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V květnu 2026 vyšel v nakladatelství UTOPIA LIBRI text, který v roce 1926 napsal El Lisickij

«Budúcnosť knihy»

V krátkej, no programovo nabitej eseji z roku 1926 El Lisickij, jeden z kľúčových predstaviteľov ruskej avantgardy, načrtáva budúcnosť knihy v ére, ktorú definuje ako epochu dematerializácie – nahrádzania ťažkopádnej hmoty nespútanou energiou. Lisickij sa pýta, čo táto premena znamená pre tlačený artefakt, a hľadá odpoveď na hraničných územiach medzi typografiou, fotografiou a svetlotlačou. Predpovedá knihu, v ktorej bude zobrazenie primárne a písmo sekundárne, knihu „anacionálnu“, zrozumiteľnú naprieč jazykmi, knihu zbavenú automatizmu, v ktorej forma znásobuje účinok obsahu. Esej končí strohým konštatovaním, že nová forma knihy ešte nedozrela, no jej obrysy už presvitajú – najmä v záplave detských obrázkových kníh, na ktorých vyrastá generácia s iným vzťahom k obrazu a priestoru.

,,Napriek kríze, ktorá postihuje knižnú produkciu spolu s ďalšími výrobnými odvetviami, lavína kníh z roka na rok narastá. Kniha sa stáva najmonumentálnejšou umeleckou formou súčasnosti; už ju nehladia len jemné ruky bibliofilov, ale uchopujú ju státisíce chudobných rúk. V našej prechodnej dobe to vysvetľuje nadvládu ilustrovaného týždenníka.“

Květen 2026, 32 stran, formát 105 × 180 mm

Překlad: Ján Solčáni @skupinalabel

ISBN: 978-80 -88532-04-0

Cena: 0 Kč

Publikaci lze získat zdarma na konferenci @mappingwhatmatters 16. května 2026 v Bratislavě a také na knižních akcích, např. na @svetknihy , @prague_anarchist_bookfair, @knihex, @brakfestival atd.

V květnu 2026 vyšel v nakladatelství UTOPIA LIBRI text, který v roce 1926 napsal El Lisickij

«Budúcnosť knihy»

V krátkej, no programovo nabitej eseji z roku 1926 El Lisickij, jeden z kľúčových predstaviteľov ruskej avantgardy, načrtáva budúcnosť knihy v ére, ktorú definuje ako epochu dematerializácie – nahrádzania ťažkopádnej hmoty nespútanou energiou. Lisickij sa pýta, čo táto premena znamená pre tlačený artefakt, a hľadá odpoveď na hraničných územiach medzi typografiou, fotografiou a svetlotlačou. Predpovedá knihu, v ktorej bude zobrazenie primárne a písmo sekundárne, knihu „anacionálnu“, zrozumiteľnú naprieč jazykmi, knihu zbavenú automatizmu, v ktorej forma znásobuje účinok obsahu. Esej končí strohým konštatovaním, že nová forma knihy ešte nedozrela, no jej obrysy už presvitajú – najmä v záplave detských obrázkových kníh, na ktorých vyrastá generácia s iným vzťahom k obrazu a priestoru.

,,Napriek kríze, ktorá postihuje knižnú produkciu spolu s ďalšími výrobnými odvetviami, lavína kníh z roka na rok narastá. Kniha sa stáva najmonumentálnejšou umeleckou formou súčasnosti; už ju nehladia len jemné ruky bibliofilov, ale uchopujú ju státisíce chudobných rúk. V našej prechodnej dobe to vysvetľuje nadvládu ilustrovaného týždenníka.“

Květen 2026, 32 stran, formát 105 × 180 mm

Překlad: Ján Solčáni @skupinalabel

ISBN: 978-80 -88532-04-0

Cena: 0 Kč

Publikaci lze získat zdarma na konferenci @mappingwhatmatters 16. května 2026 v Bratislavě a také na knižních akcích, např. na @svetknihy , @prague_anarchist_bookfair, @knihex, @brakfestival atd.

V květnu 2026 vyšel v nakladatelství Utopia libri text Ursuly K. Le Guin

«Teorie fikce jako odnosné tašky»

Le Guin se ve svém zásadním eseji z roku 1986 se zamýšlí nad „velkým vyprávěním“ západní kultury, které je lineární, dobyvačné, zaměřené na jediného hrdinu. Dějiny lidstva ovšem nezačaly hrdinou, jenž kopím skolil mamuta. Začaly někým, kdo do pytle, košíku či nádoby ukládal semena, kořínky a později i slova.

„Je těžké vyprávět poutavý příběh o tom, jak jsem ze slupky vyprostila semínko divokého ovsa a pak ještě jedno a ještě a ještě a pak ještě jedno, pak jsem si škrábala komáří štípance a Ool řekla něco vtipného, pak jsme šly k potoku, napily se vody a chvíli pozorovaly mloky a potom jsem našla další oves… Ne, to se nedá srovnat. Nemůže to soupeřit s tím, jak vrážím kopí hluboko do obřích chlupatých slabin mamuta, zatímco Oob, napíchnutý na mohutný rozmáchlý kel, řve a jeho krev stříká kolem v rudých proudech a Boob je už dávno rozdrcený na kaši po pádu mamuta, kterého jsem zasáhla svým neomylným šípem přímo skrz oko do mozku.“

Květen 2026, 32 stran, formát 105 × 180 mm, barevná publikace
Ilustrace: @veronikaholcovapainter

Překlad: Ján Solčáni
ISBN: 978-80-88532-03-3

K tématu v UTOPIA LIBRI vyšlo
• Donna J. Haraway, Zůstat u nesnází: Utváření příbuzenství ve chthulucénu (2025)
• Vinciane Despret, Autobiografie chobotnice a jiné anticipační příběhy (2024)
Publikaci si můžete objednat prozatím pouze v @knihkupectvi.artmap nebo v @page_five_ a také na knižních akcích, např. na @svetuknihy, @prague_anarchist_bookfair
v Praze, @knihex, @brakfestival
atd.

V květnu 2026 vyšel v nakladatelství Utopia libri text Ursuly K. Le Guin

«Teorie fikce jako odnosné tašky»

Le Guin se ve svém zásadním eseji z roku 1986 se zamýšlí nad „velkým vyprávěním“ západní kultury, které je lineární, dobyvačné, zaměřené na jediného hrdinu. Dějiny lidstva ovšem nezačaly hrdinou, jenž kopím skolil mamuta. Začaly někým, kdo do pytle, košíku či nádoby ukládal semena, kořínky a později i slova.

