Deadline #5 by Lunik

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EDITORIAL Emotions

Emocje

Well, we’re leaving. A zatem wyjeżdżamy. From Plavec to Warsaw, from a Z Plavca do Warszawy. Ze slovakian village to Polish capital. słowackiej wioski do polskiej Among the too many impresstolicy. sions, sensations, who will take a Spośród zbyt wielu wrażeń long time to be filtered, i doznań, które jeszcze dłuI would like to evoke the emo go będą powracały w moich tional quality on one specific day. myślach, chciałabym przywołać It was on friday, 16th. During the emocjonalną aurę jednego, wyafternoon, Gérard and Sylvia Jonjątkowego dnia. ville, Marta’s parents, had given us Piątek, 16 sierpnia. Po południu a lecture about their experience rodzice Marty, Gérard i Sylvia of two simultaneous revolutions : Jonville, wygłosili wykład na « The Spring of Prag ue » and temat dwóch niemal równocz« May 68 ». More than a lecture, esnych rewolucji: Praskiej Wiosactually, it was about telling their ny i Maja ‘68. Bardziej nawet niż stor y, as an idealistic and politwykład, była to osobista opowically committed young people ieść o spotkaniu między dwoand as a couple : the young slojgiem idealistycznych, zaangavak student discovering that the żowanych w politykę młotrue France could be far from her dych ludzi: młoda studentka expectations issued from the Enze Słowacji, która odkrywa, lightement literature, the young że Francja tak naprawdę może French rejecting at the same time daleko odbiegać od oczekiwań the patronizing an authoritariwywiedzionych z literatur y an gaullism and the consumer’s Oświecenia, i młody Francuz, society which at that time could odrzucający autorytarne rządy appear as paradise to central Eugaullistów i społeczeństwo konropean citizens. And we were sumpcyjne, które obywatelom moved, deeply I think, most of z Europy Wschodniej może się us. I will always remember the wydawać doskonałym rajem. tears in Sylvia’s eyes when she tells Opowieść wywołała poruszenie, about the Russian tanks entering jak sądzę, u większości z nas. Prag ue. Nigdy nie zapomnę łez w oczach The same day, this discussion was Sylvii Jonville, kiedy opowifollowed by the opening of Mario adała o radzieckich czołgach and Paul’s exhibition in the railwjeżdżających do Pragi. way station. A nice exemple of Następnym wydarzeniem tego collaborative work : Bea and Luzdnia był wernisaż wystawy Maja had spent hours to organize ria i Paula na stacji kolejowej. it, and Paul hours to draw with Był to dobry przykład kolekMario. tywnej współpracy: Bea i Lujza And the people came there, hapspędziły razem wiele godzin, py, enjoying it. Even if most of organizując wystawę, a Paul the inhabitants of Plaveč knew i Mario poświęcili wiele godzin Mario for years and had seen him na pracę nad rysunkami. drawing on a bar’s table, they Ludzie, którzy przyszli na wyswere discovering the extent of his tawę, byli szczęśliwi. Podobało work and the artist he is. A real im się. Nawet jeśli mieszkańcy exchange, another moving moPlavca znali Maria już od wiement, among so many who will lu lat i widzieli go rysującego fill our memories of Plaveč for przy stole w knajpie, dopiero long , I guess. teraz mogli poznać skalę jego Valérie de Saint-Do

umiejętności i odkryć go jako artystę. Prawdziwa wymiana doświadczeń: to kolejna wzruszająca chwila, spośród wielu innych, które jeszcze przez długi czas, jak sądzę, będą wracały w naszych wspomnieniach.

An attempt to meet the new hobo Agata Dutkowska

The „new hobo”, sometimes called the „neobo” or „nobobo” (both terms are used to denote the same group), is a term that originated in the 20’s of the 21st century in order to describe a phenomenon that was born in Europe, most precisely in Central Europe in the times of the Crisis that preceded the 20’s. The aim of the project is to draw some lines connecting the movement of the “neobo” to the one of the “hobos” -American migrant, vagabond workers, who used to travel using cargo trains across the continent, especially in some aspect of the culture of both these groups. Unlike “tramps”, who work only when they are forced to, and “bums”, who do not work at all, “hobos” are workers who wander. Although the neobo movement hasn’t been researched in depth yet, we can assume that it’s members where aware of the existence of the American hobo movement and draw maybe some direct inspiration from the way of life of the hobos. The aim of the project is to set out a list of questions that could be considered in the future research of the “neobo” phenomenon. We encourage the readers to stay tuned with all the new material that may be coming up.

http://en.wikipedia.org/wiki/File:Hobos2.jpg (Wikimedia Commons, no restriction of reproduction)

HARE AND HOUNDS : COLLAGES OF LAYERS Barbara Nawrocka, Dominika Wilczyńska //kolektyw Palce Lizać// & Małgorzata M. Dudek

#0 Postcard Pocztówka We are travelling. We are communicating. On the path, a postcard: sent from Romania, it stops at each place that we visit. Participants of the project address the postcard to each other. On the one side there is a collage of pictures we find during our travel. On its back, stamps of the different postal companies are overlapping step by step. Like an illustration of our travel and the several trials of uniting us. “Mechanizmy” to czas nieustannej podróży i naszych prób wzajemnego porozumienia. Pocztówka w drodze jest ich ilustracją. Wysłana z Rumunii zatrzymuje się w każdym wizytowanym przez nas miejscu. Uczestnicy projektu adresują kartkę pocztową do siebie nawzajem. Z jednej strony znajduje się narastający kolaż stwarzany z obrazów znalezionych przez nas podczas podróży. Z drugiej - stopniowo nawarstwiają się znaczki i stemple z kolejnych miast naszej podróży.

Intro Wstęp

Our surrounding contains various layers of influences. We can refer it to central Europe with its heritage that creates our identity. We can refer it also to the village that we currently occupy. The layers of clichés create our scenography. This is the collage of links, symbols, archetypes, and cultural narrations. This is the jar of mixed layers’. Come closer, take a look. The idea of idyllic village meets reality

Wszystko to, co nas otacza, składa się z warstw różnorodnych wpływów. W skali Europy Środkowej, możemy uznać to za spuściznę tworzącą naszą tożsamość, a także przenieść na mniejszą skalę: wioski, w której obecnie przebywamy. Nałożone na siebie warstwy klisz składają się na scenografię miejsca. To kolaż połączeń, symboli, archetypów, kulturowych narracji. To słoik zmiksowanych warstw. Podejdźcie bliżej, przyjrzyjmy się. Idylla wiejskiego krajobrazu zderza się z rzeczywistością.

