalism” and “brotherhood”? But what does the “Hispanic culture” really mean? Can the “Hispanic” be thought of? Does it even exist?</div><div style="text-align: justify;"><br />These fictional foundations of the image of the Hispanic correspond to a precise process of political acculturation, closely coupled with a concrete visual construction, all with the objective of camouflaging itself and eluding its moral problems and duties. In fact, Hispania in Latin, rather than referring to an idea of a nation, was a geographical term used to relate to the entire Iberian Peninsula territory. After its indiscriminate use by all of the imaginable political factions, it is now used to bring together what is considered “a community with common linguistic and cultural characteristics.” Thus, the abstract image of the Hispanic is manipulated against its will, kidnapped by those who champion it and use it as a device to normalize a process of violence and colonization that, even if regenerated, reaches our days. There is something very seductive in this nationalist idea that aims to “unify” Hispanicness by inviting a society plunged into labor precariousness, social loneliness, discrimination, or that failure to comply with the ideal beauty standards, to not be ashamed of their country’s past. The rise of national cultural identities in Spain and perhaps Europe’s writ large is a response to a political crisis that, along with the aesthetics of fascism and necropolitical logics, provides the optimal breeding ground for a lack of a rigorous decolonial reflection in these latitudes of the globe. Society does not need more shame than the one it already feels when it looks in the mirror every morning, but rather pride. If the past were glorious it means the future could also be. And who chooses shame over hope?<br /><br />Or, on the contrary, blame. There are those who engage in witch-hunts, pointing an accusing finger from the only possible place to do so: the elite. There is a paralyzing guilt, an identity categorization that tightly binds an apparently leftist morality. Revealed in reality as a bourgeois perversion (have not identities also been deformed by the capital?), they lead to a corralling from which the devices of racial, gender, sexual discrimination… are in danger of being deactivated. Identity fields are shut down from class considerations and become part of the market of marginalities and intersectional oppressions in a mise en abyme where all struggle is diluted in favor of an identitarian essentialism.</div><div style="text-align: justify;"><br /> </div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1hTMg0vuSTYdHWVI6MMGmIXoSL3n9q-MfmUWOikP5bee9UuBY5hoy2uNsSnHt6LjN94pbvmEE20B0rp4qB6AsIeeQjU6y5Gjrzu2pClt84AVCim1TOGX89KBN-WfdQ2eR_2YG0zVKod3A/s1181/CaminataNocturna.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="1181" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1hTMg0vuSTYdHWVI6MMGmIXoSL3n9q-MfmUWOikP5bee9UuBY5hoy2uNsSnHt6LjN94pbvmEE20B0rp4qB6AsIeeQjU6y5Gjrzu2pClt84AVCim1TOGX89KBN-WfdQ2eR_2YG0zVKod3A/w640-h426/CaminataNocturna.jpg" width="640" /></a></div> Caminata Nocturna. Karl Ingar Røys<br /> </div><div style="text-align: justify;"> </div><div style="text-align: justify;">Within what we can call the “revisiting of historical memory”, international bodies of representation operate as techniques for modifying subjectivities. In this sense, culture is territorialized to turn it into yet another object of patriarchal control that instead of uniting, as it apparently claims, it isolates those inside cages that separate the otherness and discipline and punish. The purpose, in reality, is to create an imagined community of “us versus them”, where only the subaltern is asked ontologically for its being.<br />Meanwhile, the art institution has always reinforced the sense of belonging in some people and exclusion in others, since that hegemonic subjectivity is still influenced by the inheritance from the ecclesiastical and aristocratic-monarchical modes of the construction of truth, which in turn, it has been crucial for the developing of the artistic modernity story. In this sense, both cultural and representative institutions, in Foucauldian terms, are performative machines (self-presented as constates) that produce the subject they say they represent; and at the same time, they are also apparatuses of verification and legitimation at the service of a racialized, sexualized and minorities excluding hegemonic discourse. It is, therefore, the logic of “exclusionary inclusion” that constitutes such institutions; and the History of Art an attempt to deny the heterogeneous character of what the exhibition space by definition is beyond the categories of Western historiography: a plural, polyphonic and political place.<br /><br />The proposal here is to reopen history and create a symbolic space for reparation, a way of dealing with the damage in the face of institutional blindness and the silence of others. Within a broken world, in the face of the experiences of harm and the fragility of memory, we propose concern, active listening, and the exhibition space as a possible place of curing through images. Spain works with colonial guilt, or with its opposite, the excuse.<br /><br />The aim is to establish a provisional and plastic proposal, which neither constitutes nor pretends to constitute a truth. In order to ensure that there is always a process of collective activation through a multiplicity of discourses, an appeal is made to public consciousness in an attempt to avoid a unique language. It is not an act of activism, but of mediation so that others can be activated and transformed, rhizomatically.</div><div style="text-align: justify;"><br />What we are addressing as a cornerstone to deconstruct the idea of hispanicness, is the concept of memory, or post-memory, as performative structures of intra-, inter- and trans- generational transmission, where the key concept is trauma. In the words of Marianne Hirsch, trauma leads to the creation of different performative attitudes, usually related to dissociation, the hybrid, creativity, the fictitious, the imagination, the self-reflective, the irony … never ordered, always polyhedral, as it is in- tended to capture in the space for this exhibition. The defense of post-memory as an analytical category means challenging the meta-stories that have always dominated what we have commonly called (Western) History.<br />There is no uniqueness or truth of the memory, and therefore, there is no single truthful method to represent that past. The only thing we do intend to reflect is the presence (and absence) of a multiplicity of discourses, which are indeed those that guarantee memory, however fragmented they might be. Thus, it is not a matter of remembering or forgetting – well, on the other hand, how do you remember that you have forgotten? – but rather how to remember and how to handle representations of the past, and consequently, those of the present. On the other hand, the gradual death of the survivors and their testimonies becomes the impetus for new generations to assume a collective political-moral responsibility with them, with whom they feel a bond, and even discover, in the words of Paul Ricoeur, themselves as others. The demands of reparation are inextricably intertwined with the subsequent generations, and it must be through their voices from where the possibilities of transitional justice and collective memory must be (re)conducted.<br /><br />In the pursuit of alternative transnational alliances between the Spanish State and its more contemporary connection with Latin America, it is also necessary to map the transition process in which they continue to be immersed after the dictatorships. Along with countries like Argentina or Chile, Spain went directly from dictatorship to the free market, and they called it democracy. In this process, the large neo-colonial corporations have established new and subversive coalitions of control that were already present in the colonial period: racial, gender, sexual and class oligarchies. In addition, the neoliberal system rapidly phagocytes the “new” identities (re)baptizing them with less uncomfortable pseudo-democratic profiles for their own interest.<br /><br />Thus, it is proposed to treat coloniality in this sense not as a mere racial classification, but as a mechanism of domination that permeates all aspects of social existence, knowledge production and identities. The relationships between them are more than intersectional, they are mutual. In this way, the gender system of modernity would not exist without coloniality, indeed, it is constitutive of it, and vice versa.<br /><br />Among the violence of the European colonial expansion, all forms of sexual or gender dissidence were persecuted for being against the Judeo-Christian vision of the body, sexuality or pleasure. The first pathologizations, regulations and prohibitions of homosexuality or the diversity of gender and sex that already existed in pre-Columbian cultures were established with the aim of categorizing colonized subjects. The conquerors considered the indigenous men as savage and effeminate because of their ornamentation, and women as libertines because of the nakedness of a body that was since then fiercely sexualized. That is why we must think of coloniality of gender as a two-way relational base, just as it is unthinkable to “de-colonize without de-patriarchalizing” (no es posible descolonizar sin despatriarcalizar), in the words of María Galindo.<br /> </div><div style="text-align: justify;">Once the motives that encourage the decolonization of the “Hispanic” (which seem so closely linked to feminisms) have been understood, and in order to invite a counter-genealogy of total resistance, it is necessary to question the position of race within Queer Theories. The concerns about the epistemic limitations of this theory, and its “Westernist” worldview, make us wonder if it is not necessary, in addition to de-colonize and de-patriarchalize, also, in a sense, de-queerize. Is it possible for subaltern communities to express their experiences, their bodies, and their erotic imagination in the same terms that Queer Theory does through Western visual realism? The problem of sexual dissidence approaches from Eurocentric and white theoretical-political frameworks does not fully include the polyhedral reality of the colonial subject and the effects of such coloniality on their bodies and desires. The institutionalization of this theory, and its discreet introduction into the university curricula, is easily digested by the system as an advertising formula and deactivated in its proclamations (even more so in the absence of a translation of the term into other languages). As we can see from protests banners around the world “lo queer no te quita lo racista” (the queerness doesn’t take away your racism).