„Je těžké vyprávět poutavý příběh o tom, jak jsem ze slupky vyprostila semínko divokého ovsa a pak ještě jedno a ještě a ještě a pak ještě jedno, pak jsem si škrábala komáří štípance a Ool řekla něco vtipného, pak jsme šly k potoku, napily se vody a chvíli pozorovaly mloky a potom jsem našla další oves… Ne, to se nedá srovnat. Nemůže to soupeřit s tím, jak vrážím kopí hluboko do obřích chlupatých slabin mamuta, zatímco Oob, napíchnutý na mohutný rozmáchlý kel, řve a jeho krev stříká kolem v rudých proudech a Boob je už dávno rozdrcený na kaši po pádu mamuta, kterého jsem zasáhla svým neomylným šípem přímo skrz oko do mozku.“

Květen 2026, 32 stran, formát 105 × 180 mm, barevná publikace
Ilustrace: @veronikaholcovapainter

Překlad: Ján Solčáni
ISBN: 978-80-88532-03-3

K tématu v UTOPIA LIBRI vyšlo
• Donna J. Haraway, Zůstat u nesnází: Utváření příbuzenství ve chthulucénu (2025)
• Vinciane Despret, Autobiografie chobotnice a jiné anticipační příběhy (2024)
Publikaci si můžete objednat prozatím pouze v @knihkupectvi.artmap nebo v @page_five_ a také na knižních akcích, např. na @svetuknihy, @prague_anarchist_bookfair
v Praze, @knihex, @brakfestival
atd.

Online tonight, 19:00CEST, link in bio.
ELENA BISERNA – WALKING AND RESOUNDING BODIES

In the final lecture of the Videogram series, we will focus on walking, listening, and sound-making in public space as a feminist, decolonial, and anti-ableist practice rooted in silence, noise, and voice.
Researcher and curator @elena_biserna will explore how walking and listening can lead to new forms of knowledge that challenge hegemonic spatial relations.

Online tonight, 19:00CEST, link in bio.
ELENA BISERNA – WALKING AND RESOUNDING BODIES

In the final lecture of the Videogram series, we will focus on walking, listening, and sound-making in public space as a feminist, decolonial, and anti-ableist practice rooted in silence, noise, and voice.
Researcher and curator @elena_biserna will explore how walking and listening can lead to new forms of knowledge that challenge hegemonic spatial relations.

🪵Today at 19:00 CEST, join us online for an artist talk w/ @juansorrentino 🪵

Juan’s work treats sound as a physical force that can redefine the boundaries of both physical and psychoacoustic listening.
Sound acts as an active agent, capable of physically breaking down walls in work like “Collapse,” gradually piercing through barriers in “Me gusta cuando te blindas porque estás como ausente,” or highlighting the colonial roots of deforestation in South America, as seen in “Insistence” and “Arrastre”.

[LINK IN BIO]

🪵Today at 19:00 CEST, join us online for an artist talk w/ @juansorrentino 🪵

Juan’s work treats sound as a physical force that can redefine the boundaries of both physical and psychoacoustic listening.
Sound acts as an active agent, capable of physically breaking down walls in work like “Collapse,” gradually piercing through barriers in “Me gusta cuando te blindas porque estás como ausente,” or highlighting the colonial roots of deforestation in South America, as seen in “Insistence” and “Arrastre”.

[LINK IN BIO]

🪵Today at 19:00 CEST, join us online for an artist talk w/ @juansorrentino 🪵

Juan’s work treats sound as a physical force that can redefine the boundaries of both physical and psychoacoustic listening.
Sound acts as an active agent, capable of physically breaking down walls in work like “Collapse,” gradually piercing through barriers in “Me gusta cuando te blindas porque estás como ausente,” or highlighting the colonial roots of deforestation in South America, as seen in “Insistence” and “Arrastre”.

[LINK IN BIO]

🪵Today at 19:00 CEST, join us online for an artist talk w/ @juansorrentino 🪵

Juan’s work treats sound as a physical force that can redefine the boundaries of both physical and psychoacoustic listening.
Sound acts as an active agent, capable of physically breaking down walls in work like “Collapse,” gradually piercing through barriers in “Me gusta cuando te blindas porque estás como ausente,” or highlighting the colonial roots of deforestation in South America, as seen in “Insistence” and “Arrastre”.

[LINK IN BIO]

Online tonight, 19:00 CEST: Pirouette Machines. Fluid Components

💄In today’s talk in the Videogram series, Romanian sound artist @ioana.vreme.moser takes us deeper into her practice in DIY hardware electronics, exploring the connections between the cosmetics industry and its toxicity, the ideal of the female body, and the military history of sound.

[LINK IN BIO]

130th Episode of the Unstable: Stable program compiled by the curator of Skupina label @skupinalabel Ján Solčáni:

Here, Skupina carefully listen to all nature’s small murmurs, bubblings, and hums.
For this mixtape, we selected current and upcoming sounds from our catalogue, connecting the underwater sonic worlds of Croatian coasts and British ponds with the twittering meadows of southern Slovakia.
—
Ján’s practice moves between the roles of curator, sound artist, and theorist. Their field of interest focuses on cultural phenomena that can be perceived and expressed through sound. They organise a lecture series on contemporary art practice and theory called Videogram, co-founded and curate the music label Skupina, curate the listening archive Unseen, and contribute as an editor and writer for the cultural magazine 34.sk @34.sk_magazine . They also host a programme on experimental music from Eastern Europe on Kiosk Radio and organise activities for the Roman Radkovič Collective.
—
Skupina is an independent field recording label floating between the landscapes of Central and Eastern Europe.
—
Tracklist:
01. Manja Ristić & Tomáš Šenkyřík – Vstal
02. Tomáš Šenkyřík – Prokopova studánka
03. Tomáš Šenkyřík – Déšť v dubové koruně
04. Tomáš Šenkyřík – 24062024, 12.10–13.00
05. Action Pyramid & Jack Greenhalgh – Submersion
06. Barbora Mikulová – Glasssss
07. Lucie Páchová – Domů
08. Manja Ristić & Tomáš Šenkyřík – Melanchólia
09. Action Pyramid & Jack Greenhalgh – Night-time / Insects
10. Lucie Vítková – Inside the Ritual
11. Lucie Páchová – Na verandě
12. Andy Klingensmith – Crushing Paper Stars
—
Photo credits: Ján Solčáni

Listen to episode via our Soundcloud Page — in Bio 🗞️

130th Episode of the Unstable: Stable program compiled by the curator of Skupina label @skupinalabel Ján Solčáni:

Here, Skupina carefully listen to all nature’s small murmurs, bubblings, and hums.
For this mixtape, we selected current and upcoming sounds from our catalogue, connecting the underwater sonic worlds of Croatian coasts and British ponds with the twittering meadows of southern Slovakia.
—
Ján’s practice moves between the roles of curator, sound artist, and theorist. Their field of interest focuses on cultural phenomena that can be perceived and expressed through sound. They organise a lecture series on contemporary art practice and theory called Videogram, co-founded and curate the music label Skupina, curate the listening archive Unseen, and contribute as an editor and writer for the cultural magazine 34.sk @34.sk_magazine . They also host a programme on experimental music from Eastern Europe on Kiosk Radio and organise activities for the Roman Radkovič Collective.
—
Skupina is an independent field recording label floating between the landscapes of Central and Eastern Europe.
—
Tracklist:
01. Manja Ristić & Tomáš Šenkyřík – Vstal
02. Tomáš Šenkyřík – Prokopova studánka
03. Tomáš Šenkyřík – Déšť v dubové koruně
04. Tomáš Šenkyřík – 24062024, 12.10–13.00
05. Action Pyramid & Jack Greenhalgh – Submersion
06. Barbora Mikulová – Glasssss
07. Lucie Páchová – Domů
08. Manja Ristić & Tomáš Šenkyřík – Melanchólia
09. Action Pyramid & Jack Greenhalgh – Night-time / Insects
10. Lucie Vítková – Inside the Ritual
11. Lucie Páchová – Na verandě
12. Andy Klingensmith – Crushing Paper Stars
—
Photo credits: Ján Solčáni

Listen to episode via our Soundcloud Page — in Bio 🗞️

⚠️ Today at 19:00⚠️

𝗩𝗜𝗗𝗘𝗢𝗚𝗥𝗔𝗠 𝟭𝟱𝟭 - 𝗡𝗜𝗞𝗜𝗧𝗔 𝗞𝗔𝗗𝗔𝗡
01.04.2026, 19:00, online via Zoom
Zoom: https://cesnet.zoom.us/j/92446813677
www: https://videogram.favu.vut.cz/nikitakadan

𝗣𝗢𝗘𝗧𝗜𝗖𝗦 𝗢𝗙 𝗪𝗜𝗧𝗡𝗘𝗦𝗦𝗜𝗡𝗚. 𝗣𝗢𝗘𝗧𝗜𝗖𝗦 𝗢𝗙 𝗘𝗩𝗜𝗗𝗘𝗡𝗖𝗘
What does it mean to make art within the ongoing war? Few observations on staying home, empiricism and the price of metaphors.

𝗡𝗜𝗞𝗜𝗧𝗔 𝗞𝗔𝗗𝗔𝗡
The work of Nikita Kadan (born 1982 in Kyiv) centers on his artistic exploration of post-communist social and political developments, and their origins and causes in the Soviet system. The artist is an observer and interpreter of historical shifts, and also of the connections and continuities between the communist past and turbo-capitalist present. Nikita Kadan is a member of the artist group R.E.P. (Revolutionary Experimental Space) since 2004 and a co-founder and member of the curatorial group and activities HUDRADA since 2008. Graduated from the National Academy of Fine Arts in Kyiv, where he studied monumental painting, he now works with installation, sculpture, painting and wall drawings, sometimes in interdisciplinary collaboration with architects, writers, human rights activists and historians.
Nikita Kadan has had solo exhibitions 'Rubble Flower' at Jerome Poggi gallery (Paris, 2025), 'Siren Sickle Satellite' at the National Museum of Ukrainian Art in Kyiv (2025), 'Skin and Shel' at the Lewben Foundation in Vilnius (Lithuania, 2023) and “The Fire and the Ashes” at the Museum Sztuki, (Lodz, 2023). In 2021, the Pinchuk Art Centre (Kyiv) devoted a major solo exhibition to him, pursuing the initiative of the MUMOK (Vienna), which held his solo exhibition in 2019. His solo show 'The Possessed can Testify in Court' took place at M HKA Antwerp in 2018.

Tomáš Šenkyřík — 1m2

Beginning with 1982’s Sound Map Of The Hudson River, Annea Lockwood has investigated waterways across the globe by walking their lengths and field recording along the way. It’s a captivating approach to the challenge of documenting the layered scales and complex interconnectedness of an ecosystem. 1m² sees Tomáš Šenkyřík use a different approach to the same subject, standing still and documenting an ecosystem as time moves through it. The Czech field recordist focused on a single square metre of wetland close to his house in South Moravia, periodically recording it across several days in June 2024, the track titles showing when these sounds were captured. The tape opens with an incessant click and a low-end groan before creaks, squeaks and buzzes create a lopsided beat, a coincidental groove emerging between critters voices and ecological processes. The scenes Šenkyřík captures oscillate between consistency, disruption, and, in the peculiar whining loop that dominates the fifth track, consistent disruption. The hums, chitters, squelches and borborygmus-like burbles across the tracks sound like synthesisers, while Šenkyřík’s editing switches focal point from being seemingly submerged underwater to out in the open air as bird song and trudging footsteps flutter by. Like Lockwood, Šenkyřík elegantly captures the complexity and wonder of an ecosystem, the square metre he focuses on getting bigger by the second.
@daryl.worthington for @thequietus Spool’s Out

Pro-dubbed by @headlessduplicatedtapes
Risography printed J-Card by @diogololly at @_echopress_

Tomáš Šenkyřík — 1m2

Beginning with 1982’s Sound Map Of The Hudson River, Annea Lockwood has investigated waterways across the globe by walking their lengths and field recording along the way. It’s a captivating approach to the challenge of documenting the layered scales and complex interconnectedness of an ecosystem. 1m² sees Tomáš Šenkyřík use a different approach to the same subject, standing still and documenting an ecosystem as time moves through it. The Czech field recordist focused on a single square metre of wetland close to his house in South Moravia, periodically recording it across several days in June 2024, the track titles showing when these sounds were captured. The tape opens with an incessant click and a low-end groan before creaks, squeaks and buzzes create a lopsided beat, a coincidental groove emerging between critters voices and ecological processes. The scenes Šenkyřík captures oscillate between consistency, disruption, and, in the peculiar whining loop that dominates the fifth track, consistent disruption. The hums, chitters, squelches and borborygmus-like burbles across the tracks sound like synthesisers, while Šenkyřík’s editing switches focal point from being seemingly submerged underwater to out in the open air as bird song and trudging footsteps flutter by. Like Lockwood, Šenkyřík elegantly captures the complexity and wonder of an ecosystem, the square metre he focuses on getting bigger by the second.
@daryl.worthington for @thequietus Spool’s Out