#1 Apply the entente - Apple fiesta Owoce porozumienia - Dzień jabłek Apple is the beginning, the basis, the starting point. We can perceive it as a symbol of knowledge in a paradise of Zahrada. We can perceive it on different layers as mythological, Christian or philosophical symbol. But it is also food that connects people on very basic level. The Apple Day meeting under the apple trees was the opportunity to be involved together and to enjoy the entente. Jabłko to początek. Podstawa, punkt startowy. Można je rozumieć jako symbol poznania dobrego i złego w biblijnym Rajskim Ogrodzie lub w jabłkowej “Zahradzie” Martina Šulíka. Istnieje możliwość dostrzeżenia w tym mitologicznym, chrześcijańskim czy filozoficznym symbolu różnych poziomów znaczeń. A jednak to też pożywienie łączące ludzi na bardzo podstawowym poziomie. Spotkanie pod jabłonią było okazją do wspólnego zaangażowania się i radości z porozumienia.

#2 7x7 Entente is a composition, but it is decomposing. Sins, as defined by Christian religion, represent human weakness. Composition of decomposing apples represents seven deadly sins framed in seven glass jars. Sequence of pictures taken over seven days, captures the decomposition process. Enjoy them (Smacznego!) :-) A “jar” is a word used by the raised Warsawers towards incomers, so we shall conquer the seventh city of our journey with seven decomposed jars. Porozumienie to kompozycja. Jednak ulega dekompozycji. W rozumieniu religii chrześcijańskiej grzechy reprezentują ludzką słabość. Kompozycja rozkładających się jabłek przedstawia siedem grzechów głównych, zamkniętych w ramie siedmiu szklanych słoików. Sekwencja wykonywanych przez siedem dni zdjęć ukazuje proces rozkładu. Smacznego! Ponieważ “Słoik” to termin używany przez rodowitych warszawiaków względem przyjezdnych, postanowiłyśmy zdobyć siódme miasto naszej podróży z siedmioma słoikami w zanadrzu.

#3 Seven sins in the landscape Chapter 1: Botticelli decomposed /Wilczyńska, Nawrocka, Dudek, Clouzeau, Emery/ #3 Siedem grzechów w krajobrazie The collage is the beginning of the series of Seven sins in the landscape. Play with the ‘Birth of Venus’ illustrates LUST (that could be understood as a lechery, luxury, dirtiness, etc.) The collage is a mixture of beauty of Botticelli’s masterpiece with the landscape that is contaminated. We used aesthetics that is a mixture of cliché beauty (pop culture, Walt Disney’s fairy tales) with the dirt of reality. Gluttony, pride, envy...to be continued... Kolaż to początek serii Siedem grzechów w krajobrazie. Gra z “Narodzinami Wenus” ilustruje nieczystość (która może być rozumiana jako żądza, pożądanie, brud, lubieżność etc. ). Kolaż to mikstura zawartego w arcydziele Botticellego piękna i zanieczyszczonego krajobrazu. Estetyka, którą się posłużyłyśmy, to mieszanina piękna w wersji cliché (popkultura, baśnie Walta Disney’a) i skażonej brudem rzeczywistości. Obżarstwo, pycha, zazdrość… nastąpią wkrótce…

“Apart from many photos that I took in Plavec...” Apart from many photos that I took in Plaveč, archives of my memory will be filled with the collection of scents, sounds, textures, synesthetic experiences. The lake smells like a wet dog, probably sheepdog; Julie’s and mine room – something synthetic and impossible to describe; meadow – mint and camomile. My skin will recall rough surface of the stones and warm humidity of the Poprad river’s stream; scratches and bites. The taste of Plaveč in August – unripe apples, drink called Gruszka Pear, heavy, flour-based meals, berries. At midnight all the lights in Plavec are off. The darkness is on. Suddenly the body seems to be drowned in the dark, in thick air. You start to feel unsecure taking your next step, slowly, with greatest care. How to get to the Cinema? From the distance you can hear the beats of disco-polo music. And here is Hollywood in front of me. And behind there are river, forest and meadows. What should i choose? Usually I decide to go downtown, where I can find tracks from two decades ago, played over and over again, sometimes interlaced with something new, if someone will put euro into Jukebox. The Plaveč Opera. Obscure choreography. I’m walking alone, once some young fellows came to me and started conversation. I asked them questions about the village. One of them lives there, the rest of boys usually come here only for holidays. Like a lot of people out here, their lives are never-ending process of migrations and returns. One of them is a freshman of law – he is the only one who can speak English. Another one is a soldier and the third one is making a living as a physical works abroad (Germany, Italy). I mix polish and slovakian languages. We somehow understand each other, but I think that it is more like linguistic poetry – the context is far beyond, almost uncatchable. Being barely able to catch their mimicry I’m getting lost in this night roam among the scenography with the Castle somewhere in the background. The Castle earned his name from the Plavcov Tribe (The Swimmers Tribe). They were settled on these border terrains by Hungarian kings in XII century. In XVII century this castle supposed to be demolished as a place listed as the nest of rebels. In 1856, the object was burst into flames. Year later the last among the ruling king has died. The narration goes from the point of Eastern Europe revolt accumulation to end of border area located dynasty. Water is a metaphor for life. But the history needs sometimes a purifying fire. Destruction is just the side of the coin called new and innovative creation. It seems to us that the internal struggle between feelings of nostalgia and the joyful experience of constant change of nature is latent and vital in ruins.

Małgorzata Dudek

Graffiti

László Milutinovits

Graffiti is by all means one of the artistic genres which is extremely closely related to trains. Strangely, it uses railways as a media, and not as a topic. On the outskirts of stations, walls are covered with tags and throw-ups. Suburban trains and wagons of intercity trains carry messages by graffiti artists all over Europe. It’s a question where does their beauty come from? From the harsh contrast between the boring, grey, mechanic machines and the bright colours of the enlarged letters? Or from the antagonism between the regularity of the railway carriages, timetables and the freedom of urban art? I don’t know, but it is for sure that they have their own aesthetics and also, similarly to trains, convey important thoughts and feelings.