The decolonial inflection requires finding new scriptural forms that continue challenging the hegemonic methods of enunciation and that recode and reflect these collective interests. By creating new codes through acts of re-existence, decolonial subjects critically appropriate pre-existing concepts.<br /><br />Therefore, we consider in this text a geopolitical, epistemic, and post-identitarian displacement from queer to cuir in order to weave transnational networks of identification and communication that make visible the vulnerability of “the Hispanic” and the processes of historical subalternization since colonization. Cuir, as the theorist Sayak Valencia argues, is also a critical position that reflects the interest in the migration of ideas and concepts, so that they are always active and the process of (self) questioning continues. It is a decolonial turn based on a rereading of the trans* feminist imaginary and sexual dissidence as peaceful practices of organized civil disobedience, where functional diversity, age, class, race… are intertwined in alliance with ecofeminisms, cyberfeminisms and indigenous feminisms.<br /> </div><div style="text-align: justify;">With all these questions in mind, the exhibition space is proposed as a vehicle to articulate new artistic forms that explore non-normative artistic practices around the concept of tradition, memory and identities on/from/with/against/through the “hispanic.” In the words of Paul B. Preciado, it is an invitation to constitute a “parliament of the (hispanicized) bodies.” In this way, it is a call to jointly create alternative epistemologies that confront these forms of oppression through the re-articulation of experience and the work of art. To subvert this Euro-centrism and challenge imperial narratives, artists, critics and activists are invited to explore languages and practices of decolonization and desexualization in order to open a discussion and collectively imagine a transformation of the Hispanic.<br /><br /> <b>Vanesa Peña Alarcón</b> </div><p></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-34164854285908624982021-02-08T19:40:00.007+01:002021-11-22T14:12:10.964+01:00Ord over Grind. Sound Performance<p style="text-align: center;"><br /></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6YqoB732YVk9Ep59aZ67fY8BUz4wPuq9w3EYi0duHpG2hPxvEIcRBc2kDhJd_OvDBCgVdszdPI4JhKWCan6N07cAOSKJI6HApVxJtSgjpYFobsvWX7J-HxHtZCSaz9FGhuzmc2RD-EVtu/s1600/drsden.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6YqoB732YVk9Ep59aZ67fY8BUz4wPuq9w3EYi0duHpG2hPxvEIcRBc2kDhJd_OvDBCgVdszdPI4JhKWCan6N07cAOSKJI6HApVxJtSgjpYFobsvWX7J-HxHtZCSaz9FGhuzmc2RD-EVtu/w300-h400/drsden.webp" width="300" /></a></div><br /> <p></p><p style="text-align: center;">Du går fram til mi inste grind,<br />
og eg går óg fram til di.<br />
Innafor den er kvar av oss einsam<br />
og det skal vi alltid bli.<br />
<br />
Aldri trenge seg lenger fram,<br />
var lova som galdt oss to.<br />
Anten vi møttes tidt eller sjeldan<br />
var møtet tillit og ro.<br />
<br />
Står du der ikkje ein dag eg kjem<br />
fell det meg lett å snu<br />
når eg har stått litt og sett mot huset<br />
og tenkt at der bur du.<br />
<br />
Så lenge eg veit du vil koma iblant<br />
som no over knatrande grus<br />
og smile glad når du ser meg stå her,<br />
skal eg ha ein heim i mitt hus. <br /></p><p style="text-align: center;"><i>Halldis Moren Vesaas, 1955</i> <br /></p><p style="text-align: justify;"> </p><p style="text-align: center;">Communal broadcast of lyrics by female poets, read by artists, on war, destruction and loss</p><p style="text-align: justify;">
</p><div class="page" title="Page 1">
<div class="layoutArea">
<div class="column" style="text-align: left;">
<p style="text-align: center;"><a href="https://www.deifunkwuk.org/2021/01/29/leer/"><span style="font-family: 'Calibri'; font-size: 11pt;">DEI FUNK WuK, PARASIT </span><span style="font-family: 'Calibri'; font-size: 11pt;">– </span><span style="font-family: 'Calibri'; font-size: 11pt;">Dresdner mobiles EuropaInstitut fuer Neue Kunst, Neue Kulturarbeit,
Kultur & Wissenschaft & Wirtschaft
</span></a></p>
<p style="text-align: center;"><span style="font-family: 'Calibri,Bold'; font-size: 11pt;">LEER.<br />
13. Februar 2021, Soundbox Tzschirner Platz (80 Beiträge, Gesamtdauer: 2h 54min)
</span></p>
</div>
</div>
</div>
<p style="text-align: justify;"><br /></p><p style="text-align: justify;">February 13, 2021. An initiative from the Dresden based
network #WOD with urban interventions about the city's destruction in WW2, also in relation to the great number of
other cities up to today with the same fate. Organized by riesa efau, DEI FUNK WuK, PARASIT - Dresdner
mobiles EuropaInstitut fuer Neue Kunst, Neue Kulturarbeit, Kultur &
Wissenschaft & Wirtschaf.</p><p>Die Plakatinstallation von DEI FUNK WuK stammt von der Dresdner Künstlerin Anna Ditscherlein, das Sounddesign vom Komponisten Alexander Keuk.</p><p> </p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-62618978895675979902021-01-06T16:42:00.002+01:002021-11-22T14:14:20.288+01:00dislocated angle<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj40FIPs-mwfwxbyDL9JmcQB-muZmKawJJeIKpavb0rE-pBQsNvov5_OK9AFYveNjC6fUuuOhxhG8jS23dRIDEiVa2a-tDE56xdaV76WNHBAFSD6h7AJQpkEHeLt_AnwPI12AexV8J-bcQ2/s2048/Screenshot+2021-01-06+at+16.34.05.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1127" data-original-width="2048" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj40FIPs-mwfwxbyDL9JmcQB-muZmKawJJeIKpavb0rE-pBQsNvov5_OK9AFYveNjC6fUuuOhxhG8jS23dRIDEiVa2a-tDE56xdaV76WNHBAFSD6h7AJQpkEHeLt_AnwPI12AexV8J-bcQ2/w640-h352/Screenshot+2021-01-06+at+16.34.05.png" width="640" /></a></div><br /> <p></p><p><br /></p><p style="text-align: justify;"><b>dislocated angle</b> explores the concept of <b>“transition”</b>
on various levels: physically, emotionally, energetically, visually,
digitally. I am interested to research during the time of lockdown how
the pandemic affects us in our perception of space and sense of
physicality. In the midst of discomfort, can one find comfort in the
space of the unknown? Is there a new sense of possibility and
transformation? Realignment to an active stillness? <span style="font-size: x-small;">- Patricia Woltmann</span> <span style="font-size: x-small;">2020</span> <span style="font-size: x-small;">Kinitiras, Athens Greece</span></p><p style="text-align: justify;"><span style="font-size: x-small;"><span style="font-size: x-small;">Concept, Choreography and Performance: <b>Patricia Woltmann</b><br /> Camera and editing:<b> Karl Ingar Røys</b><br /> Choreographic Assistance: <b>Maja Zimmerer</b></span> <br /></span></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-46900877236251930512020-11-26T13:30:00.001+01:002021-11-22T14:15:43.329+01:00S/CARS<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrBFjPzPo8i6Ygq7zFNQi8oDYAnxSovSprGytqXVu8eyoNRN-Q3zmNDqE980f1A363r_gQNSMY4GWY0hyF1VCaGGMSHDS6dx0OuQOl5EcNzP9JEGJguilaI2_0y28Dbbwgs_5Rm-FCtVpU/s2016/Brandanschlag+auf+das+Leporello-Auto+am+1.2.2018+copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2016" data-original-width="1512" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrBFjPzPo8i6Ygq7zFNQi8oDYAnxSovSprGytqXVu8eyoNRN-Q3zmNDqE980f1A363r_gQNSMY4GWY0hyF1VCaGGMSHDS6dx0OuQOl5EcNzP9JEGJguilaI2_0y28Dbbwgs_5Rm-FCtVpU/w480-h640/Brandanschlag+auf+das+Leporello-Auto+am+1.2.2018+copy.jpg" width="480" /></a></div>
<p></p><div class="page" title="Page 2">
<div class="section" style="background-color: white;">
<div class="layoutArea">
<div class="column">
<p style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "Times";">Foto © Heinz Ostermann
</span></span></p>
</div>
</div>
</div>
</div>
<p><br />
</p><div class="page" title="Page 2">
<div class="section" style="background-color: white;">
<div class="layoutArea">
<div class="column">
<p><span style="font-family: 'Times'; font-size: 12pt;">At around 3 a.m., bookseller Heinz Ostermann's car went up in flames. Vandals set fire to the Peugeot, and the car burned out
completely. Only sooty sheet metal remains - and a load
of books in the trunk, charred. <br /></span></p><p><span style="font-family: 'Times'; font-size: 12pt;"> </span></p><p><span style="font-family: 'Times'; font-size: 12pt;">Gegen 3 Uhr in der Nacht geht das Auto von Buchhändler Heinz Ostermann in Flammen auf.
Unbekannte haben den Peugeot angezündet, der Wagen brennt von vorne komplett aus. Nur
verrußtes Blech bleibt – und im Kofferraum eine Fuhre Bücher, verkohlt.
</span></p>
</div>
</div>
</div>
</div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-48484545823051785832020-11-25T20:28:00.003+01:002021-11-22T14:19:36.711+01:00S/CARS<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWh9i_vA1H3LIz39XCazHml3lqy0gS5UMcfpS7fBhW8ewHPPM1v537bjpILd0Mwkze1pd9F8L2EEFz_zPFviBZSc6ruPx7BN4nU5ABVgZtzJgYUrP56MVRasYFyaIzQFTjlPzWLQu2Lqoz/s2048/Screenshot+2020-11-18+at+22.17.43.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1140" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWh9i_vA1H3LIz39XCazHml3lqy0gS5UMcfpS7fBhW8ewHPPM1v537bjpILd0Mwkze1pd9F8L2EEFz_zPFviBZSc6ruPx7BN4nU5ABVgZtzJgYUrP56MVRasYFyaIzQFTjlPzWLQu2Lqoz/s16000/Screenshot+2020-11-18+at+22.17.43.png" /></a></div><br /> <p></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-70622735236172316432020-11-25T20:03:00.003+01:002021-03-24T12:06:55.467+01:00We are burning with interest in you<p> </p><p> </p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGSWr5z_vuHxIHlA__JqiO1WZchvKfUlK8wq37tJd6YNFRMvtrqwzhkqKtSccIl003ObVSrrfcsyO3HEyf-igEb-f768BLykwGwSuF7bo6FIjX6kpVlFlkTLozsqFiE4fNesIHPNqVbKPv/s739/We+are+burning+with+interest+in+you-high.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="739" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGSWr5z_vuHxIHlA__JqiO1WZchvKfUlK8wq37tJd6YNFRMvtrqwzhkqKtSccIl003ObVSrrfcsyO3HEyf-igEb-f768BLykwGwSuF7bo6FIjX6kpVlFlkTLozsqFiE4fNesIHPNqVbKPv/s320/We+are+burning+with+interest+in+you-high.gif" width="320" /></a></div><br /> <p></p>
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/483672367" width="640"></iframe>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-1149811150332653382020-11-23T23:48:00.003+01:002021-03-24T12:15:53.096+01:00Rote Drecksau/Red Filth (Bedrohung mit Sprühfarbe an Wohnhaus)<p> </p><p style="text-align: center;"> </p><p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnu2mmT6rsGj7fb6DSqKOJg_-thHpp5ZXK_NIej441b28MmqPjaWIN7mPXSL6SqN8VXOFgdvQ7jnpiBzkF_-iNR9zdQnqBwB1911ySUgY_lwi_xuwdsGaDv89f0RLa3CwfDBXciCDfchbf/s738/Rote+Drecksau+%2528Bedrohung+mit+Spru%25CC%2588hfarbe+an+Wohnhaus%2529-high.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="416" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnu2mmT6rsGj7fb6DSqKOJg_-thHpp5ZXK_NIej441b28MmqPjaWIN7mPXSL6SqN8VXOFgdvQ7jnpiBzkF_-iNR9zdQnqBwB1911ySUgY_lwi_xuwdsGaDv89f0RLa3CwfDBXciCDfchbf/s320/Rote+Drecksau+%2528Bedrohung+mit+Spru%25CC%2588hfarbe+an+Wohnhaus%2529-high.gif" /></a></div><br /><p></p><p> </p>