Pro-dubbed by @headlessduplicatedtapes
Risography printed J-Card by @diogololly at @_echopress_

Tomáš Šenkyřík — 1m2

Beginning with 1982’s Sound Map Of The Hudson River, Annea Lockwood has investigated waterways across the globe by walking their lengths and field recording along the way. It’s a captivating approach to the challenge of documenting the layered scales and complex interconnectedness of an ecosystem. 1m² sees Tomáš Šenkyřík use a different approach to the same subject, standing still and documenting an ecosystem as time moves through it. The Czech field recordist focused on a single square metre of wetland close to his house in South Moravia, periodically recording it across several days in June 2024, the track titles showing when these sounds were captured. The tape opens with an incessant click and a low-end groan before creaks, squeaks and buzzes create a lopsided beat, a coincidental groove emerging between critters voices and ecological processes. The scenes Šenkyřík captures oscillate between consistency, disruption, and, in the peculiar whining loop that dominates the fifth track, consistent disruption. The hums, chitters, squelches and borborygmus-like burbles across the tracks sound like synthesisers, while Šenkyřík’s editing switches focal point from being seemingly submerged underwater to out in the open air as bird song and trudging footsteps flutter by. Like Lockwood, Šenkyřík elegantly captures the complexity and wonder of an ecosystem, the square metre he focuses on getting bigger by the second.
@daryl.worthington for @thequietus Spool’s Out

Pro-dubbed by @headlessduplicatedtapes
Risography printed J-Card by @diogololly at @_echopress_

Tomáš Šenkyřík — 1m2

Beginning with 1982’s Sound Map Of The Hudson River, Annea Lockwood has investigated waterways across the globe by walking their lengths and field recording along the way. It’s a captivating approach to the challenge of documenting the layered scales and complex interconnectedness of an ecosystem. 1m² sees Tomáš Šenkyřík use a different approach to the same subject, standing still and documenting an ecosystem as time moves through it. The Czech field recordist focused on a single square metre of wetland close to his house in South Moravia, periodically recording it across several days in June 2024, the track titles showing when these sounds were captured. The tape opens with an incessant click and a low-end groan before creaks, squeaks and buzzes create a lopsided beat, a coincidental groove emerging between critters voices and ecological processes. The scenes Šenkyřík captures oscillate between consistency, disruption, and, in the peculiar whining loop that dominates the fifth track, consistent disruption. The hums, chitters, squelches and borborygmus-like burbles across the tracks sound like synthesisers, while Šenkyřík’s editing switches focal point from being seemingly submerged underwater to out in the open air as bird song and trudging footsteps flutter by. Like Lockwood, Šenkyřík elegantly captures the complexity and wonder of an ecosystem, the square metre he focuses on getting bigger by the second.
@daryl.worthington for @thequietus Spool’s Out

Pro-dubbed by @headlessduplicatedtapes
Risography printed J-Card by @diogololly at @_echopress_

Tomáš Šenkyřík — 1m2

Beginning with 1982’s Sound Map Of The Hudson River, Annea Lockwood has investigated waterways across the globe by walking their lengths and field recording along the way. It’s a captivating approach to the challenge of documenting the layered scales and complex interconnectedness of an ecosystem. 1m² sees Tomáš Šenkyřík use a different approach to the same subject, standing still and documenting an ecosystem as time moves through it. The Czech field recordist focused on a single square metre of wetland close to his house in South Moravia, periodically recording it across several days in June 2024, the track titles showing when these sounds were captured. The tape opens with an incessant click and a low-end groan before creaks, squeaks and buzzes create a lopsided beat, a coincidental groove emerging between critters voices and ecological processes. The scenes Šenkyřík captures oscillate between consistency, disruption, and, in the peculiar whining loop that dominates the fifth track, consistent disruption. The hums, chitters, squelches and borborygmus-like burbles across the tracks sound like synthesisers, while Šenkyřík’s editing switches focal point from being seemingly submerged underwater to out in the open air as bird song and trudging footsteps flutter by. Like Lockwood, Šenkyřík elegantly captures the complexity and wonder of an ecosystem, the square metre he focuses on getting bigger by the second.
@daryl.worthington for @thequietus Spool’s Out

Pro-dubbed by @headlessduplicatedtapes
Risography printed J-Card by @diogololly at @_echopress_

🥶It’s cold outside! Time to wrap up warm.

We’ve teamed up with Slovak illustrator @seafur to create this cosy sweatshirt celebrating friendship between humans and non-humans alike. The design is screen-printed across the front and both sleeves by @stoned_to_death, so you can spread the love wherever you wave.

There are only 27 pieces available, in sizes S–2XL, at our @bandcamp.

Stay warm!

Photos by @monikakarczmarczyk

🥶It’s cold outside! Time to wrap up warm.

We’ve teamed up with Slovak illustrator @seafur to create this cosy sweatshirt celebrating friendship between humans and non-humans alike. The design is screen-printed across the front and both sleeves by @stoned_to_death, so you can spread the love wherever you wave.

There are only 27 pieces available, in sizes S–2XL, at our @bandcamp.

Stay warm!

Photos by @monikakarczmarczyk

🥶It’s cold outside! Time to wrap up warm.

We’ve teamed up with Slovak illustrator @seafur to create this cosy sweatshirt celebrating friendship between humans and non-humans alike. The design is screen-printed across the front and both sleeves by @stoned_to_death, so you can spread the love wherever you wave.

There are only 27 pieces available, in sizes S–2XL, at our @bandcamp.

Stay warm!

Photos by @monikakarczmarczyk

🥶It’s cold outside! Time to wrap up warm.

We’ve teamed up with Slovak illustrator @seafur to create this cosy sweatshirt celebrating friendship between humans and non-humans alike. The design is screen-printed across the front and both sleeves by @stoned_to_death, so you can spread the love wherever you wave.

There are only 27 pieces available, in sizes S–2XL, at our @bandcamp.

Stay warm!

Photos by @monikakarczmarczyk

🥶It’s cold outside! Time to wrap up warm.

We’ve teamed up with Slovak illustrator @seafur to create this cosy sweatshirt celebrating friendship between humans and non-humans alike. The design is screen-printed across the front and both sleeves by @stoned_to_death, so you can spread the love wherever you wave.

There are only 27 pieces available, in sizes S–2XL, at our @bandcamp.

Stay warm!