Guillaume du Boisbaudry

URBAN FAMILY TRACTORS. (Plaveč and Vislanka) In the villages of Plaveč and Vislanska, behind the garden fences or parked in front of the houses can be seen family tractors. They take up the place of the car in the garden. These machines correspond to a kind of family local agriculture. To every house its tractor and to every family its piece of ground. The urban family tractors in Plaveč and Vislanka may sometimes be rather ancient but they are perfectly looked after. Obvious delight and pride are taken in their maintenance. They are moderately-sized vehicles. Some people drive their tractors across the villages in their town clothes.

Disorientations

Interview of Judit Kurtág and Edyta Mąsior by Valérie de Saint-Do Judit came back yesterday from the groceries and said, I passed Babylon, the Acropolis, and the Olymp and I thought it was a joke, but we leave in Arcadia now.* They have learned to know each other and have begun to be almost inseparable during the summer trip. Both share muticultural influences as well as a complex and rich academic background: born in Budapest, Judit, who discovered video art in Paris 8 and then studied first in the School of Gobelins (advertisement photography), then in Fine Art School in Bordeaux and got a stipend in artist residency program at the Rijksakademie van beeldende kunsten in Amsterdam. She works mainly with video. Born in Poland, Edyta, discovered digital environment through the work of Arnold Dreyblatt in Berlin. After her earlier studies in traditional technics in art, decided to study digital media in Greece. She is currently completing her PhD in Faculty of Intermedia in the Academy of Fine Arts in Cracow, and she can speak fluent greek. But it is their imaginative and sensitive approach who made the match. Could both of you tell about your recent works? Edyta: For a couple of years I’ve been working on bubbles, balloons, which bring on the surface the question of (in)visible playground. By this subject I work on the illusion of the reality and try to answer to what it means to play playing? For instance, the tennis play scene like in Blow up of Antonioni or like in Open Score of Rauschenberg. I try to find different ways of approaching this what we call reality, through the realm of sound and image. Using video to speak about barely visible structures. Judit: I’ve been making mostly videos for a few years and I’m trying to make works which are in between the images and the sound and in their relation to one another. I am interested in one hand, in transposition of different media, and on the other hand, by what could be the way of thinking in the polyphonic form, or rather in the «polyiconic» one, as I’m dealing with images. Has you work taken a special direction during this summertrip? Edyta: I wouldn’t call it a special direction, but a kind of fulfilling: we really understand each other well, and there are no obstacles for us to work together. And we are searching for the same thing: harmony, in the way you see images and you hear sound. So we influence each other. For example the type of inversion we like, is saying between brackets, «you hear images and you see the sound».

Judit: We went into the habit of getting up at five in the morning and going to shoot outside... that could be the answer. We go and try things out. For the first time, I’m using my body to perform something, being on the opposite side of the camera. Usually, I’m behind it. I work a lot with musicians and dancers. This was a new experience of the camera, as for me there is a common way of thinking in terms of movements and gestures between those disciplines. Second thing, I noticed that during those walks, while talking we had very similar types of awareness concerning things that we observe. And Edyta has an idiosyncratic way of establishing links between different things (what we call, in France, «passer du coq à l’âne» which means an abrupt change of subject). But weird as it seems at first, it is quite coherent... It reminds me of my grandmother who use to tell a lot of stories about friends of the family and who sometimes, in a middle of those conversation would speak about what Mychkine did (the main character of The Idiot by Dostoievsky). For a long time I thought that he was a friend of family too! This is the kind of disorientation I like while talking with Edyta. I feel quite at home with that. (To Edyta). Could you explain a little more your project with «τόποgram»? In greek τόπος [topos] means place, gram in polish stands for I play. The working title of the project «τόποgram» is about the mechanisms of connections beetwen places, people and the game they play. I propose a graphic score (bringing as an example Allaloa of Adam Walaciński) as a way of notation for collected materials. Train tracks, lines or geometric patterns, our voices are the raw materials for the score. Łukasz Jastrubczak, for example found a clue to approach the group in the project where he made a transposition between musical notes and our phone numbers. To build our own system of references is the goal. To Judit: Did your work take a special direction for this project? Does this summertrip influence it? Judit: The project has influenced me through obversing the way of thinking of my collegues. The way someone develops and unfolds an idea interests me and if I have the opportunity of witnessing this process, it enriches my own perceptual field. To illustrate this mechanism of constructing a point of view, I tell you the joke of the black sheep.

How did you meet first and began to acknowledge your common interests, realize that your works had something complementary? «An engineer, a physicist, and a mathematician were on a train heading north, and has just crossed the border into Scotland. Edyta: I understood this from the character! The engineer looked out of the window and said, «Look! Scottish sheep are black!» Judit: I understood it through the high and creativ ability of listen- The physicist said, «No, no. Some Scottish sheep are black.» ing of Edyta. The mathematician looked irritated. «There is at least one field, containing at least one sheep, of which at least one side is black.» What is the complementary / or parallel side of your works? (the variants are nice too) What are you working on together? The statistician: «It’s not significant. We only know there’s one black sheep» Edyta: Only the work can answer this question! The computer scientist: «Oh, no! A special case!»».

Previously you used the word «disorientation». The project deals a lot with orientation, cartography, still we all felt disorientated at one time or another. Is it something relevant, maybe not as a topic, but as a kind of underlying sense in your work? Judit: It is quite important. These moments when something known, becomes unknown for a second, I mean uncanniness, this «sliding» in decoding the meaning of what we perceive, but also cognitive dissonance that puts into question our way of thinking are giving opportunities to unexpected approaches to things. Edyta: Disorientation, dislocation brings you the way to find your own location, your own ways of approaching things. Judit: I have a story about disorientation. I was about to cross a street in Bordeaux, and there was a woman in advance stage of pregnancy on my left side. Suddently, I heard the baby crying from her belly! I got terrified. I watched again, bent over. I realized then, that there was a small kid on the other side of hers. It is these kind of disorientation, that I am talking about, when my perception tricks and surprises me. Will there be a «before» and «after» the trip for you both? Both: Of course!

Judit Kurtág

* Babylon, Acropolis, Olymp and Arcadia are buildings names. Beetwen them, there is a tennis court.