<div style="text-align: center;"><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="567" src="https://player.vimeo.com/video/482819825?autoplay=1&loop=1" width="320"></iframe></div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-15899632192944385632020-11-23T23:36:00.002+01:002020-11-23T23:39:10.541+01:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9I0ozNBvN3XCHeBYWzQiZ5KPRmsoI01A7dCtwGWVm3O0MU_ouL_v8CekFc7lVZdrzmtxMCWy5QB9O0ZLGn83LQn1snBtji-nbcyZeF6e-ocvJcn0iwREmut8fVS0Z2bmduqK3rRFbmzJr/s1166/rd.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="864" data-original-width="1166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9I0ozNBvN3XCHeBYWzQiZ5KPRmsoI01A7dCtwGWVm3O0MU_ouL_v8CekFc7lVZdrzmtxMCWy5QB9O0ZLGn83LQn1snBtji-nbcyZeF6e-ocvJcn0iwREmut8fVS0Z2bmduqK3rRFbmzJr/s16000/rd.png" /></a></div><br /> <p></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-44406179933478877612020-11-19T00:32:00.033+01:002020-11-23T16:56:20.555+01:00LiTE-HAUS GALERIE BERLIN<p></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIFKLQaCDAISQxOw-wgjXLkhawmAud6cVah8NxeVSV9-bKeA86aBPcOA3cfWxxj6UVNMDz4w-EwpNIlBCWsaYGn_HHL0VhHErC5dQ3fbu1_eT0E3utk2tdugRETaLBPCyvHEhZvMpm0fv6/s2048/wir+haben+ein+brennende+.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1235" data-original-width="2048" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIFKLQaCDAISQxOw-wgjXLkhawmAud6cVah8NxeVSV9-bKeA86aBPcOA3cfWxxj6UVNMDz4w-EwpNIlBCWsaYGn_HHL0VhHErC5dQ3fbu1_eT0E3utk2tdugRETaLBPCyvHEhZvMpm0fv6/w673-h406/wir+haben+ein+brennende+.jpg" width="673" /></a></div><p style="text-align: left;"> <span class="tlid-translation translation" lang="de"><span title="">Wir haben eine brennendes Interesse an dich</span></span></p><p style="text-align: left;"><span class="tlid-translation translation" lang="de"><span title=""><span> <span style="font-size: x-small;"> </span></span><span style="font-size: x-small;">(Sculpture. Dimensions variable</span>)</span></span><br /></p><p></p><p> <br /></p>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-72285189591246230532020-10-30T00:00:00.018+01:002020-11-23T18:10:53.357+01:00Neukölln Stories 'Memories of a Neighborhood'<p> </p><div class="separator" style="clear: both; text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtGnYhrAs3-w5SoM4OC2PMd2hn5xCZ8JuScD2Rgqjm8vrPailjDZwdMjwYvjW-j2wbWEB0qwyzHX7N-bDiC3H1OVimXukmoEF66A62fwdQro7hwYs4DNWkgYzZ7kgqKfYYWXRQDnoOSm3v/s5184/_1110005.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2920" data-original-width="5184" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtGnYhrAs3-w5SoM4OC2PMd2hn5xCZ8JuScD2Rgqjm8vrPailjDZwdMjwYvjW-j2wbWEB0qwyzHX7N-bDiC3H1OVimXukmoEF66A62fwdQro7hwYs4DNWkgYzZ7kgqKfYYWXRQDnoOSm3v/w708-h398/_1110005.JPG" width="708" /></a></div>
<p></p><div class="page" title="Page 31">
<div class="layoutArea">
<div class="column">
<p style="text-align: center;"><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 700;">
</span></p><div class="page" style="text-align: center;" title="Page 1">
<span style="font-family: arial;"><span style="font-size: small;"></span></span><span style="font-family: arial;"></span><span style="font-size: large;"><span style="font-family: "HelveticaNeue";"><span style="font-family: arial;"><span style="font-family: trebuchet;">Martina Becker, Sarah Drain, Jeremy Knowles, </span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-size: large;"><span style="font-family: "HelveticaNeue";"><span style="font-family: arial;"><span style="font-family: trebuchet;">Marta Medvesek, Karl Ingar Røys, Pablo Santacana, </span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span style="font-size: large;">Jun Suzuki. </span><br /></span></span></span></span></div><div class="page" style="text-align: left;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><br /><br /></span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><a href="https://www.nomadicart.org/NEUKOLLN-STORIES/Zine-n-1" target="_blank"><span style="font-size: x-large;"><b>Neukölln Stories </b></span></a><br /></span></span></span></span></div><div class="page" style="text-align: left;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><br /><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></span></span></span></div><div class="page" style="text-align: left;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></span></span><br /></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span style="font-size: large;"><b>Exhibition 6 Nov - 5 Dec 2020<br />LiTE-HAUS Gallery<br />Mareschstr. 4 12055 Berlin</b></span></span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span style="font-size: large;"><b> </b></span></span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span style="font-size: large;"><b> </b></span></span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><br /></span></span></span></span></div><div class="page" style="text-align: left;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><br /></span></span></span></span></div><div class="page" style="text-align: left;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"></span></span></span></span></div><div class="page" style="text-align: left;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"></span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span> <span style="font-size: x-large;"><span style="font-family: Lobster;"> </span></span></span><span style="font-family: Lobster;"><span style="font-size: large;"><span style="font-size: x-large;">Der Neukölln-Komplex</span> </span> </span></span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span style="font-family: Lobster;"> </span></span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span style="font-family: Lobster;">Karl Ingar Røys </span></span></span></span></span></div><div class="page" style="text-align: center;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"><span style="font-family: Lobster;"> </span><br /></span></span></span></span></div><div class="page" style="text-align: left;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;"> </span></span></span></span></div><div class="page" style="text-align: left;" title="Page 1"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: trebuchet;">13,9 Prozent der Stimmen holte die AfD im September 2016 in Neukölln bei der Senatswahl. Ostermann schockierte das, zusammen mit anderen in seiner Branche habe er gedacht: „Wir müssen da was machen.“ Also gründeten sie die Initiative „Neuköllner Buchhändler gegen Rechtspopulismus und Rassismus“, die Lesungen und Vorträge zu dem Thema ausrichtet. Bei der ersten Veranstaltung in Ostermanns Buchhandlung Leporello in Rudow kamen 50 Zuhörer. </span></span></span></span><span style="font-family: arial;"></span></div><p style="text-align: justify;"><span style="font-family: trebuchet;"><span style="font-size: 11pt;"><span style="font-size: small;"><br />Ein kleiner Schritt, der für Ostermann in diesem Kiez schwere Folgen hatte: Erst flogen Steine in die Scheiben seiner Buchhandlung. Ostermann ließ Sicherheitsglas einbauen, gitterte Fenster ein und tauschte die Schlösser aus. Wenige Wochen darauf brannte sein Ford Focus, diesmal vor seiner Privatadresse in Neukölln-Britz. Totalschaden Nummer 1. Nachbarn und Freunde sammelten Spenden, Ostermann kaufte von dem Geld als Ersatzwagen einen Peugeot und spendete den Rest. Ungefähr 11 Monate konnte er ihn fahren. Dann brannte in der Nacht zum 1. Februar auch der Peugeot. </span></span></span></p><p style="text-align: justify;"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: times;"><span style="font-family: trebuchet;"><br />13 von Rechten abgefackelte Autos zählt die Mobile Beratung gegen Rechtsextremismus Berlin (MBR) seit Mai 2016 in Neukölln, hinzu kommt ein Brandanschlag auf ein linkes Cafe und einen Wagenplatz, 15 aus dem Asphalt gerissene Stolpersteine, die an von Nazis deportierte Juden erinnern sollten, sowie Dutzende Bedrohungen durch Graffiti an Hauswänden. Vor- und Nachname von Engagierten werden dabei an die Wände der Häuser gesprüht, in denen sie leben, meist gefolgt von dem Schriftzug “Rote Drecksau“. Ob Brandsatz oder rote Farbe, die Botschaft ist dabei immer dieselbe: Wir wissen, wo ihr wohnt. Auch zuhause seid ihr nicht vor uns sicher. </span><br /><span style="font-size: x-small;"><i> </i></span></span></span></span></span></p><p style="text-align: justify;"><span style="font-family: "HelveticaNeue"; font-size: 11pt;"><span style="font-family: arial;"><span style="font-size: small;"><span style="font-family: times;"><span style="font-size: x-small;"><i>-Annika Leister. Frankfurter Rundschau </i></span></span></span></span></span><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 700;"><br /></span></p><p style="text-align: center;"><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 700;"> </span></p><p style="text-align: center;"><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 700;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBocpwATL1eZoHu-vN7TyN9sDz-wulnUJUkViTqbABLUW160Hk57Z2b1eDoetvu4uNXTCrWxWk-L4oqGf1XMcMDGsCGSxXJPuBlDA_IaRu_wx_5zJCFrF5mw2AuACCdhw3QnJJyhLHMv59/s2048/booksburn.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="703" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBocpwATL1eZoHu-vN7TyN9sDz-wulnUJUkViTqbABLUW160Hk57Z2b1eDoetvu4uNXTCrWxWk-L4oqGf1XMcMDGsCGSxXJPuBlDA_IaRu_wx_5zJCFrF5mw2AuACCdhw3QnJJyhLHMv59/w527-h703/booksburn.jpg" width="527" /></a></div> <span style="font-size: x-small;"> Photo by Leporello Bookshop owner Heinz Ostermann</span></div><div class="column"><span style="font-size: x-small;"> </span></div><div class="column"><span style="font-size: x-small;"> </span><br /><p></p><p style="text-align: center;"><span style="font-family: Lobster; font-size: large;"><span style="font-weight: 700;">We are burning with interest in you </span></span></p><p style="text-align: center;"><span style="font-family: Lobster;"><span style="font-size: 11pt; font-weight: 700;"> </span></span></p>
<p style="text-align: justify;"><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">The bookshop Leporello lies in a quiet shopping street of Neukölln. In De-
cember 2016, shortly after the right-wing populist AfD won seats in the
national parliament, the bookshop hosted a discussion evening entitled
“What to do against the AfD? Stand up against racism”.
</span></p>
<p style="text-align: justify;"><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">Shortly afterwards the bookshop window was smashed in. In January, the
owners car was set on fire and destroyed. Local residents got together and
</span><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">raised money for a second car for him. That vehicle has also been torched.
Burning cars are a common sign of political violence in Berlin - easy to
do, and hard to trace. In the past three years at least 13 cars have been
torched by the far right in Neukölln alone.
</span></p>
<p style="text-align: justify;"><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">Mirjam Blumenthal, a centre-left SPD politician on the district council, has
also been hit. Her car was set alight and a youth centre she runs has been
hit by two arson attacks. Neo-Nazi symbols later appeared on the youth
centre’s walls, alongside the words “We are burning with interest in you.”
According to Berlin police, more than 400 far-right criminal acts have been
reported in Neukölln since 2016. These include smashed windows, arson
attacks or physical violence. But also neo-Nazi death threats, with individu-
als’ names daubed in red paint on the walls of their homes.