Photos by @monikakarczmarczyk

Súčasťou NEXT 2025: Advanced music festival bolo sympózium, ktorésa zameralo na to, ako je 𝘻𝘷𝘶𝘬 𝘷𝘺𝘶𝘻̌𝘪́𝘷𝘢𝘯𝘺́ 𝘷 𝘴𝘶́𝘤̌𝘢𝘴𝘯𝘺́𝘤𝘩 𝘷𝘰𝘫𝘦𝘯𝘴𝘬𝘺́𝘤𝘩 𝘬𝘰𝘯𝘧𝘭𝘪𝘬𝘵𝘰𝘤𝘩 𝘢 𝘢𝘬𝘰 𝘯𝘢𝘴̌𝘦 𝘱𝘰𝘤̌𝘶́𝘷𝘢𝘯𝘪𝘦 𝘧𝘰𝘳𝘮𝘶𝘫𝘶́ 𝘬𝘰𝘭𝘰𝘯𝘪𝘢𝘭𝘯𝘦 𝘱𝘰𝘭𝘪𝘵𝘪𝘬𝘺. ✧

Medzinárodní hostia vrátane 𝘉𝘪𝘯𝘵 𝘔𝘣𝘢𝘳𝘦𝘩, 𝘚𝘵𝘦𝘷𝘦𝘢 𝘎𝘰𝘰𝘥𝘮𝘢𝘯𝘢 (𝘒𝘰𝘥𝘦9), 𝘎𝘢𝘴𝘤𝘪𝘪 𝘖𝘶𝘻𝘰𝘶𝘯𝘪𝘢𝘯 𝘢 𝘚𝘵𝘢𝘴𝘢 𝘚𝘩𝘢̈𝘳𝘪𝘧𝘶𝘭𝘭𝘢́ (𝘏𝘔𝘖𝘛)predstavili v prednáškach, diskusii a workshope rôzne podoby zvuku ako nástroja moci a útlaku. ✧

Program otvoril piatkový workshop Bint Mbareh, po ktorom nasledoval sobotný blok prednášok v Štúdiu 12. Účastníci sa venovali témam od sonického vedenia vojny cez atmosférickú okupáciu miest až po kritické počúvanie „vyprázdnených“ zvukov. ✧

Supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

Súčasťou NEXT 2025: Advanced music festival bolo sympózium, ktorésa zameralo na to, ako je 𝘻𝘷𝘶𝘬 𝘷𝘺𝘶𝘻̌𝘪́𝘷𝘢𝘯𝘺́ 𝘷 𝘴𝘶́𝘤̌𝘢𝘴𝘯𝘺́𝘤𝘩 𝘷𝘰𝘫𝘦𝘯𝘴𝘬𝘺́𝘤𝘩 𝘬𝘰𝘯𝘧𝘭𝘪𝘬𝘵𝘰𝘤𝘩 𝘢 𝘢𝘬𝘰 𝘯𝘢𝘴̌𝘦 𝘱𝘰𝘤̌𝘶́𝘷𝘢𝘯𝘪𝘦 𝘧𝘰𝘳𝘮𝘶𝘫𝘶́ 𝘬𝘰𝘭𝘰𝘯𝘪𝘢𝘭𝘯𝘦 𝘱𝘰𝘭𝘪𝘵𝘪𝘬𝘺. ✧

Medzinárodní hostia vrátane 𝘉𝘪𝘯𝘵 𝘔𝘣𝘢𝘳𝘦𝘩, 𝘚𝘵𝘦𝘷𝘦𝘢 𝘎𝘰𝘰𝘥𝘮𝘢𝘯𝘢 (𝘒𝘰𝘥𝘦9), 𝘎𝘢𝘴𝘤𝘪𝘪 𝘖𝘶𝘻𝘰𝘶𝘯𝘪𝘢𝘯 𝘢 𝘚𝘵𝘢𝘴𝘢 𝘚𝘩𝘢̈𝘳𝘪𝘧𝘶𝘭𝘭𝘢́ (𝘏𝘔𝘖𝘛)predstavili v prednáškach, diskusii a workshope rôzne podoby zvuku ako nástroja moci a útlaku. ✧

Program otvoril piatkový workshop Bint Mbareh, po ktorom nasledoval sobotný blok prednášok v Štúdiu 12. Účastníci sa venovali témam od sonického vedenia vojny cez atmosférickú okupáciu miest až po kritické počúvanie „vyprázdnených“ zvukov. ✧

Supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

Súčasťou NEXT 2025: Advanced music festival bolo sympózium, ktorésa zameralo na to, ako je 𝘻𝘷𝘶𝘬 𝘷𝘺𝘶𝘻̌𝘪́𝘷𝘢𝘯𝘺́ 𝘷 𝘴𝘶́𝘤̌𝘢𝘴𝘯𝘺́𝘤𝘩 𝘷𝘰𝘫𝘦𝘯𝘴𝘬𝘺́𝘤𝘩 𝘬𝘰𝘯𝘧𝘭𝘪𝘬𝘵𝘰𝘤𝘩 𝘢 𝘢𝘬𝘰 𝘯𝘢𝘴̌𝘦 𝘱𝘰𝘤̌𝘶́𝘷𝘢𝘯𝘪𝘦 𝘧𝘰𝘳𝘮𝘶𝘫𝘶́ 𝘬𝘰𝘭𝘰𝘯𝘪𝘢𝘭𝘯𝘦 𝘱𝘰𝘭𝘪𝘵𝘪𝘬𝘺. ✧

Medzinárodní hostia vrátane 𝘉𝘪𝘯𝘵 𝘔𝘣𝘢𝘳𝘦𝘩, 𝘚𝘵𝘦𝘷𝘦𝘢 𝘎𝘰𝘰𝘥𝘮𝘢𝘯𝘢 (𝘒𝘰𝘥𝘦9), 𝘎𝘢𝘴𝘤𝘪𝘪 𝘖𝘶𝘻𝘰𝘶𝘯𝘪𝘢𝘯 𝘢 𝘚𝘵𝘢𝘴𝘢 𝘚𝘩𝘢̈𝘳𝘪𝘧𝘶𝘭𝘭𝘢́ (𝘏𝘔𝘖𝘛)predstavili v prednáškach, diskusii a workshope rôzne podoby zvuku ako nástroja moci a útlaku. ✧

Program otvoril piatkový workshop Bint Mbareh, po ktorom nasledoval sobotný blok prednášok v Štúdiu 12. Účastníci sa venovali témam od sonického vedenia vojny cez atmosférickú okupáciu miest až po kritické počúvanie „vyprázdnených“ zvukov. ✧

Supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

Súčasťou NEXT 2025: Advanced music festival bolo sympózium, ktorésa zameralo na to, ako je 𝘻𝘷𝘶𝘬 𝘷𝘺𝘶𝘻̌𝘪́𝘷𝘢𝘯𝘺́ 𝘷 𝘴𝘶́𝘤̌𝘢𝘴𝘯𝘺́𝘤𝘩 𝘷𝘰𝘫𝘦𝘯𝘴𝘬𝘺́𝘤𝘩 𝘬𝘰𝘯𝘧𝘭𝘪𝘬𝘵𝘰𝘤𝘩 𝘢 𝘢𝘬𝘰 𝘯𝘢𝘴̌𝘦 𝘱𝘰𝘤̌𝘶́𝘷𝘢𝘯𝘪𝘦 𝘧𝘰𝘳𝘮𝘶𝘫𝘶́ 𝘬𝘰𝘭𝘰𝘯𝘪𝘢𝘭𝘯𝘦 𝘱𝘰𝘭𝘪𝘵𝘪𝘬𝘺. ✧

Medzinárodní hostia vrátane 𝘉𝘪𝘯𝘵 𝘔𝘣𝘢𝘳𝘦𝘩, 𝘚𝘵𝘦𝘷𝘦𝘢 𝘎𝘰𝘰𝘥𝘮𝘢𝘯𝘢 (𝘒𝘰𝘥𝘦9), 𝘎𝘢𝘴𝘤𝘪𝘪 𝘖𝘶𝘻𝘰𝘶𝘯𝘪𝘢𝘯 𝘢 𝘚𝘵𝘢𝘴𝘢 𝘚𝘩𝘢̈𝘳𝘪𝘧𝘶𝘭𝘭𝘢́ (𝘏𝘔𝘖𝘛)predstavili v prednáškach, diskusii a workshope rôzne podoby zvuku ako nástroja moci a útlaku. ✧

Program otvoril piatkový workshop Bint Mbareh, po ktorom nasledoval sobotný blok prednášok v Štúdiu 12. Účastníci sa venovali témam od sonického vedenia vojny cez atmosférickú okupáciu miest až po kritické počúvanie „vyprázdnených“ zvukov. ✧

Supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

Súčasťou NEXT 2025: Advanced music festival bolo sympózium, ktorésa zameralo na to, ako je 𝘻𝘷𝘶𝘬 𝘷𝘺𝘶𝘻̌𝘪́𝘷𝘢𝘯𝘺́ 𝘷 𝘴𝘶́𝘤̌𝘢𝘴𝘯𝘺́𝘤𝘩 𝘷𝘰𝘫𝘦𝘯𝘴𝘬𝘺́𝘤𝘩 𝘬𝘰𝘯𝘧𝘭𝘪𝘬𝘵𝘰𝘤𝘩 𝘢 𝘢𝘬𝘰 𝘯𝘢𝘴̌𝘦 𝘱𝘰𝘤̌𝘶́𝘷𝘢𝘯𝘪𝘦 𝘧𝘰𝘳𝘮𝘶𝘫𝘶́ 𝘬𝘰𝘭𝘰𝘯𝘪𝘢𝘭𝘯𝘦 𝘱𝘰𝘭𝘪𝘵𝘪𝘬𝘺. ✧

Medzinárodní hostia vrátane 𝘉𝘪𝘯𝘵 𝘔𝘣𝘢𝘳𝘦𝘩, 𝘚𝘵𝘦𝘷𝘦𝘢 𝘎𝘰𝘰𝘥𝘮𝘢𝘯𝘢 (𝘒𝘰𝘥𝘦9), 𝘎𝘢𝘴𝘤𝘪𝘪 𝘖𝘶𝘻𝘰𝘶𝘯𝘪𝘢𝘯 𝘢 𝘚𝘵𝘢𝘴𝘢 𝘚𝘩𝘢̈𝘳𝘪𝘧𝘶𝘭𝘭𝘢́ (𝘏𝘔𝘖𝘛)predstavili v prednáškach, diskusii a workshope rôzne podoby zvuku ako nástroja moci a útlaku. ✧

Program otvoril piatkový workshop Bint Mbareh, po ktorom nasledoval sobotný blok prednášok v Štúdiu 12. Účastníci sa venovali témam od sonického vedenia vojny cez atmosférickú okupáciu miest až po kritické počúvanie „vyprázdnených“ zvukov. ✧

Supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

Súčasťou NEXT 2025: Advanced music festival bolo sympózium, ktorésa zameralo na to, ako je 𝘻𝘷𝘶𝘬 𝘷𝘺𝘶𝘻̌𝘪́𝘷𝘢𝘯𝘺́ 𝘷 𝘴𝘶́𝘤̌𝘢𝘴𝘯𝘺́𝘤𝘩 𝘷𝘰𝘫𝘦𝘯𝘴𝘬𝘺́𝘤𝘩 𝘬𝘰𝘯𝘧𝘭𝘪𝘬𝘵𝘰𝘤𝘩 𝘢 𝘢𝘬𝘰 𝘯𝘢𝘴̌𝘦 𝘱𝘰𝘤̌𝘶́𝘷𝘢𝘯𝘪𝘦 𝘧𝘰𝘳𝘮𝘶𝘫𝘶́ 𝘬𝘰𝘭𝘰𝘯𝘪𝘢𝘭𝘯𝘦 𝘱𝘰𝘭𝘪𝘵𝘪𝘬𝘺. ✧

Medzinárodní hostia vrátane 𝘉𝘪𝘯𝘵 𝘔𝘣𝘢𝘳𝘦𝘩, 𝘚𝘵𝘦𝘷𝘦𝘢 𝘎𝘰𝘰𝘥𝘮𝘢𝘯𝘢 (𝘒𝘰𝘥𝘦9), 𝘎𝘢𝘴𝘤𝘪𝘪 𝘖𝘶𝘻𝘰𝘶𝘯𝘪𝘢𝘯 𝘢 𝘚𝘵𝘢𝘴𝘢 𝘚𝘩𝘢̈𝘳𝘪𝘧𝘶𝘭𝘭𝘢́ (𝘏𝘔𝘖𝘛)predstavili v prednáškach, diskusii a workshope rôzne podoby zvuku ako nástroja moci a útlaku. ✧

Program otvoril piatkový workshop Bint Mbareh, po ktorom nasledoval sobotný blok prednášok v Štúdiu 12. Účastníci sa venovali témam od sonického vedenia vojny cez atmosférickú okupáciu miest až po kritické počúvanie „vyprázdnených“ zvukov. ✧

Supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

Súčasťou NEXT 2025: Advanced music festival bolo sympózium, ktorésa zameralo na to, ako je 𝘻𝘷𝘶𝘬 𝘷𝘺𝘶𝘻̌𝘪́𝘷𝘢𝘯𝘺́ 𝘷 𝘴𝘶́𝘤̌𝘢𝘴𝘯𝘺́𝘤𝘩 𝘷𝘰𝘫𝘦𝘯𝘴𝘬𝘺́𝘤𝘩 𝘬𝘰𝘯𝘧𝘭𝘪𝘬𝘵𝘰𝘤𝘩 𝘢 𝘢𝘬𝘰 𝘯𝘢𝘴̌𝘦 𝘱𝘰𝘤̌𝘶́𝘷𝘢𝘯𝘪𝘦 𝘧𝘰𝘳𝘮𝘶𝘫𝘶́ 𝘬𝘰𝘭𝘰𝘯𝘪𝘢𝘭𝘯𝘦 𝘱𝘰𝘭𝘪𝘵𝘪𝘬𝘺. ✧

Medzinárodní hostia vrátane 𝘉𝘪𝘯𝘵 𝘔𝘣𝘢𝘳𝘦𝘩, 𝘚𝘵𝘦𝘷𝘦𝘢 𝘎𝘰𝘰𝘥𝘮𝘢𝘯𝘢 (𝘒𝘰𝘥𝘦9), 𝘎𝘢𝘴𝘤𝘪𝘪 𝘖𝘶𝘻𝘰𝘶𝘯𝘪𝘢𝘯 𝘢 𝘚𝘵𝘢𝘴𝘢 𝘚𝘩𝘢̈𝘳𝘪𝘧𝘶𝘭𝘭𝘢́ (𝘏𝘔𝘖𝘛)predstavili v prednáškach, diskusii a workshope rôzne podoby zvuku ako nástroja moci a útlaku. ✧

Program otvoril piatkový workshop Bint Mbareh, po ktorom nasledoval sobotný blok prednášok v Štúdiu 12. Účastníci sa venovali témam od sonického vedenia vojny cez atmosférickú okupáciu miest až po kritické počúvanie „vyprázdnených“ zvukov. ✧

Supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

Súčasťou NEXT 2025: Advanced music festival bolo sympózium, ktorésa zameralo na to, ako je 𝘻𝘷𝘶𝘬 𝘷𝘺𝘶𝘻̌𝘪́𝘷𝘢𝘯𝘺́ 𝘷 𝘴𝘶́𝘤̌𝘢𝘴𝘯𝘺́𝘤𝘩 𝘷𝘰𝘫𝘦𝘯𝘴𝘬𝘺́𝘤𝘩 𝘬𝘰𝘯𝘧𝘭𝘪𝘬𝘵𝘰𝘤𝘩 𝘢 𝘢𝘬𝘰 𝘯𝘢𝘴̌𝘦 𝘱𝘰𝘤̌𝘶́𝘷𝘢𝘯𝘪𝘦 𝘧𝘰𝘳𝘮𝘶𝘫𝘶́ 𝘬𝘰𝘭𝘰𝘯𝘪𝘢𝘭𝘯𝘦 𝘱𝘰𝘭𝘪𝘵𝘪𝘬𝘺. ✧

Medzinárodní hostia vrátane 𝘉𝘪𝘯𝘵 𝘔𝘣𝘢𝘳𝘦𝘩, 𝘚𝘵𝘦𝘷𝘦𝘢 𝘎𝘰𝘰𝘥𝘮𝘢𝘯𝘢 (𝘒𝘰𝘥𝘦9), 𝘎𝘢𝘴𝘤𝘪𝘪 𝘖𝘶𝘻𝘰𝘶𝘯𝘪𝘢𝘯 𝘢 𝘚𝘵𝘢𝘴𝘢 𝘚𝘩𝘢̈𝘳𝘪𝘧𝘶𝘭𝘭𝘢́ (𝘏𝘔𝘖𝘛)predstavili v prednáškach, diskusii a workshope rôzne podoby zvuku ako nástroja moci a útlaku. ✧

Program otvoril piatkový workshop Bint Mbareh, po ktorom nasledoval sobotný blok prednášok v Štúdiu 12. Účastníci sa venovali témam od sonického vedenia vojny cez atmosférickú okupáciu miest až po kritické počúvanie „vyprázdnených“ zvukov. ✧

Supported using public funding by the Slovak Arts Council and Bratislava City Foundation.

12/2025 𝙊𝙪𝙩𝙨𝙞𝙙𝙚𝙧𝙨: 𝙎𝙠𝙪𝙥𝙞𝙣𝙖 𝙭 𝙢𝙖𝙥𝙥𝙖 meets @bffmusic0_0 (𝙥𝙤𝙬𝙚𝙧𝙚𝙙 𝙗𝙮 @kiosk.radio )

💔Dear friends, this one is the last one. We are happy that, for our very last show at Kiosk Radio, we could join energy with our friends from the Warsaw-based, post-digital BFF Music.
It was a beautiful journey on which we made many new friendships and got to know amazing ppl, music and scenes. Still, this is not the end, and we are staying in the rotation.