Judit Kurtรกg

Edyta Mฤ sior

Generally, you start working tomorrow – the one teasing me all the time started a conversation as soon as we left a hotel. I know, that for you it might be a new thing, but we are obligated to work here – continued dialogue the one who has meeting with a stylist – As we are your hosts, we’ll get you one job, so you won’t get one from allocation. First we get one in confined, not so crowded cafe. After a couple of days, if you don’t like it, we will find you a new one. By the way, I’m Clot. Michał – I answered automatically. We shook hands. I was astonished by the architecture of places, which we passed by. We were going along the main street, or a very busy one, for sure. The buildings on both sides were shimmering with different colours and styles. But they had one thing in common – a huge amount of brocade or some kind of pieces of glass, reflecting light, which created tune of a disco, through those reflections dancing continuously on pavements. Or an impression of cabinet of thousands of mirrors, which distract focusing on one, most accurate reflection. Oh, what’s wrong again, Teddy? Why you are so speechless? I knew, you will stop fooling around with your little Warsaw. I’m Lakes – and he grabbed my hand, too strongly, looking into my eyes all the time, without blinking. Now we are going to your apartment. You will get a small studio, near your working place. It’s fully furnished. As we reach there, we will give you a short moment to unpack your stuff and get youself over. Your luggage is already waiting there for you. Okay guys, but how will I repay you for all this? - I asked, while still marching between two companions. They laughed loudly, as a response. We continued our trip in silence. The only distraction in our relations, in our long voyage, were the looks of escorting me men. When they apparently feast theirs eyes, and giggled out all their stuff, Clot said: I see, that you don’t remember our train party. You can’t repay us, we invited you here. To be honest, you can’t pay for anything here – you are in the only state in the whole universe, where u can’t use money. So how will I get my payment, or weekly rate or how I can buy a ticket for bus? You can’t, Teddy – apparently Lakes made teasing with me a national sport. We kept marching in silence. After a while, after he gloated at my lack of knowledge of our present place of stay, he continued – and you cant’s sell anything, off course in capitalistic way of thinking. You are in a nation, where the continuous replacement is ruling. Resourcefulness is a virtue here. For example – if you had two chairs and a lamp, you traded one of them with anyone for two tables and after couple of hours you exchanged one of those for a cup and a chair, it means you have one table and a cup more than you had previously. Everything is worth as much, as a second person can offer. It’s a complete absurd – I responded, but frankly speaking I wanted to force them to tell me something more about rules in this country. I couldn’t believe and I was fascinated at the same time. Off course, they could lie, to keep on mocking on me, but subconsciously I believed that it might be true. Don’t interrupt and we will explain you everything. All is based on a simple transaction salesman – buyer. But instead of using universal legal tender, another good is used, So, to buy bread, vodka, closet from Ikea, you have to convince other person, who is an owner of one of those goods, to give it you – spoke slowly Clot. - in our society the only thing that counts is charisma, the mettle and the resourcefulness. Not hard work, exploitation and of swindling. Everything is simple – no one forces you to anything – you can give newest I-computer for a potato or trade used condom for a three-room apartment – everything is up to you, little bird. And the second side of the deal, naturally. And what’s with administrative structures? Police, courts, taxes, firefighters? If you looked around, little bird, you would notice huge amount of cameras, everywhere, Here, on streets, in bars, cars, even in your bathroom. Our crime is at level zero, cause we have only two kinds of felony, all punished by exile from society. – he answered this time, without making fun – If you don’t cross those two lines, you can dodge, dance and ball around people. Or, as you like, do not participate in a social life and starve, not profiting from trades. So, what are those two borders? - I asked when we stopped at the gates of some tenement. Oh, enough lectures for today. C’mon, follow me and see your new headquarter, your nest. We are at our destination – said the one, whose good friend must be a stylist. We went inside already mentioned tenement. It was grey, but full of madly dancing colorful sun’s reflections. The one with the biggest beard was leading, I was in the middle. On every floor, there were three apartments, we stopped at the fourth, which was the attic. He opened the door and invited me in. I went inside as the first, and first thing I realised was collision of theirs and mine idea of studio. The map of apartment was simple – long corridor, on left two pairs of door – first to the restroom, second to the bathroom. On the right I had the kitchen first, later on was a big living room, with convertible couch. The decor of the room, I’d like to say, was a big blend of different styles, from rustic, through art deco, ending up with favourite tables and chandeliers from Ikea. Well, I thought, it’s not bad, when I saw my hand luggage laying on the mentioned couch, unpacked and lightened, by omnipresent sun, dropping inside by the glassed roof. Where’s my trumpet? - I asked, when I remembered list of things I took from Cracow. Oh, there’s one more thing – said slowly Clot, sitting on one of the unfitting chairs. He lit up a cigarette, and when he breathed out first smoke, continued – as you have to pay for every good with another, we agreed to use term „goods” only for material stuff – this is why we don’t have art. The culture doesn’t develop. We don’t have writers, musicians, painters – we derive joy from the work and trading, we don’t

waste time for mawkish stories, which will never take place. Either there is a trade, or it’s not – no feeding mass with mawkish melancholy and glorifying the heroic deeds. It’s only now and here, you and me, our transaction, or use of negotiated goods. - and he threw away unfinished cigarette through one of opened windows. - This is why, dear Michał, you will have to do some physical work. I’m really sorry, I hope barista – waiter, won’t transgress your education and talent – said with a sneer on the mouth.. But maybe I will be playing inside my apartment? I will lock up the windows, I will use trumpet silencer, I will cover myself with a blanket and no one will notice anything. I want to do it for myself – you know, just to stay in shape – I negotiated with them. Listen, little bird – Lakes began to explain. I was feeling like a kid on a lecture about hot iron and why you should not touch it. - If someone hears your play, you will break second law of our country of interference in the personal sphere of the second person. Listening to music, an emotional charge is formed, the same occurs to reading fairytales and watching pictures – as we all are free, we can’t burden another with our person. Of course other, more invading forms of the interference in the human body are falling within the scope of this law – rapes, robberies, homicides. You must imagine every man, as the separate existence and every form of the contact with it to which he isn’t giving consent, is disturbing his freedom, so it’s a crime. And the second law of our country is ... That, you can’t overestimate yourself – know your value, dodge among others. This is all you need, little bird. Well said – finished conversation Clot. They saluted me on the way to the doors. They slammed them with one decisive move and I was alone at my new apartment. Last thing I remember from this encounter, was a key, which remained in the lock. Gen-