</span></p>
<p style="text-align: justify;"><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">Neukölln is a large district, home to more than 300,000 people. The north-
ern part of Neukölln is urban, multicultural and rapidly gentrifying — full of
hip cafes and creative international types. As rents rise, people are moving
out to southern Neukölln, where for decades there has been a small but
well-established far-right scene. Many believes this is one reason why the
</span><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">violence here has flared up. “This is traditionally a very white middle-class
</span><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">area, but that’s now changing, it is becoming more multicultural, with peo-
</span><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">ple with different lifestyles. These far-right guys don’t feel comfortable with
</span><span style="font-family: 'HelveticaNeue'; font-size: 11pt; font-weight: 300;">that.</span><span style="font-family: 'HelveticaNeue'; font-size: 9pt; font-weight: 300;"> </span></p><p style="text-align: justify;"><span style="font-family: 'HelveticaNeue'; font-size: 9pt; font-weight: 300;">-Damien McGuinness, </span><span style="font-family: 'HelveticaNeue'; font-size: 9pt; font-weight: 300;"><span style="font-family: 'HelveticaNeue'; font-size: 9pt; font-weight: 300;">BBC News, Berlin.</span></span></p><p><span style="font-family: 'HelveticaNeue'; font-size: 9pt; font-weight: 300;"> </span></p><p><span style="font-family: 'HelveticaNeue'; font-size: 9pt; font-weight: 300;"> </span></p>
</div>
</div>
</div>
<div style="text-align: center;"><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="536" src="https://player.vimeo.com/video/481871298?loop=1" width="320"></iframe></div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-54374009119908075972020-07-24T23:01:00.000+02:002020-07-24T23:01:20.333+02:00NICHT-MUSEUM ZEITGEMÄßER KUNST DRESDEN<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Hbm_LiM689MfBAXUh_ZIHKqL3YlXD4nqeSXdLT_KBl2X9S3zrMTEIeOyK-umqx8maIIwY6cgrjV7hUA1xmaL7qFjGC1EXu0Q8fjZ9Dn5HswKrwIWJbxiYSAg-m4o8hfZloDhyoc6SWOn/s1600/nmuseum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Hbm_LiM689MfBAXUh_ZIHKqL3YlXD4nqeSXdLT_KBl2X9S3zrMTEIeOyK-umqx8maIIwY6cgrjV7hUA1xmaL7qFjGC1EXu0Q8fjZ9Dn5HswKrwIWJbxiYSAg-m4o8hfZloDhyoc6SWOn/s640/nmuseum.jpg" width="640" /></a></div>
<br />
Come and experience my work Slogans, edition#08 Tirana - SYL-M - (SUPPORT YOUR LOCAL MAFIA) at the 3rd NICHT-MUSEUM ZEITGEMÄßER KUNST on the 25th of July, 2020 - Dresden, Germany.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVn4uzT-6V6LS7Bvq47usQf2qfS1OTVk0IX2tkzPz1QSttEu-ehPfJKGy1Sf6uvb0ofAI0mjfi8ARRn6Ptuyw-y1ATHdzCAyIqiW0Em7r6oAWR3ISKlMBG4IrGkK0tjy2Q-2b-XD5SOHvh/s1600/sylmm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1477" data-original-width="1600" height="588" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVn4uzT-6V6LS7Bvq47usQf2qfS1OTVk0IX2tkzPz1QSttEu-ehPfJKGy1Sf6uvb0ofAI0mjfi8ARRn6Ptuyw-y1ATHdzCAyIqiW0Em7r6oAWR3ISKlMBG4IrGkK0tjy2Q-2b-XD5SOHvh/s640/sylmm.jpg" width="640" /></a></div>
<br />
<br />
Many thanks to Frank Eckhardt (Director of Motorenhalle Centre of Contemporary Art, Dresden), PARASIT Dresden Mobile European Institute for New Art, New Cultural Work, and Culture & Science & Economy (DEI FUNK WuK) for the organizing of this art festival featuring 250 international artists. www.deifunkwuk.org<br />
<br />
<br />
"On 25 July 2020, after two failed attempts, we are proud to announce the 3rd NICHT-MUSEUM ZEITGEMÄßER KUNST in Dresden. In the 1990s the project of the Stella-Kunsthalle at the Dresden Zwinger failed and likewise the Gewandhaus-Museum for contemporary art in the city center in 2007.<br />
<br />
Now we take possession of the space that art in the city does not have and celebrate the art festival of a non-museum for contemporary art. As usual, the conditions to show art are impossible and insufficient. Therefore we show art at temporary construction fences, like in a show depot, music under the open sky, dancing on cobblestones, readings in open urban space, videos fighting with the sunbeams on the monitors. The non-museum is an assertion and pop-up, contemplation, pondering consideration and confession. We will enter in an active dialogue about what a place for contemporary arts in the middle of the city should provide, what it could be like. And of course we will also point out further deficiencies, such as the lack of income for freelance artists, studios, rehearsal and other work spaces for all arts."<br />
<div id="simple-translate">
<div>
<div class="simple-translate-button isShow" style="background-image: url("moz-extension://d21d505d-ee7c-9c4a-9922-fb043b74c2de/icons/512.png"); height: 22px; left: 153px; top: 410px; width: 22px;">
</div>
<div class="simple-translate-panel " style="background-color: white; font-size: 13px; height: 200px; left: 0px; top: 0px; width: 300px;">
<div class="simple-translate-result-wrapper" style="overflow: hidden;">
<div class="simple-translate-move" draggable="true">
</div>
<div class="simple-translate-result-contents">
<div class="simple-translate-result" style="color: black;">
</div>
<div class="simple-translate-candidate" style="color: #737373;">
</div>
</div>
</div>
</div>
</div>
</div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-31509292971603759172020-05-03T18:10:00.000+02:002020-05-03T18:10:13.861+02:00Gargantúa - Quarantine edition. Moabit Berlin<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu_svLF-z_zV6grZCQlGdLJKGkoNyItePgZzGG6DfT9js9XI7Y_EeEtsw-TlTrO6TD2Q0lUSTwsFC_FoyX0ro3e2jUvVQ-I4ff_MM8X__4atE3REeudjusaHORGukYoQm23uAAmxL8798w/s1600/Gargantua+S4-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu_svLF-z_zV6grZCQlGdLJKGkoNyItePgZzGG6DfT9js9XI7Y_EeEtsw-TlTrO6TD2Q0lUSTwsFC_FoyX0ro3e2jUvVQ-I4ff_MM8X__4atE3REeudjusaHORGukYoQm23uAAmxL8798w/s640/Gargantua+S4-2.jpg" width="640" /></a></div>
<br />
<br />
#Gargantua #guerillaprojection<br /><br />Liebe Freunde, hier ist die 4. Ausgabe von "Gargantúa", die von unserem Küchenfenster aus projiziert wird, um den Mitarbeitern des Gesundheitswesens für ihre Arbeit zu danken, mit der sie für unsere Sicherheit sorgen und die Kunst als Vehikel nutzen, um neue Arten des Sehens, Fühlens und Handelns in dieser neuen Welt zu motivieren. Wir müssen nicht zur Normalität zurückkehren, wir müssen diese Welt verändern, damit wir alle in Würde leben können. <br /><br />
Gargantúa- Kunst Gedichte Lithium, Quarantäne-Ausgabe. <br /><br />
Dear friends, here is the 4th edition of “Gargantúa”, projected from our kitchen window, thanking the health workers for their jobs in keeping us safe and using art as vehicle to motivate new ways of seeing, feeling and acting in this new world. We don´t need to go back to normal, we need to change this world so we can all live in with dignity. <br /><br />
<br /><br />//
ZK/U - Zentrum für Kunst und Urbanistik PopVersus
Gustavo Sanromán ZK/U fellows insurgencias.net IAUZK/U - Institut for Art and Utopianism in ZK/Uu
<br />
Artists/ Künstlerinnen:
Karl Ingar Röys Pawel Jankiewicz Amuleto Manuela Katya Craftsova Benjamin Busch, Sven Sóric, Anna Munchin & Petra Klepcová.<br />
<br />
<span style="background-color: white;"><span>Curators: Gustavo Sanmoran & Gabriel Vallecillo Marquez </span></span><br />
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-40594567269966999532019-09-15T14:27:00.000+02:002019-09-22T22:08:57.569+02:00OPEN/OCCUPY FLUTGRABEN BERLIN<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelOvVH1ILsglE3n_XBfaTmjE4l0gFqFpnRSY1qBW1JcdqAhCU6RO-zx-sjHt2ALmwXK-DGLdcndQU08Guh3i5CWkT08KuZT7aU3TixSyp2YCn41rVPktCp-N39Er1c1wvPQea7YMWKMs9/s1600/69914893_1570294589780006_2041369527400267776_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="556" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelOvVH1ILsglE3n_XBfaTmjE4l0gFqFpnRSY1qBW1JcdqAhCU6RO-zx-sjHt2ALmwXK-DGLdcndQU08Guh3i5CWkT08KuZT7aU3TixSyp2YCn41rVPktCp-N39Er1c1wvPQea7YMWKMs9/s1600/69914893_1570294589780006_2041369527400267776_o.jpg" /></a></div>
<br />
<br />
<div style="text-align: center;">
<pre itemprop="description">PUBLICATION: OPEN/OCCUPY
</pre>
<pre itemprop="description">On gentrification, artists and possible futures
With: KOA, AbBA, Kunstblock & many more</pre>
</div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-32397235455475907242019-08-22T13:21:00.000+02:002019-08-22T13:22:54.353+02:00Small Talks Screening Neukolln, Berlin<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
</div>
<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
</div>
<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
</div>
<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
</div>
<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dnk9DoMzHfkqGNUbcxOal3dRePLtdGVBOJOs_I6Mje7_IRyLnharHLHvGgd3w5Lz_xF0Egpj2XCcg4LgaWKxWb-7BRCb6E7NEx5XurG6Ag2KN8gMlVLkCkChZ8lqNbxqD9m-ZjZAklu7/s1600/thumbnail_Karl+Ingar+Caminata+Nocturna_small+talk_2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="794" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dnk9DoMzHfkqGNUbcxOal3dRePLtdGVBOJOs_I6Mje7_IRyLnharHLHvGgd3w5Lz_xF0Egpj2XCcg4LgaWKxWb-7BRCb6E7NEx5XurG6Ag2KN8gMlVLkCkChZ8lqNbxqD9m-ZjZAklu7/s640/thumbnail_Karl+Ingar+Caminata+Nocturna_small+talk_2019.jpg" width="640" /></a></div>
</div>
<div style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 12pt; text-align: center;">
<a data-auth="NotApplicable" href="http://covini.com/small_talk_description.html" rel="noopener noreferrer" target="_blank">http://covini.com/small_talk_description.html</a></div>
<div style="color: black; font-family: "arial", "helvetica", sans-serif; font-size: 12pt; text-align: center;">
<span style="font-family: "arial"; font-size: x-small;">