And before you dive into the show, a small hello from @domidepowsk
𝘉𝘍𝘍 𝘔𝘶𝘴𝘪𝘤, 𝘐 𝘵𝘩𝘪𝘯𝘬, 𝘧𝘰𝘳 𝘮𝘦 𝘢𝘯𝘥 𝘑𝘶𝘭𝘦𝘬, 𝘪𝘴 𝘢𝘣𝘰𝘶𝘵 𝘧𝘰𝘤𝘶𝘴𝘪𝘯𝘨 𝘰𝘯 𝘣𝘶𝘪𝘭𝘥𝘪𝘯𝘨 𝘳𝘦𝘢𝘭 𝘤𝘰𝘯𝘯𝘦𝘤𝘵𝘪𝘰𝘯𝘴 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘢𝘯𝘥 𝘭𝘪𝘴𝘵𝘦𝘯𝘦𝘳𝘴, 𝘣𝘶𝘵 𝘢𝘭𝘴𝘰 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘶𝘴… 𝘞𝘦 𝘣𝘰𝘵𝘩 𝘭𝘰𝘷𝘦 𝘨𝘰𝘰𝘥 [𝘳𝘦𝘥𝘢𝘤𝘵𝘦𝘥] 𝘢𝘯𝘥 𝘮𝘶𝘴𝘪𝘤!!! 𝘞𝘦 𝘢𝘱𝘱𝘳𝘰𝘢𝘤𝘩 𝘪𝘵 𝘢𝘴 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘸𝘩𝘦𝘳𝘦 𝘶 𝘤𝘢𝘯 𝘧𝘪𝘯𝘥 𝘯𝘪𝘤𝘩𝘦 𝘱𝘪𝘤𝘬𝘴 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘸𝘰𝘶𝘭𝘥 𝘭𝘪𝘬𝘦 𝘵𝘰 𝘣𝘶𝘮𝘱 𝘪𝘯𝘵𝘰 𝘸𝘩𝘦𝘯 𝘴𝘶𝘳𝘧𝘪𝘯𝘨 𝘵𝘩𝘦 𝘞𝘰𝘳𝘭𝘥 𝘞𝘪𝘥𝘦 𝘞𝘦𝘣. 𝘞𝘦 𝘭𝘰𝘷𝘦 𝘰𝘶𝘳 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘢𝘯𝘥 𝘰𝘶𝘳 𝘢𝘶𝘥𝘪𝘦𝘯𝘤𝘦𝘴, 𝘢𝘯𝘥 𝘸𝘦 𝘢𝘳𝘦 𝘵𝘩𝘢𝘯𝘬𝘧𝘶𝘭 𝘦𝘷𝘦𝘳𝘺 𝘵𝘪𝘮𝘦 𝘴𝘰𝘮𝘦𝘰𝘯𝘦 𝘴𝘦𝘦𝘴 𝘵𝘩𝘦 𝘸𝘰𝘳𝘬 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘥𝘰…
𝘐𝘯 𝘵𝘩𝘦 𝘮𝘪𝘹, 𝘐 𝘱𝘪𝘤𝘬𝘦𝘥 𝘮𝘰𝘳𝘦 𝘳𝘦𝘤𝘦𝘯𝘵 𝘳𝘦𝘭𝘦𝘢𝘴𝘦𝘴, 𝘢𝘴 𝘵𝘩𝘦𝘺 𝘢𝘳𝘦 𝘰𝘯 𝘮𝘺 𝘮𝘪𝘯𝘥 𝘭𝘢𝘵𝘦𝘭𝘺. 𝘐 𝘵𝘩𝘪𝘯𝘬 𝘐 𝘸𝘦𝘯𝘵 𝘥𝘳𝘦𝘢𝘮𝘺 𝘢𝘯𝘥 𝘯𝘰𝘴𝘵𝘢𝘭𝘨𝘪𝘤 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘐 𝘢𝘮 𝘢𝘵 𝘢 𝘮𝘰𝘮𝘦𝘯𝘵 𝘸𝘩𝘦𝘳𝘦 𝘐 𝘯𝘦𝘦𝘥 𝘵𝘩𝘰𝘴𝘦 𝘬𝘪𝘯𝘥𝘴 𝘰𝘧 𝘧𝘦𝘦𝘭𝘪𝘯𝘨𝘴. 𝘏𝘦𝘳𝘦 𝘪𝘯 𝘗𝘰𝘭𝘢𝘯𝘥, 𝘞𝘢𝘳𝘴𝘢𝘸, 𝘪𝘵 𝘪𝘴 𝘴𝘰 𝘧***𝘪𝘯𝘨 𝘤𝘰𝘭𝘥, 𝘴𝘰 𝘐’𝘮 𝘪𝘯 𝘵𝘩𝘢𝘵 𝘷𝘪𝘣𝘦 𝘰𝘧 𝘵𝘩𝘪𝘯𝘬𝘪𝘯𝘨 𝘢𝘯𝘥 𝘳𝘦𝘮𝘪𝘯𝘪𝘴𝘤𝘪𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘴𝘩𝘪𝘵 𝘐’𝘷𝘦 𝘥𝘰𝘯𝘦 𝘵𝘩𝘳𝘰𝘶𝘨𝘩𝘰𝘶𝘵 𝘵𝘩𝘦 𝘺𝘦𝘢𝘳…
𝘐 𝘩𝘢𝘷𝘦 𝘢 𝘮𝘰𝘳𝘯𝘪𝘯𝘨 𝘳𝘰𝘶𝘵𝘪𝘯𝘦 𝘰𝘧 𝘭𝘪𝘴𝘵𝘦𝘯𝘪𝘯𝘨 𝘵𝘰 𝘪𝘯𝘵𝘦𝘳𝘯𝘦𝘵 𝘳𝘢𝘥𝘪𝘰𝘴, 𝘴𝘰 𝘐 𝘩𝘰𝘱𝘦 𝘵𝘩𝘢𝘵 𝘮𝘺 𝘮𝘪𝘹 𝘸𝘪𝘭𝘭 𝘮𝘢𝘬𝘦 𝘴𝘰𝘮𝘦𝘰𝘯𝘦’𝘴 𝘥𝘢𝘺… 𝘏𝘰𝘱𝘦 𝘸𝘦 𝘤𝘢𝘯 𝘮𝘢𝘬𝘦 𝘢𝘯𝘰𝘵𝘩𝘦𝘳 𝘧𝘳𝘪𝘦𝘯𝘥 𝘰𝘶𝘵 𝘰𝘧 𝘶!

𝘒𝘪𝘴𝘴𝘦𝘴,
𝘥𝘰𝘮𝘪 𝘥. 𝘧𝘳𝘰𝘮 𝘉𝘍𝘍 𝘔𝘜𝘚𝘐𝘊

[LINK IN BIO]

Tomorrow we close this semester’s Videogram series with a lecture by Danish sound artist @kirkegaardjacob
📅 December 3, 19:00 CET

Jacob records landscapes in a permanent state of crisis or on the brink of disappearance:
from the abandoned rooms of Chernobyl’s exclusion zone, to the resonances of the US–Mexico border fence, the decomposition of the human body, and the global trajectories of waste afterlife.

Under the title "Fight, Flight, or Freeze?", he will share recordings, projects, and methods, and reflect on what it means to keep listening and creating in troubled times.

🔗 Link in bio

Tomorrow we close this semester’s Videogram series with a lecture by Danish sound artist @kirkegaardjacob
📅 December 3, 19:00 CET

Jacob records landscapes in a permanent state of crisis or on the brink of disappearance:
from the abandoned rooms of Chernobyl’s exclusion zone, to the resonances of the US–Mexico border fence, the decomposition of the human body, and the global trajectories of waste afterlife.

Under the title "Fight, Flight, or Freeze?", he will share recordings, projects, and methods, and reflect on what it means to keep listening and creating in troubled times.

🔗 Link in bio

Tomorrow we close this semester’s Videogram series with a lecture by Danish sound artist @kirkegaardjacob
📅 December 3, 19:00 CET

Jacob records landscapes in a permanent state of crisis or on the brink of disappearance:
from the abandoned rooms of Chernobyl’s exclusion zone, to the resonances of the US–Mexico border fence, the decomposition of the human body, and the global trajectories of waste afterlife.

Under the title "Fight, Flight, or Freeze?", he will share recordings, projects, and methods, and reflect on what it means to keep listening and creating in troubled times.

🔗 Link in bio