by Marek Mardosewicz

eralnie, od jutra zaczynasz pracę – zagaił rozmowę, jak tylko wyszliśmy z hotelu, ten drażniący się ze mną cały czas. Wiem, że to dla ciebie pewnie nowość, ale u nas jest obowiązek pracy – ciągnął nieprzerwanie i nie mniej dyplomatycznie ten, co miewa spotkania ze stylistą – Jako, że cię gościmy, załatwimy ci ją, żebyś nie dostał takiej z urzędu. Najpierw w ciasnej, mało ruchliwej kawiarni, jak ci się nie spodoba, to potem poszukamy ci czegoś lepszego. Jestem Clot, tak w ogóle. Michał – odpowiedziałem machinalnie. Uścisnęliśmy sobie ręce. Ogromnie byłem zafascynowany architekturą mijanych miejsc. Szliśmy główną ulicą, albo na pewno bardzo ruchliwą, budynki po obu stronach mieniły się różnymi kolorami i stylami wykonania. Jedno jednak miały wspólne – dużą ilość brokatu, czy po prostu odbijających światło szkiełek, dających z jednej strony wrażenie dyskoteki, przez refleksy tańczące ciągle po chodnikach, a z drugiej w pewnym stopniu czułem się, jak w gabinecie tysiąca luster, nie mogąc skupić się na tym jednym, najbardziej akuratnym odbiciu. Co misiek nic nie mówisz? Co, zatkało? Wiedziałem, ze od razu zapomnisz o tej swojej warszawce. Jestem Lakes – i złapał moją rękę wyjątkowo mocno, patrząc mi w oczy nie mrugając. Teraz idziemy do twojego mieszkanka, dostaniesz kawalerkę, nieopodal twojej kawiarenki. Jest w pełni wyposażona, damy ci tam chwilkę na rozpakowanie bagażu i dojście do siebie, twój bagaż już tam na ciebie czeka. Okej, ale jak ja wam za to zapłacę? - zapytałem kontynuując marsz, między dwoma towarzyszami. Zaśmiali się głośno, jako odpowiedź. Szliśmy dalej w milczeniu, a jedyne co było wymieniane to spojrzenia eskortujących mnie mężczyzn. Kiedy widocznie się napatrzyli i wy-chichotali, Clot powiedział; Widzę, że nic nie pamiętasz z naszej pociągowej imprezy.

Nie zapłacisz nam, my ciebie tu zaprosiliśmy. Generalnie za nic tu nie zapłacisz, jesteś w jedynym państwie na świecie, gdzie nie użyjesz jednostek monetarnych. To jak dostanę wypłatę, czy tygodniówkę, czy jak kupię bilet na autobus? Nie kupisz, misiek – zdaje się, ze Lakes z droczenia się ze mną zrobił nowy sport narodowy. Szliśmy dalej w milczeniu. Po pewnym czasie, kiedy zdaje się, że już napoił się moją niewiedzą na temat obecnego miejsca, kontynuował - i nie sprzedasz, naturalnie w twoim kapitalistycznym rozumieniu. Jesteś w państwie gdzie panuje ciągła wymiana. Ceni się tu zaradność - jeśli na przykład miałeś dwa krzesła i lampę, jedno z nich wymieniłeś z kimkolwiek na dwa stoły, a po paru godzinach jeden z owych blatów na krzesło i filiżankę, oznacza to, że masz stół i filiżankę na czysto. Wszystko jest warte tyle, ile druga osoba może zaoferować. To absurd - odpowiedziałem, ale tak naprawdę chciałem ich zmusić do opowiedzenia mi czegoś więcej o panujących zasadach. Jednocześnie nie dowierzałem i byłem zafascynowany. Oczywiście, mogli kłamać, żeby kpić sobie dalej ze mnie, ale pewien głos, cichy szept podświadomości, czy intuicji, twierdził, ze tak może tu być naprawdę. Nie przerywaj, to wyjaśnimy ci wszystko. Wszystko opiera się na prostej transakcji sprzedawca - kupujący. Z tym, że zamiast uniwersalnego środka płatniczego używa się innego towaru. Zatem, żeby kupić chleb, wódkę, szafkę z Ikei, musisz przekonać osobę, która posiada jedno z interesujących ciebie dóbr, żeby ci je oddała - mówił powoli Clot - w naszym społeczeństwie liczy się charyzma, siła przebicia i zaradność. Nie ciężką pracę, wyzysk i naciągania. Wszystko jest proste - nikt cię do niczego nie zmusza, możesz oddać najnowszy I-komputer za kartofla, albo wymienić zużytą prezerwatywę na trzypokojowy apartament - wszystko zależy od ciebie, ptaszku. No i drugiej osoby, która się na to zgodzi. A jak jest ze strukturami administracyjnymi? Policją, sądami, podatkami, strażą pożarna? Jakbyś się rozejrzał dookoła, ptaszku, zobaczyłbyś, że jest mnóstwo kamer, wszędzie. Tu, na ulicach, w barach, samochodach, nawet w twojej łazience. Mamy zerowa przestępczość, bo mamy tylko dwa gatunki zbrodni, karane eliminacją ze społeczeństwa. - Odpowiedział, tym razem bez cienia żartów. - Jak nie przekroczysz tych dwóch granic, to możesz lawirować, tańcować i balować w okół ludzi, albo, jak wolisz, nie uczestniczyć w życiu i umrzeć z głodu, nie korzystając z dobroci handlu. No, a jakie są te wasze granice ?- Zapytałem, kiedy zatrzymaliśmy się przed drzwiami jakieś kamienicy. Starczy ci wykładów na dzisiaj, chodź zobaczyć swoje gniazdko, jesteśmy na miejscu. - powiedział ten posiadający abonament w salonie piękności. Weszliśmy do owej kamienicy, szarej, ale pełnej różnobarwnych, tańczących refleksów słońca. Ten całkowicie zarośnięty prowadził, ja byłem w środku pochodu. Na każdym piętrze były trzy mieszkania, a my zatrzymaliśmy się dopiero na czwartym, czyli na poddaszu. Otworzył drzwi i gestem zaprosił do środka, więc wszedłem, jako pierwszy. Nie wiem, co mieli na myśli, mówiąc o kawalerce, ale na pewno nie to samo co ja. Plan mieszkania był dosyć prosty - długi korytarz, po lewej dwie pary drzwi - pierwsze do ubikacji, drugie do łazienki. Po prawej miałem najpierw kuchnie, w drugim pomieszczeniu natomiast był duży salon, z rozkładaną kanapą. Wystrój bym powiedział, ze raczej to zbieranina rożnych stylów, od rustykalnego, poprzez jakieś art deco, aż do ulubionych stolików i żyrandoli z Ikei. No cóż, pomyślałem, nie ma tragedii, kiedy zobaczyłem mój bagaż lezący na owym tapczanie, nierozpakowany i podświetlony, przez wszechobecne wszędzie słońce, wdzierające się tu przez przeszklony dach. A gdzie moja trąbka? - zapytałem, przypominając sobie listę rzeczy zabranych z Krakowa. A, bo jest jeszcze jedna sprawa - powiedział powoli Clot, siadając na jednym z niepasujących krzeseł. Zapalił papierosa i wypuszczając pierwszy dym ciągnął dalej - jako, że za każdy towar musisz zapłacić innym, dla ułatwienia i systematyzacji, postanowiliśmy ze termin „towar” dotyczy wyłącznie przedmiotów materialnych - dlatego nie mamy sztuki. Kultura się nie rozwija. Nie mamy pisarzy, muzyków, malarzy - czerpiemy radość z pracy i handlowania, nie tracimy czasu na ckliwe historie, które nigdy nie będą mieć miejsca. Albo jest handel, albo go nie ma - nie ma karmienia mas cnotliwą melancholią i opiewania bohaterskich czynów. Jest tu i teraz, ja i ty, nasza transakcja, albo korzystanie z wynegocjowanych dóbr. - I wyrzucił niedopalonego papierosa przez jedno z okien. - Dlatego, drogi Michale, będziesz musiał pracować fizycznie, najmocniej przepraszam, mam nadzieje ze baristo - kelner nie będzie uchybiał twojemu wykształceniu i talentowi - powiedział z drwiącym uśmiechem na ustach. A nie mogę grać sobie w zaciszu tego mieszkania ? Zamknę okna, użyję tłumika, zakryje się kołdrą i nikt nie będzie miał pretensji. Chcę to robić dla siebie, żeby z formy nie wypaść - negocjowałem z nimi. Posłuchaj, ptaszku - zaczął tłumaczyć mi Lakes, tonem, jakim dziecku opowiada się o żelazku i dlaczego nie dotyka się rozgrzanego. - Jeżeli ktoś usłyszy, że grasz, złamiesz drugie z praw naszego państwa - ingerencji w sferę osobistą drugiej osoby. Słuchając muzyki, tworzy się ładunek emocjonalny, tak samo jak czytając rożne bajki, czy patrząc na obrazki - skoro wszyscy jesteśmy wolni, nie możemy obciążać innych swoją osobą. Oczywiście w zakres tego prawa wchodzą inne, bardziej inwazyjne formy ingerencji w ludzkie ciało - gwałty, kradzieże, morderstwa. Musisz wyobrazić sobie każdego człowieka, jako osobny byt i każda forma kontaktu z nim, na którą nie wyraża zgody, jest naruszeniem jego swobody, więc przestępstwem. A drugie z naszych praw polega na tym, że... Że nie możesz się przecenić – znaj swoją wartość i lawiruj między innymi, tyle ci wystarczy, ptaszku. Mądrze powiedziane – Zakończył naszą rozmowę Clot. Zasalutowali mi idąc do drzwi i jednym zdecydowanym ruchem je zatrzasnęli, ale widziałem, że klucz pozostał w zamku.