<span style="color: white;"><b><i>small</i></b> talks: location Berlin - a project by Manuela
Johanna Covini</span></span></div>
<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
<br />
<div style="text-align: left;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEeoL1JjpW9hHeva6ePT-jQ0mYyECwcn-w4kbUaYpc0ugrGyVSgjBLwNNDhiWGfq2zuKDiXdfoKoQw0nPPlCAEr2oXq_vx7ryxZ3kS7m3fAc4etrM30Wh-zBbWwf2NRyoZcqT6esjgZ-vm/s1600/caminata.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="1181" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEeoL1JjpW9hHeva6ePT-jQ0mYyECwcn-w4kbUaYpc0ugrGyVSgjBLwNNDhiWGfq2zuKDiXdfoKoQw0nPPlCAEr2oXq_vx7ryxZ3kS7m3fAc4etrM30Wh-zBbWwf2NRyoZcqT6esjgZ-vm/s640/caminata.jpg" width="640" /></a></div>
</div>
</div>
<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
<span style="color: white;"><span style="font-size: x-small;">CAMINATA NOCTURNA Two Channel Video Projection. A/V. 22 min.</span></span></div>
<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
<br /></div>
<div style="color: black; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">
<br /></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Karl Ingar Røys Caminata Nocturna documents both the flight and
pursuit of illegal economic migrants across the Mexico-U.S border. Or at
least that's what it initially appears to document. In actuality, the
video depicts a facsimile of such events, a
tourist sideshow put on by the inhabitants of the town of Alberto 2000
kilometres from the border. This adventure holiday allows mainly Mexican
tourists to experience and enjoy-since tourism is always about an
attempt at happiness- something like an illegal
border crossing into the United States. The simulation of migrating
hopes and fears in Alberto began July 2004 as part of the Parque
EcoAlberto, a holiday eco-park established with financing from the
Mexican State. The dual screens of Caminata Nocturna present
sharply edited fragments of bodies running or pushing stealthily
forward, police trucks screeching down roads and the barked bureaucratic
speech of border lockdown amidst a night bisected by the converging
torch light tunnels of flight and pursuit. One screen
is panic and the other screen is pursuit </div>
- <span style="font-size: 10pt; line-height: normal;">
<i style="line-height: normal;">Text excerpts from John Cunningham </i></span>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-39646645220423392672019-08-04T18:03:00.001+02:002019-08-04T20:10:19.251+02:00Burmese satirists behind bars<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy3NfPDhk6DQwHfDxNmfJWth3j3ZsUgiFwj-3O-XRaCeI7yTLmouGv-qH5XTW3_meI4Qzbd8bkhY5_-A9O9l6hO_6soFI7-bPRteCvfgXbinz0AEKcyViQHCgYu2hN3v2Mc4_-appBl0e6/s1600/students19.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="1171" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy3NfPDhk6DQwHfDxNmfJWth3j3ZsUgiFwj-3O-XRaCeI7yTLmouGv-qH5XTW3_meI4Qzbd8bkhY5_-A9O9l6hO_6soFI7-bPRteCvfgXbinz0AEKcyViQHCgYu2hN3v2Mc4_-appBl0e6/s640/students19.jpeg" width="640" /></a></div>
<span style="font-size: x-small;">By YE MON | FRONTIER</span><br />
<br />
<div style="text-align: justify;">
PRIME MINISTER U Nu, a former anti-colonial dissident who led Burma
in the early years of independence, was once at the receiving end of a
biting satirical skit by a group performing the traditional art of <i>thangyat</i>, according to veteran poet Maung Thway Thit. “The people thought the troupe would be arrested after U Nu invited
them on stage to perform. Their verse contained very strong criticism,”
Maung Thway Thit said. “But U Nu gave them a prize instead. There has
never since been another leader like him.”
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The Tatmadaw’s recent decision to initiate legal action against
members of a thangyat troupe in Yangon has shown that Myanmar’s
military, which retains considerable governing powers as well as
influence over the judiciary, is incapable of emulating the tolerance of
U Nu, or even of the pre-colonial Bamar kings. With five young performers held in Yangon’s Insein Prison, facing a
trial that could result in prison sentences, the National League for
Democracy government meanwhile has been unwilling to stand up for a
traditional form of expressing free, critical speech.</div>
<div style="text-align: justify;">
<br /></div>
<h4>
Censoring witty verse</h4>
<div style="text-align: justify;">
Thangyat is a form of popular theatre that combines poetry, music and
dance. It was first performed during the New Year festival of Thingyan
under the patronage of the Bamar kings, before colonisation by the
British in the 19th century. The form has always had a subversive edge,
satirising social conditions in the country and the rule and behaviour
of governing authorities. The king and his top ministers were not
spared, despite being absolute rulers.</div>
<div style="text-align: justify;">
Like other traditional art forms, thangyat went into decline during
the colonial era, but was preserved by some dedicated artists and
underwent a revival after independence in 1948. Troupes performed on the
ceremonial stages, called <i>mandats</i>, that are erected in public
areas every Thingyan in mid April, and entertained people with witty
verse that spoke directly to their troubles and grievances.</div>
<div style="text-align: justify;">
Under the dictatorship of General Ne Win, who seized power in 1962,
thangyat performances were subject to the same censorship as other
creative forms. The words to be used in a performance had to be approved
beforehand by a censor board, which frustrated thangyat’s purpose of
satirising the powerful through verse.</div>
<div style="text-align: justify;">
The military junta that took power in another coup in 1988 banned
thangyat outright. Underground performances continued, and the junta
turned a blind eye to some of these, for instance one led by actor and
social activist U Kyaw Thu outside the Yangon home of Daw Aung San Suu
Kyi when she was under house arrest.</div>
<div style="text-align: justify;">
The ban was maintained by the Union Solidarity and Development Party
government until 2013, two years after it took office, when it was
permitted albeit with the prior censorship of the verse, similar to the
Ne Win era. Uncensored thangyat was cautiously revived after the NLD
government took office in 2016, though it re-introduced censorship the
following year.</div>
<br />
<br />
<h4>
Forbearance’s limit</h4>
<div style="text-align: justify;">
Maung Thway Thit expressed disappointment that censorship was
occurring under the government of State Counsellor Daw Aung San Suu Kyi.
The NLD government should stand for freedom of expression, he said.</div>
<div style="text-align: justify;">
His comments came after the Tatmadaw filed criminal complaints
against multiple members of a youth thangyat group in Yangon called
Daung Doh Myo Sat, which means Peacock Generation, for allegedly
defaming the military in their Thingyan performance, which they did on
the street in order to circumvent the censorship order.</div>
<div style="text-align: justify;">
On April 15, Lieutenant-Colonel Than Tun Myint from Yangon Command
lodged the complaint at Mayangone Township Court against Ko Zeyar Lwin,
Ko Paing Ye Thu, Ma Kay Khine Tun, Ko Phoe Thar and Ko Paing Phyo Min
under section 505(a) of the Penal Code. The five have been held in
Insein Prison since a court appearance on April 22.</div>
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrxqmt1dh5d5A9j1Qdt5L0Muf-5FZlt-vt40qjvJnv8RyMEh_hQad4KY-DEyiD_Y5aZnW1aJVRJUSX2oC8qdNd3chrkG186OBwi67VhwLUEGuK3wgP0Qfj5OYTOUl1tZJU1KFLwqf82weo/s1600/The+Generation+of+the+peacocks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrxqmt1dh5d5A9j1Qdt5L0Muf-5FZlt-vt40qjvJnv8RyMEh_hQad4KY-DEyiD_Y5aZnW1aJVRJUSX2oC8qdNd3chrkG186OBwi67VhwLUEGuK3wgP0Qfj5OYTOUl1tZJU1KFLwqf82weo/s640/The+Generation+of+the+peacocks.jpg" width="640" /></a></div>
<div style="text-align: center;">
The Generation of the Peacocks (EXCERPT)</div>
<div style="text-align: center;">
Duration: 05.17 min. Single screen HD </div>
<div style="text-align: center;">
Karl Ingar Røys</div>
<div style="text-align: center;">
<a href="https://vimeo.com/317691329">https://vimeo.com/317691329</a></div>
<br />
<br />
<div style="text-align: justify;">
<a href="https://frontiermyanmar.net/en/young-satirists-behind-bars">https://frontiermyanmar.net/en/young-satirists-behind-bars</a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-73608601073935496292019-07-03T23:34:00.000+02:002019-07-30T21:52:18.128+02:00Institut d'études politiques de Lille<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5DRZbz-ytX7eLMYVm1Wro65Ogrgg0roR2YGdlEj_KUVkh_dQyE3iwk1GP2sUphTk68lTXRLaU8buESjlRl27qVHUGUhx3A9fPo5WrOIx878baj2LC3zxZpRIuBl74IxccjhTr5z1bOA_A/s1600/Rianxeirastill.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5DRZbz-ytX7eLMYVm1Wro65Ogrgg0roR2YGdlEj_KUVkh_dQyE3iwk1GP2sUphTk68lTXRLaU8buESjlRl27qVHUGUhx3A9fPo5WrOIx878baj2LC3zxZpRIuBl74IxccjhTr5z1bOA_A/s640/Rianxeirastill.jpg" width="640" /></a></div>
<br />
<br />
<br />
<br />
<span style="font-size: small;">RIANXEIRA Single Channel HD Video. 15.30 min.<br /> </span><br />
<div style="text-align: justify;">
<span style="font-size: small;">La Solfónica is a choir based in Madrid, which grew out of the protests
at Puerta del Sol on May 15, 2011, the day after which the “15-M”
movement is named. Formed in the run-up to regional elections, its
members, inspired by the Arab Spring, demanded change. Performing
classical music at demonstrations, the choir follows the tradition of
composers like Giuseppe Verdi, who in the opera Nabucco propagated the
liberation of northern Italy from Austria. This opera was written in
1841 and became closely linked with the Italian unification movement.