Roman Dziadkiewicz

Interview with Jakub Pišek and Beáta Kolbašovská by Valérie de Saint-Do The idea was to connect people with the art pieces. But it is not always easy, as we now see...

For our group in Mechanisms for an entente (as, surely, for their friends in Košice), they always were « Bea and Kubo», and we scarcely quoted one without the other. It may be easily explained : Jakub Pišek and Beáta Kolbašovská met in the Academy of fine arts in Košice, where they both graduated, fell in love and have been living and working together since. Inseparable most of the time (which doesn’t mean that we consider them as « twin artists », but as really complementary), and inseparable from their ingenious sound system which offered us great improvised parties. This is even obvious in the interview, when each of both is fulfilling the answers of the other !

How did you perceive the project of Mechanisms for an Entente when you first heard of it? (Both, alternatively): We heard about it in June, even if we knew that Tomas and Marta were preparing something very big. It was a fast decision, a hard decision also, because we were already committed with other projects and had plans for the summer, few concerts, few performances. For instance, we are participating in an exhibition in Prague and we are not there. September will be tough...

How long have you been working together?

It seems that you are often collaborating with performing arts: dance, theatre...

Kubo: It depends on which level of working together you are speaking of. I was helping Bea and she was helping me even when we were not a couple. Bea: Actually, the main part of our collaborative work started after school.

Bea :I’m making mostly visuals for the theatre or contemporary dance companies, like Vjing and this kind of stuff, and Kubo is more onto concerts... Kubo: More sound staff. Bea is a much VJ than me. She learnt very fast and really feels the music! I’m more concentrated in visual mapping. Bea: We have a group called NanoVJ’s.

And just before working together, what were your special topics? Kubo: It was something different for each of us. This connected, somehow, and it added something to our respective works. I’m more into technics, very interested in how things are working, and Bea is more into forms and aesthetics. Bea: Then we connected together. I’m more into video and Kubo is more in audio. Would you say that Bea is in charge of images and Kubo of the sounds?

Did you have already an accurate project when you arrived in the summer trip?

Duettists

Kubo: All our works are « in progress »! It’s our brand: We usually work very fast, and usually we come on the workshops without any ideas, and we find what we want to do there. For me, « workshop » means precisely that artistic work should appear there, not before. That’s why artists are meeting and talking to each other, being on some place, perceiving the atmosphere and then work.

Bea: It depends on the work. Kubo: Bea is always helping me with the video, and I’m helping her with the audio.

Bea: Still, here, it was sort of different, because at first we had some ideas with sound art...

How did you know Marta and became parts of the projects? Were you her pupils when she was teaching in Košice?