David Alegre, conductor of La Solfónica, says the same message still
resonates today in Spain, more than 170 years later. At that time he
says, “it was a political military occupation but today the occupations
are economic and ideological.” Rianxeira is a film about collective
resonance and dissonance as dissidence. </span></div>
<span style="font-size: small;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="font-size: small;">As part of the IIPPE </span><span style="font-size: small;">joint
conference with AFEP (French Association for Political
Economy/L’Association Française d’Économie Politique), with the
participation of ADEK (Association for the Development of Keynesian
Studies), AHE (Association for Heterodox Economics) and EAEPE (the
European Association for Evolutionary Political Economy) Rianxeira - a
film about the Spanish protest choir La Solfonica will be screened with
following panel debate on July 4th at 14.30. </span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<h1 class="article-title" itemprop="name headline" style="text-align: center;">
<span style="font-size: large;">12.000 spanske sjøfolk tar den norske staten til Menneskerettsdomstolen</span></h1>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUk-7P4eDP9GiKEvjYEjS6DUUQDXzPBhMuZEeGO_CPks9Q83kmckbdx5OJxEmgahBJzgvQp9wxwxvRaJdwIIwb3TTnDpqn_kNxX7GSXOTmQyzslbvDUxTkMf_pu-JSh_tXuM1DhyphenhyphenLX0v-X/s1600/longhopestort.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="735" data-original-width="980" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUk-7P4eDP9GiKEvjYEjS6DUUQDXzPBhMuZEeGO_CPks9Q83kmckbdx5OJxEmgahBJzgvQp9wxwxvRaJdwIIwb3TTnDpqn_kNxX7GSXOTmQyzslbvDUxTkMf_pu-JSh_tXuM1DhyphenhyphenLX0v-X/s640/longhopestort.jpg" width="640" /></a></span></div>
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-size: x-small;">Outside the Parliament of Norway. Photo: Long Hope</span> </span></div>
<br />
<span style="font-size: small;">De var spanske og betalte skatt til Norge, men er blitt nektet pensjon.
Etter nederlag på nederlag i det norske rettsvesenet, tar 12.000 spanske
sjøfolk nå saken sin til Strasbourg. (2019)</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"> <a href="https://www.aftenposten.no/norge/i/qLe3oO/12000-spanske-sjofolk-tar-den-norske-staten-til-Menneskerettsdomstolen--Norge-eier-ikke-skam">https://www.aftenposten.no/norge/i/qLe3oO/12000-spanske-sjofolk-tar-den-norske-staten-til-Menneskerettsdomstolen--Norge-eier-ikke-skam</a></span><br />
<br />
<a href="https://www.longhope.es/A2015/recursos/8.html"><span style="font-size: small;">https://www.longhope.es/A2015/recursos/8.html</span></a><br />
<span style="font-size: small;"> </span><br />
<br />
<span style="color: white;"><span style="font-size: small;"><b><span style="font-size: small;">L’Association Française d’Économie Politique</span></b> </span></span><br />
<div style="font-family: "arial", "helvetica", sans-serif; font-size: 12pt;">
<span style="color: white;"><span style="font-size: small;">
</span></span>
<br />
<div style="text-align: left;">
<span style="color: white;"><b><span style="font-size: small;">Sciences Po Lille</span></b></span></div>
<span style="color: white;"><b><span style="font-size: small;">9 rue Auguste Angellier</span><span style="font-size: small;">
</span></b></span><br />
<div style="text-align: left;">
<span style="color: white;"><b><span style="font-size: small;">59000 Lille</span></b></span></div>
<div style="text-align: left;">
<span style="color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><b>France </b></span></span></span></div>
</div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-35418644305098426092019-05-18T14:12:00.000+02:002019-05-18T14:12:19.953+02:00WIR BLEIBEN ALLE - ZK/U BERLIN<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySdTLf76NGwoF0_zyDF2MtE_8E6GzY2gAfweUfadlfTl5ITUIydIsLXA3JOl9kfZn7n9FqrIMlKjiH1zM90Tx3rISwLizmM0PTpwy-w0e-3css3zguS1ssCy7sZ5fNQIlswcfn8-719uw/s1600/_1080655%25281%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="902" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySdTLf76NGwoF0_zyDF2MtE_8E6GzY2gAfweUfadlfTl5ITUIydIsLXA3JOl9kfZn7n9FqrIMlKjiH1zM90Tx3rISwLizmM0PTpwy-w0e-3css3zguS1ssCy7sZ5fNQIlswcfn8-719uw/s640/_1080655%25281%2529.JPG" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfViVk5qEwpBhZdl_Gm3UEl8JtVAtkIlU5u3pWLbP7WoNOIx4BESvpQlZ-p7fJoFn0Z5kQWIHu_zgXDBai_J0etDIYD-yKuBrmTZjjq3wSHtWYeDNx1G081Cb_Pb3CZpdtPN94Q2te4t_p/s1600/bil2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="902" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfViVk5qEwpBhZdl_Gm3UEl8JtVAtkIlU5u3pWLbP7WoNOIx4BESvpQlZ-p7fJoFn0Z5kQWIHu_zgXDBai_J0etDIYD-yKuBrmTZjjq3wSHtWYeDNx1G081Cb_Pb3CZpdtPN94Q2te4t_p/s640/bil2.JPG" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXW35aWZkOyEv-4d26Zln1XTvkj1zpZ3hAffPanzyl_wcnR6W7BBqUHNWkwphEqsNmGIyJmIz0GrNiuAZXAQZ061D0uyzDyK7LX0lOh8Uq3W4Br0pPU6z8tAFlz3D4VH4hWrCj_CmhRGxp/s1600/bil3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="902" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXW35aWZkOyEv-4d26Zln1XTvkj1zpZ3hAffPanzyl_wcnR6W7BBqUHNWkwphEqsNmGIyJmIz0GrNiuAZXAQZ061D0uyzDyK7LX0lOh8Uq3W4Br0pPU6z8tAFlz3D4VH4hWrCj_CmhRGxp/s640/bil3.JPG" width="640" /></a></div>
<span style="color: #666666;"><span id="goog_111019883"></span><span id="goog_111019884"></span><span id="goog_845285378"></span><span id="goog_845285379"></span><br /></span>
<br />
<div style="text-align: center;">
<span style="color: #666666;"><span style="font-size: x-small;">Karl Ingar Røys. S/CAR. Sculptures 2019</span></span></div>
<span style="color: #666666;"><br /></span>
<br />
<div class="page" title="Page 1">
<span style="color: #666666;">
</span><br />
<div class="layoutArea">
<span style="color: #666666;">
</span><br />
<div class="column">
<span style="color: #666666;">
</span>
<br />
<div class="page" title="Page 1">
<span style="color: #666666;">
</span><br />
<div class="layoutArea">
<span style="color: #666666;">
</span><br />
<div class="page" title="Page 2">
<span style="color: #666666;">
</span><span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">OPENHAUS PLUS </span></span><br />
<br />
<span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">- open studios, performances, videos, installations, resident talks, publication,
sculpture, food, drinks
</span></span><br />
<span style="color: #666666;">
</span><br />
<span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">May features the next OPENHAUS PLUS, an extended version of the regular public format, an
opportunity for the audiences to connect with the hosted projects and explore the process of the
residency artists.
</span></span><br />
<span style="color: #666666;">
</span><br />
<span style="color: #666666;">
</span><span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">The third Fact Finding Committee (UA#03): Solidarity3 explores the notion between art, club-culture
</span><span style="font-family: "arialmt"; font-size: 11pt;">and resistant structures. “If unde</span><span style="font-family: "arialmt"; font-size: 11pt;">r attack - </span><span style="font-family: "arialmt"; font-size: 11pt;">how to react” constitutes the frame for their investigations
</span><span style="font-family: "arialmt"; font-size: 11pt;">into rise of right-wing forces, spaces and precariousness. The theme of solidarity entrenches a
common ground for various hosted projects: one research highlights the aspect of mutual support
amongst artistic communities facing precariousness, others on the the destruction of social symbols
of mobility and a video installation looks at collective efforts of transforming abandoned sites while
private performances scrutinize exclusiveness of luxury property development.</span></span><br />
<br />
<span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;"></span></span><br />
<div class="layoutArea">
<div class="column">
<span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">Don’t miss the opportunity to meet the artists and researchers in residence and explore ZK/U’s space
</span><span style="font-family: "arialmt"; font-size: 11pt;">and surroundings, to ask questions, to discuss and to exchange ideas about ongoing projects and
artistic practices.