Kubo: And because we had to send some proposals, so we had to think about it! But my work, I found it here in Plavec...

Bea: I was a pupil of Marta, because our teacher was Anna Tretter. She invited Marta to Košice to have an open studio in our school. Then she made a residency in Košice and we were in internship in Bordeaux.

Bea: We have also some projects issued from what we discovered here...

How was your experience in Bordeaux?

Kubo: I prefer this kind of site-specific approach.

Kubo : For me, the most important was the last two weeks, because there was a big workshop called « Feedback platform ». It was connected to our present workshop: a group of people who mostly didn’t know each other before, mostly Slovak and French. We had to make one big piece that would be presented during 24 hours: installation, sound piece or performance.

And was the topic of the train line meaningful to you? Kubo : For me, it is very important, because I travelled quite often on the other train line for eight years, from my home to Košice. When I had more spare time, in school, I used to hang around railway stations, watching the trains. I was really keen on these big machines. That’s why I wanted to make a presentation of the locomotive in Plaveč! (To Bea) You presented a work in progress with sounds recorded in every railway station, and also a very specific work you made with interviews with inhabitants of Plaveč. Is it usual in your work?

Bea: Not really. This is some kind of first and special experiment and research. I am working on it with Lujza, and sometimes it is really hard to bring people in front of the camera, they are very shy. We asked about forty people for these interviews, but only ten of them accepted to be filmed. So, you are working with sounds and going on with the inhabitants. Any other project? Kubo : We are also taking pictures of buildings, the blocks of flat that are considered as soviet architecture. Bea : And I started to make a kind of collage, a panorama, with each block, mixed between the cities. Kubo : From west to east, Bucharest to Warsaw? Bea : No, rather mixed architecture between the cities, because some parts don’t fit. Kubo : But i’s perfect, I like it when it doesn’t fit, a creepy montage! Bea : But it really looks like a panorama. Kubo : You have an exact imagination of this... Bea : I didn’t show this by now because it was really the first editing of the pictures. Kubo : In fact, I don’t look at these buildings as socialistic stuff. I’m just interested in these ways of living, like the bees in the hive. Bea : In Slovakia we call it « Králikárne » which means « place for rabbits »! We call it the same in France, «clapiers à lapins!» (laughs) Would you call yourselves performers, or is it something too restrictive, for the extent of your work? Bea: I wouldn’t call us « performers », because we are not always making performances, but also interactive installations or live acts. Kubo: I’m not sure that I can say «I am a performer». But I remember that from the last time I realized that – these may be hard words to hear– art should be interesting, but also kind of a show, not like shows on stage of course, but at least eye-catching, otherwise people will just have a look and pass around. Pleasure, rather than austerity? Beáta Kolbašovská - “King of Plavec”

Kubo: You should entertain them. Then, they spend more time in front of it and think about it. So I started to work with interactivity, because I find it very interesting and attractive for the people; then I tried to work with experimental software. I used to play in classical rock bands, and I wanted to experiment on stage with this software which was thought unreliable, and built in a very messy way. So I made my first performance on stage, people liked it and I brought it to a lot of concerts, then I made another in many concerts, people liked it... I’m happy of it!

Kubo: http://kubriel.servus.at/ Bea: http://www.betakaroten.xf.cz/

Will there be a « before” and an « after » this project? Bea: Yes, it is important to me, but I had different expectations before and now. Kubo: It is very inspirational, also with the travelling and meetings with the other artists, with maybe opportunities in the future.

Looking Some Dimension Interview with Łukasz Jastrubczak by Valérie de Saint-Do Tell me about your background ? I become interested in distortion between fiction and reality and this brought me to the art field. Afterwards I dealt with Performative Arts in my approach and I found that performative can be very distinct situation in life, which disctincts the fiction of performativeness and the reality of life. So basically, what I want to say is that I perform without noticement. It is something like ephemereal performance. Sometimes I do very simple situations like sculptures on the desert, which nobody can actually see : only the documentation reveals the performance. Do we put the same meaning on « performative » ? For me, it has something to do with the body in public spaces... I’m a kind of materialist, in the way that objects are extremely important to me. With them, i am making sculptures and this is performative. It is the same kind of approach than the ready made of Duchamp, for instance. For example, when I do a sculpture, the performative act is to leave this sculpture on the desert. In terms of object, this is what I treat as performative art. I’m more focused on relation to objects than on the body. Is is important, the kind of spaces where you leave your objects ? In general the places are selected by chance. E.g. I made the wire sculptures, and took them on the trip in south-western part of U.S. The concept was, that during the trip, not secured wires, that depicted IDEA of motion in my past works1, were beeing distorted by transportation. So the IDEAL shape, that depicts sth, was changed a little bit by accidental, real, forces (e.g. Each night if we wanted to sleep in the car we had to take the sculpltures out of the car, that made a lot of distortions on sculptures). But the places itself were chosen accidentaly. For example, if the pattern of the work was a kind of spiral, it had to be put close to spiral jetty. Here in this project, the question of place and object is very particular. The series S I am doing now for the project, « several sculptures on letter S», is kind of anthropological approach, when you are collecting and interpreting parts of reality. Everyday objects become sculptures for me, when they loose their functionality. This used to be a fountain, or a commercial, and now is JUST a sculpture (in a social context : lost its general function, and gained aesthetical values, but in the same time the object gets petrified). Here in Plavec, I found a perfect example of the sculpture. It is a bended metal with a circle attached on the top. It has, or used to have (since next to the sculpture is a parking space) a function : it is either a football net, and the circle is a basket for basketball! I can assume that the purpose of this construction is functional, that kids use it for games. But what is interesting is the possibility of other interpretations. I mean e.g. When the object would loose its context (e.g. The close relation to children area) and will become an open, empty object. It is just like interpreting objects from a perspective of the future. 1 (http://dawidradziszewski.home.pl/lukasz/piosenka2.html )