</span></span><br />
<span style="color: #666666;">
</span><span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">This month with: Pablo Alboreda, </span><span style="font-family: "arialmt"; font-size: 11pt;">Semâ Bekirović, Kate Fahey, Noa Heyne, Pawel Jankiewicz,
</span><span style="font-family: "arialmt"; font-size: 11pt;">Gabriel Vallecillo Márquez, Elena Mazzi, Yasemin Özcan,Cha Ji Ryang, Karl Ingar Røys, Byungseo
Yoo, Laura Yuile. </span></span><br />
<br />
<span style="color: #666666;">
</span><span style="color: #666666;"><span style="font-family: "arial"; font-size: 11.000000pt; font-weight: 700;">Programme: </span></span><br />
<br />
<span style="color: #666666;">
</span><span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">19.00-22.30 Open studios, drinks & food
</span></span><br />
<span style="color: #666666;">
</span><span style="color: #666666;"><span style="font-family: "arial"; font-size: 10.000000pt; font-weight: 700;">17.00h </span><span style="font-family: "arialmt"; font-size: 10.000000pt;">Katharsis der Räume: Demotreffpunkt /Meeting Point Hansaplatz<br />
</span><span style="font-family: "arial"; font-size: 10.000000pt; font-weight: 700;">19.00h </span><span style="font-family: "arialmt"; font-size: 10.000000pt;">Beerdigungsperformance von UA#03 / Funeral Performance by FFC #03
</span><span style="font-family: "arial"; font-size: 10.000000pt; font-weight: 700;"> </span></span><br />
<span style="color: #666666;"><span style="font-family: "arial"; font-size: 10.000000pt; font-weight: 700;">19.30h </span><span style="font-family: "arialmt"; font-size: 10.000000pt;">Leichenschmaus / Food<br />
</span><span style="font-family: "arial"; font-size: 10.000000pt; font-weight: 700;">20.00h </span><span style="font-family: "arialmt"; font-size: 10.000000pt;">Führung / Guided Tour<br />
</span><span style="font-family: "arial"; font-size: 10.000000pt; font-weight: 700;">20.45h </span><span style="font-family: "arialmt"; font-size: 10.000000pt;">Lecture Performance by Yasemin Özcan<br />
</span><span style="font-family: "arial"; font-size: 10.000000pt; font-weight: 700;">21.30h </span><span style="font-family: "arialmt"; font-size: 10.000000pt;">Performance by Christine Bonansea & Byungseo Yoo<br />
</span><span style="font-family: "arial"; font-size: 10.000000pt; font-weight: 700;">22.30h </span><span style="font-family: "arialmt"; font-size: 10.000000pt;">End<br />
</span><span style="font-family: "arialmt"; font-size: 11pt;"> </span></span><br />
<span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">Free entry
</span></span><br />
<span style="color: #666666;">
</span><br />
<span style="color: #666666;"><span style="font-family: "arial"; font-size: 11pt; font-weight: 700;">Adresse:
</span></span><br />
<span style="color: #666666;">
</span><span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">ZK/U </span><span style="font-family: "arialmt"; font-size: 11pt;">– </span><span style="font-family: "arialmt"; font-size: 11pt;">Zentrum für Kunst und Urbanistik</span></span><br />
<span style="color: #666666;"><span style="font-family: "arialmt"; font-size: 11pt;">Siemensstraße 27 10551 Berlin
</span></span></div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-24891911064518613542019-05-02T23:23:00.003+02:002020-06-09T14:38:55.810+02:00Speisekino // Censor Must Die at ZK/U Berlin<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfl6ESVgd2r7zzR3Q8IrRLFBl3Fe_Vgq4lYPZ_jjO3vxo6gnu4v9gWhlpSecmVkZl1ZdODmyIAFky6VKb8lUpbP3bUealPwaP1fOvTHqEBrnRTQpdOOqmwFddcxLbvX4q3Bgo0F2WsQjOA/s1600/cmd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="960" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfl6ESVgd2r7zzR3Q8IrRLFBl3Fe_Vgq4lYPZ_jjO3vxo6gnu4v9gWhlpSecmVkZl1ZdODmyIAFky6VKb8lUpbP3bUealPwaP1fOvTHqEBrnRTQpdOOqmwFddcxLbvX4q3Bgo0F2WsQjOA/s640/cmd.jpg" width="640" /></a></div>
<br />
Censor Must Die (2012) by Ing K & Manit Sriwanichpoom<br />
Language: Thai with English subtitles<br />
<br />Censor - not the censors, not the
film board, but censorship, the monstrous entity embedded in Thai
society, a lumbering prehistoric beast with prejudices and a life of its
own - must die. When ‘Shakespeare Must Die’, a Thai adaptation of
‘Macbeth’, that supreme song of tyrannical rule, is banned by the Thai
Yingluck Shinawatra government for reasons of national security,
producer Manit Sriwanichpoom begins an epic trek through the corridors
of power to unban his Shakespearean horror movie; from the Cultural
Ministry that had funded and then banned his film, to the Senate and the
Human Rights Commission, all the way to the Administrative Court where
he is suing the government for abuse of power. Followed by a camera he
ventures amidst political upheaval in a land of fear into secret places
long hidden from the sun, where witnesses are not welcome. The resulting
cinema vérité is the living story of a struggle for justice and human
dignity, for the fundamental right to freedom of expression, which Thai
filmmakers do not have. This is a dark cinematic record of democracy in
action, in all its farcical, obscene and heartbreaking details.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4T2wSDgc7PiI6GeE6ijCh5Kf-pBMO2fv8osKXeGKFugT5BGP9QzBgkcXEeQtOyVepCKAjjfc87Xx_tZbWVPVMXF5SswVEhZ7BDjFIgc2F_ukFuKxm72T64CEi9coMaNNBr9ilZrFcjYID/s1600/The+Generation+of+the+peacocks.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4T2wSDgc7PiI6GeE6ijCh5Kf-pBMO2fv8osKXeGKFugT5BGP9QzBgkcXEeQtOyVepCKAjjfc87Xx_tZbWVPVMXF5SswVEhZ7BDjFIgc2F_ukFuKxm72T64CEi9coMaNNBr9ilZrFcjYID/s640/The+Generation+of+the+peacocks.jpg" width="640" /></a></div>
<br />
<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJwt_nW_eNEUSFHt46zMQT52fkuNPW1IqqxvGUbGQ1v0TplIKQAgI294ZZkWZ92Q3w21kdwCTwrROiD9qWTE4gjAc_PLO3VtzB-Nw_D9Gia5ARS5K8d1Adx2EtSJntGXV4oicBbLStqCMd/s1600/ingzspeisekino.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJwt_nW_eNEUSFHt46zMQT52fkuNPW1IqqxvGUbGQ1v0TplIKQAgI294ZZkWZ92Q3w21kdwCTwrROiD9qWTE4gjAc_PLO3VtzB-Nw_D9Gia5ARS5K8d1Adx2EtSJntGXV4oicBbLStqCMd/s640/ingzspeisekino.JPG" width="640" /></a></div>
<br />Karl Ingar Røys:<br />
<br />
- Burmese Days, (17.05 min) Dual screen projection (Burma)<br />- Caminata Nocturna (22.21 min) Dual screen projection (Mexico)<br />- The Generation of the Peacocks (5.17 min) Single screen projection (Burma)<br />- Rianxeira (15.30 min) Single screen projection (Spain)<br /><br /> <br /><br /> <br /><br />
<br />
<br />
Karl Ingar Røys, artist, filmmaker, activist and resident at ZK/U - Center for Art and Urbanistics, selected the movie “Censor Must Die" together with a choice from his own work to spark a debate on cultural activism.<br /> <br />
<br />
“‘Censor Must Die’ is one of my favourite films in the whole history of cinema.” - Film critic & academic Nicole Brenez<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Menu: Thai Street Food <br />
<br />
Thursday, 30 May 2019 from 19:00-22:30<br />
<br />
<div class="_6a _6b">
<div class="_xkh">
<a class="_5xhk" data-hovercard-prefer-more-content-show="1" data-hovercard="/ajax/hovercard/page.php?id=202690816473044&extragetparams=%7B%22eid%22%3A%22ARCjsxmceX_uAwUpVkIwHJhi9o2Vlm7uxR_eajIj_dJZaKfLmDh-g52BSHLU2QFS4x6Z_sTraZonLDfR%22%7D" href="https://www.facebook.com/zku.berlin/?eid=ARCjsxmceX_uAwUpVkIwHJhi9o2Vlm7uxR_eajIj_dJZaKfLmDh-g52BSHLU2QFS4x6Z_sTraZonLDfR" id="u_jsonp_7_h">ZK/U - Zentrum für Kunst und Urbanistik</a><br />
<div class="_5xhp fsm fwn fcg">
Siemensstrasse 27, 10551 Berlin, Germany</div>
</div>
</div>
<br />
Entrance to the film is free as usual. Food from 7.30 p.m., films from 8.30 p.m. <br />A meal costs €10. Please, reserve your plate until the evening before by sending an email to speisekino(at)<a data-lynx-mode="hover" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fzku-berlin.org%2F%3Ffbclid%3DIwAR0hc-QqAZk0QrWX1qDX7ruyKHdT0xb9uOayhZo3GSK862xTAbopJZc7KYA&h=AT3BA7JYkH3Vsf9xpet0RS46KxRi0xxa0syAz_9iO4YHh8UMhz27LZpjrYvZOfoQS90QiLY5UDFZvgqr0VNlfG-xoSntm3FVQ2A3YG70xg0k9YcQy-uVQDDzW1C--T4KHFOecT0" href="http://zku-berlin.org/?fbclid=IwAR0hc-QqAZk0QrWX1qDX7ruyKHdT0xb9uOayhZo3GSK862xTAbopJZc7KYA" rel="nofollow noopener" target="_blank">zku-berlin.org.</a><br /> <br /><a href="https://www.facebook.com/hashtag/censormustdie" target="_blank">#censormustdie</a> <a href="https://www.facebook.com/hashtag/ingk" target="_blank">#IngK</a> <a href="https://www.facebook.com/hashtag/manitsriwanichpoom" target="_blank">#ManitSriwanichpoom</a> <a href="https://www.facebook.com/hashtag/zensur" target="_blank">#zensur</a> <a href="https://www.facebook.com/hashtag/democracy" target="_blank">#democracy</a> <a href="https://www.facebook.com/hashtag/grundrecht" target="_blank">#grundrecht</a> <a href="https://www.facebook.com/hashtag/karlingarr%C3%B8ys" target="_blank">#KarlIngarRøys</a> <a href="https://www.facebook.com/hashtag/artistinresidence" target="_blank">#artistinresidence</a> <a href="https://www.facebook.com/hashtag/film" target="_blank">#film</a> <a href="https://www.facebook.com/hashtag/shortfilms" target="_blank">#shortfilms</a> <a href="https://www.facebook.com/hashtag/videoart" target="_blank">#videoart</a> <a href="https://www.facebook.com/hashtag/food" target="_blank">#food</a> <a href="https://www.facebook.com/hashtag/filmscreening" target="_blank">#filmscreening</a> <a href="https://www.facebook.com/hashtag/movie" target="_blank">#movie</a> <a href="https://www.facebook.com/hashtag/speisekino" target="_blank">#speisekino</a> <a href="https://www.facebook.com/hashtag/zkuberlin" target="_blank">#zkuberlin</a> <br /><br />Copyright: Ing K und Manit Sriwanichpoom, Karl Ingar Røys<br /><br />///<br /><br />SPEISEKINO // FOOD AND FOOTAGE is part of ‘Shared Cities: Creative Momentum’ and co-funded by the European Union's Creative Europe Programme and the Berlin Senate Department for Culture and Europe.Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-42425254980328760542019-04-07T13:30:00.000+02:002019-04-11T22:13:54.789+02:00Wir bleiben alle - ZK/U Berlin<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCR8NN5Zktwt6yV7zvmAuSXU7vkhKiyoCqfz_1Ic_49PPpEiXjb86Hi9If0Ta4Y4JLtq7ASarc2_rqeT-fmCz8-Qp8IHpptEszRGI6MfhgOU62a7hSL5gXQmLHE_e-kXICf2NTUldc_3eA/s1600/SNC13537.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="850" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCR8NN5Zktwt6yV7zvmAuSXU7vkhKiyoCqfz_1Ic_49PPpEiXjb86Hi9If0Ta4Y4JLtq7ASarc2_rqeT-fmCz8-Qp8IHpptEszRGI6MfhgOU62a7hSL5gXQmLHE_e-kXICf2NTUldc_3eA/s640/SNC13537.JPG" width="640" /></a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The slogan "Wir bleiben Alle" is seen on fewer and fewer weary
facades in Berlin. The commanding words no longer manages to live up to
what they promise and the message fades behind freshly painted houses
covered by evergrowing scaffolding that comes with
an increased gentrification. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Burning cars as a form of urban
protest has become a growing phenomenon in many European cities. In
2016, 372 cars were set on fire in Berlin. Burning and destroying cars
expresses something more than just a simple urge to vandalize private
property. Cars offer and symbolize a form of (social) mobility and an
opportunity for change. This is something some people often lack or
oppose, both in terms of fear and resistance of the multicultural or
an overwhelming gentrification. Read and interpreted in this context, a
car has many meanings and ideas associated with it. However, it is
perhaps not just as a symbol that the car is important, but rather as a
communication unit between several different realities. Using a car in
this way, as a starting point for opening up new understanding of
reality that insists on being explored, not only challenges the
different interpretations of these events, but also the very
understanding of a city itself. The project “Wir bleiben alle” is
exploring and recording the city's social acoustics by analyzing
strategies, aesthetics, content and actions as potentially choreographed actors. </div>
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJWNMb6X6uZpHy6IM-sXOofaf_8vt6Vs9XFz7ljjgcrNgCIEbKofAm88ElAI9TjxXdUSYoFQfc4NNbi8Kr4igBQo2oIRU1IUjDpetF9Wni2Ckk3nrvlWsgFmTA4vKVQ_d8FxIgY0REfanH/s1600/bc.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1154" data-original-width="1566" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJWNMb6X6uZpHy6IM-sXOofaf_8vt6Vs9XFz7ljjgcrNgCIEbKofAm88ElAI9TjxXdUSYoFQfc4NNbi8Kr4igBQo2oIRU1IUjDpetF9Wni2Ckk3nrvlWsgFmTA4vKVQ_d8FxIgY0REfanH/s640/bc.tiff" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvsGqQLi2mjGk1LSaF73ylekvF7_RTX88MwpJoF2VlHQ4H9tx3oOVe1uHaayH8fFBv88kEns0Nsn6seSRGyyb30NlFrlnmJg0mu_MmnprtLjNe8n_Ya4kMgXg5GF4nLglCq9gbvKeoZuxE/s1600/SNC13567.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="850" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvsGqQLi2mjGk1LSaF73ylekvF7_RTX88MwpJoF2VlHQ4H9tx3oOVe1uHaayH8fFBv88kEns0Nsn6seSRGyyb30NlFrlnmJg0mu_MmnprtLjNe8n_Ya4kMgXg5GF4nLglCq9gbvKeoZuxE/s640/SNC13567.JPG" width="640" /></a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
April 1
- May 31 2019
</div>
<div style="text-align: justify;">
ZK/U – Zentrum für Kunst und Urbanistik<br />
Siemensstrasse 27 </div>
<div style="text-align: justify;">
10551 Berlin</div>
<div style="text-align: justify;">
Germany <b><br /></b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.comtag:blogger.com,1999:blog-6463906727167017152.post-21321025555796776502019-04-03T19:19:00.000+02:002019-04-03T19:19:16.330+02:00Can you see A Visibility Matrix at Void Gallery?
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifuHYaa5_s1jhVzzk4AR0TfJRujwwkFY0WRzzds7B-wFXMRfzjQ8ODJMAe2aZ51sVMaLiiyXvjGQSnpAGU3IIZDzqrnq6iuFpGdq9bKE3M_c8L-gCCt3_0K_7PZvusaiIAMzStgd8KLZwR/s1600/The+Generation+of+the+peacocks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifuHYaa5_s1jhVzzk4AR0TfJRujwwkFY0WRzzds7B-wFXMRfzjQ8ODJMAe2aZ51sVMaLiiyXvjGQSnpAGU3IIZDzqrnq6iuFpGdq9bKE3M_c8L-gCCt3_0K_7PZvusaiIAMzStgd8KLZwR/s640/The+Generation+of+the+peacocks.jpg" width="640" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Sven Anderson and Gerard Byrne, A
Visibility Matrix, 2018. </span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Extract from material contributed by Karl Ingar Røys. <i>The Generation of the Peacocks</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">A new exhibition which explores the
politics and conditions of visibility will be on show at Void, Derry from April
16 until June 8. Initiated by Dublin-based artists and long-term collaborators,
Sven Anderson and Gerard Byrne, A Visibility Matrix assembles contributions
from a distributed panel of artists, film-makers and others within a
synchronised, multi-channel video installation.<br />
<br />
A Visibility Matrix as a response to the ambitions of abandoned art and
technology projects from the 1960s–1980s that prioritised multi-screen video
projection, monitor arrays, communications networks and algorithmic composition
principles. These projects explored visual excess and hyperstimulation prior to
the development of the Internet, and before multi-screen video displays
expanded into the vernacular backdrop of everyday public and private life.
Considered now, the plural voices of these experiments in perception and
communication simultaneously prophesise and bypass the homogenised conditions
that have come to be accepted as network culture. Exploring the paradigms of
what we see and how we construct visual knowledge, A Visibility Matrix returns
to the instincts of these projects. It proposes a condensed counterpoint to the
migratory, hyper-networked nature of visibility in contemporary culture by
conjuring an offline matrix of video material presented in the gallery space
for communal observation. The artwork speculates on an alternative to the
composite formed by subject plus smartphone plus online-video-sharing-platform
that has come to represent the current standard of visibility. It gathers
content through an associative network of collaborators including visual
anthropologists, cinematographers, documentary filmmakers and others from
across the globe. By shifting focus from the production of images for sharing
online to their reception in a shared, fixed-time spatial context, A Visibility
Matrix offers another window on visual excess, confronting its own situated
spatiality in order to reflect the more universal conditions that it addresses.
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">A Visibility Matrix manifests as a network of screens and
spatial gestures, in which we observe images being duplicated, mirrored and
displaced. These gestures unfold over days and months of exhibition, pursuing
both repetition and re-assembly. The system that determines these patterns
reveals itself through its precision but also through moments of uncertainty,
asserting its presence through a series of vocal cues that punctuate the relationship
between the database of video and the space of exhibition. This system
speculates on the possibilities of video not as passive image but as an active
signal, and the gallery as a site of condensation; a shared space and a space
of reflection. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">A Visibility Matrix includes video
material aggregated from a network of collaborators including: Daniel and Marie
Law Adams, Rosa Aiello, Matt Bakkom, Rosa Barba, Eric Baudelaire, Beat
Detectives, John Beattie, Ericka Beckman, Maeve Brennan, Andreas Bunte, Duncan
Campbell, Matija Debeljuh, Dennis Del Favero, Willie Doherty, Jeanette Doyle,
Moritz Fehr, Diego Ferrari, Darko Fritz, Rene Gabri & Ayreen Anastas,
Mariam Ghani & Chitra Ganesh, Ross Gibson, Judith Goddard, Jennie Guy,
Louis Haugh, Kathy High, Klara Hobza, Jere Ikongio and Katja Kellerer, Ivan
Marusic Klif, John Lalor, Charles Lim, Jeanne Liotta, Lovid, Hrvoje Mabic,
Nicholas Mangan, Fiona Marron, Ed Mattiuzzi, Peter Maybury, Ronan McCrea, Conor
McGarrigle, Toni Mestrovic, Abinadi Meza, Suzanne Mooney, Nadija Mustapic,
Arnont Nongyao, Tadhg O’Sullivan, Dietmar Offenhuber, Matt Parker, Jack Phelan,
Piyarat Piyapongwiwat, Jason Quinlan, Eugenia Raskopoulos, Lucy Raven, Ben
Rivers, Karl Ingar Røys, Adam Sekuler, Craig Smith, Michael Bell Smith, Sean
Snyder, Stephanie Spray, Danae Stratou, Daniel Von Sturmer, Jose Carlos
Teixeira, Leslie Thornton, Gabriele Trapani, Sara Velas, Clemens von Wedemeyer,
Grace Weir, Jeremy Welsh, Krzysztof Wodiczko and Tintin Wulia. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The exhibition was created under the
editorial direction of Sven Anderson, Matthew Bakkom, Victoria Brooks, Gerard
Byrne, Moritz Fehr, Igor Grubic, Dan Kidner, Nikos Papastergiadis und Oraib
Toukan, and assembled with support from Louis Haugh and Fiona Marron. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">A Visibility Matrix is an artwork
formed through its infrastructure, system design and spatial permutations,
which will continue to evolve as it moves from space to space. To date it has
progressed through The Douglas Hyde Gallery (Dublin), Le Printemps de Septembre
(Toulouse) and Secession (Vienna) before the current exhibition at Void. A
Visibility Matrix is funded by the Arts Council of Ireland / An Chomhairle
Ealaíon.</span></div>
<div class="MsoNormal">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br style="mso-special-character: line-break;" />
</span></div>
<div class="MsoNormal">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">(www.derryjournal.com)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">VOID </span></b></div>
<div class="MsoNormal">
<b><span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Derry </span><span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="LrzXr">100 Patrick St, </span></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="LrzXr">Londonderry BT48 7EL, UK</span></span></b></div>
<div class="MsoNormal">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="LrzXr"></span></span><span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">April
16 until June 8. 2019</span></div>
<div class="MsoNormal">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="LrzXr"><a data-lynx-mode="async" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.derryvoid.com%2F%3Ffbclid%3DIwAR3ypMFaBqyjw8R1v4CQvNXR99085IeravJ_aVa0KW7YaRf1CsN1S2XgFxw&h=AT3KFc3kLsAuJ9Yysw2foh0URPHEcG91ZLvD0RSniMR8AyccC6PbqOUYklOJuMTovfm-mX05bRusWIF07fweL2cSI7_NHv-7AzaHwll6MZxApYXea98h4YRbThZMgDfeXESMn1-VkJZr97hG52J_EZwJxU3JB6ft6tiiiDvRpWQAarugK5cMsr_NwftyxOD7QDIhf13_szyQxyxrsDMDdyFJkJygKViB2Q4-YlqLlBsJvTvWyC1__Cf-g8HO37ANAeC13HHyCqSZHuOH5C9dVxjG-_UvJzX-PEhm2NIxx1-JeEula4gBpqIsmUVSal_Wsm17cZt2VUy_msqpKb9kstP9VpSgY2syP2vaaLKrXil0qcDdpeNKBfLLGud70I6OdapqOKysKdRk6cN7zSsBjJPiioClT_OEwYq7eJiajCu3yj3aDFHIwIBAIsRhrBYcH1mQV00H9YoqWRFAJum42HJLWb3z7zA-_l8_53iKhw" href="http://www.derryvoid.com/?fbclid=IwAR3ypMFaBqyjw8R1v4CQvNXR99085IeravJ_aVa0KW7YaRf1CsN1S2XgFxw" id="u_jsonp_2_4" rel="noopener nofollow" target="_blank">http://www.derryvoid.com</a> </span></span></div>
<div class="MsoNormal">
<span style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="LrzXr"> </span> </span></div>
<style>
<!--
/* Font Definitions */
@font-face
{font-family:Times;
panose-1:2 0 5 0 0 0 0 0 0 0;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
@font-face
{font-family:"MS 明朝";
mso-font-charset:78;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:"MS 明朝";
mso-font-charset:78;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1073743103 0 0 415 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0cm;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page WordSection1
{size:612.0pt 792.0pt;
margin:72.0pt 90.0pt 72.0pt 90.0pt;
mso-header-margin:36.0pt;
mso-footer-margin:36.0pt;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>Karl Ingar Røyshttp://www.blogger.com/profile/00332890712484272228noreply@blogger.com