You quoted Duchamp, would you say anything about your influences ? I thing he is a big influence to me, with this kind of approach, fixed to materiality somehow, to objects. Do you always work on objects already existing, or do make also your own sculptures ? This is the thing. E.g. about the wire I left in the desert, there is a very story. I was in residency in San Francisco, , and I was sitting on a porch with a lot of people. And there was a bended wire, just in the corner. I photographed it, just because it was very nice, with very nice shadows, like a sculpture. Afterwards, I had the notion of recreating some of my previous works. And the medium I had in mind was sculpture with use of bended wire. The previous work, that I wanted to recreate (well actually I wanted to recreate the motion that appears in the work) is « Song about Cubo futurism » 2 In my private room, with a carboard circle, I am walking around the room and making the sound of a car, like a kid. The camera films me from the centre. The idea was to re-create this pattern, with a shape of banded wire, so the camera is a point of view which recreates the shape of the circle. So I had this idea of a sculpture made with bended wire that I wanted to leave somewhere in the desert. But the form itself, comes from my subconscious, it is the shape of the wire I saw and photographed before. But I just forgot ! Yet somehow it was in my mind and I had this idea of a sculpture, taken form reality i had observed. How does music interfere in your work ? Is it in terms of patterns ? I treat sound as the same as objects. It is kind of ontology of sound itself : the sound as materiality. So I am more interested in microtonal differences in the sound, than in patterns. On the other hand, this term of configuration of sounds is interesting .. and actually very interested in terms of Mechanism for an Entente. Did this project make a switch in the usual work ? How di you apprehen it and what are the specific topics you’re dealing with in it (or not?) You mean Mechanisms ? If we think about each participant, that he or she is a tone, then the possibilities of various arrangements of sounds, could be an answer for a possible collaboration methodology. That is what I started with, while thinking about this project «apriori ». In reality it was a little more complicated. Of course I tried to implement my « musical » approach in different fields of our collaboration, but empirically speaking it was more disperresed. But I still find it an interesting possibility for our project. E.g. when you look on dodecaphonic system, introduced by Schoenberg in 20’s of XX century, this modernistic, subjective, individualisitc, expressionistic approach, and Bartok’s folkloristic, objective, tribal, vital, inspired by primitivity, you get beside the problem of arrangement of tones, you get a kind of a metaphore – after the collapse 2 https://vimeo.com/32294722

of Austria-Hungarian empire, the beginning of modernity is created, and those two appearances, one of Schoenbergs (and Vienese school) in Austria and Bartok’s in Hungary where introduced. We retrace this patterns in our Mechanisms for an Entente project either in geo-historical way - these countries Romania, Hungary, Slovakia, Galicia, all those regions where (before modernity) parts of that huge empire, or psychological way – when we are constantly put on a polarized positions between individual and collective. Łukasz Jastrubczak & Iwo Al-Zand

Several motives on letter S - sculptures go to http://lukaszjastrubczak.com and choose “list of sculptures” at the bottom of the page

This is not a performance #4 23

1 - Before we left to the police station 2 - In the police car 3 - In the police station 4 - An office in the police station 5 - A police officer taking Thomasâ&#x20AC;&#x2122; prints 6 - Thomasâ&#x20AC;&#x2122; prints 7 - Photo chair 8 - Police officer writing the report 9 - Out of the police station, free

You can touch, with your eyes

We woke up one morning and everybody was talking about the car, the official car of “Mechanism for an entente” that Marta loaned just before coming in Plavec. So, apparently, the mirrors of the car have been broken during the night by some dangerous criminals of the village. After breakfast I went to see it by my own, and my conclusion, after looking and touching the mirrors was that they were well broken. Then I went back to work and the police came and did their job. - Did you see something? - Do you have any trouble with some people? - Who do you think could have done that? Classical.

Then Seydou came to me and asked me if I touched the mirrors, I said the truth. Thomas made the same mistake. It was 10 am. From this time we were obliged to stay with the cops. They started to look for prints and DNA on the car and told us that they needed ours to compare. So as usual with police, we waited, waited, waited…They took the prints, bring us to the police station, then took our IDs, our prints, our DNA (telling us that it won’t be recorded for sure), grabbed us to another police station were Marta and Edyta were asked about what happened. Finally, i was free at 3pm. During all time this boring time, i had to occupy myself, so I started to see myself as a spy, thinking about books and movies. I tried to take some pictures inside the police station, scared of the cops to discover that i was a special agent working for a secret embassy. I felt the adrenaline flowing trough my body each time i was shooting, waiting for proper situation, trying to hide my camera. It was really exciting. Finally they didn’t catch me and I’ve been capable to do my mission properly. photo & text by Alexis Emery-Dufoug

Transit/ Dans le train by Sylvestre Leservoisier

(a poem from August 2008, rewritten in August 2013)

Dans le train Les uns sur les autres bondés s’éconduisent Dans la nuit flirte sans qu’on dise Quoique soit. Seul un œil de face Dans la perspective du couloir efface Les contours d’un front devant de profil. Une séduction de passage se faufile Au rythme du fer sur les rails Et d’air oxydant leur ferraille. Les yeux de sommeil finissent par s’érailler Preuve d’un veil qui déraille Entrecoupé de vues fréquencées Le regard s’accentue quand s’est faite obscure la campagne dehors ; Alors que tout le monde dort. Dans un wagon kino Séquences après séquences se rejoignent Les villes dont le règne au loin Juxtaposition en collage urbain se rapprochent de plus en plus voisines. Que leur vie nocturne soit vaines Quand passe leur train long avec soin.

Hungarian joke Nyuszika füvezik a folyó partján, odamegy hozzá a vidra: - Mit csinálsz, nyuszika? - Füvezek, vidra! - Megmutatod, hogy kell? - Szívj egy jó nagyot, s vedd le. Szippant egyet a vidra s kifújja. - Nem úgy! Tartsd magadban, majd utána fújd ki! Sehogy sem megy a vidrának. - Na tudod mit, szívj egyet s merülj le a víz alá! Lemerül a vidra, magában tartja a füstöt s átúszik a másik partra. Kiemelkedik a vízből, kifújja a füstöt, szuper el van szállva. Ott áll a viziló s látja hogy a vidra milyen jól érzi magát. - Menj át a nyuszihoz, hogy tanítson meg téged is! Átmegy a viziló, kiemelkedik a vízből. A nyuszika megrémülve: - Baszki vidra, fújd ki, fújd má ki!!!

Lujza Magová

Mechanisms For An Entente Deadline staff:

Valérie de Saint-Do = editor Tomas Matauko = co-editor Łukasz Jastrubczak = design & layout Alexis Emery-Dufoug = design & layout assistant Edyta Masior = corrector , László Milutinovits = corrector Mathieu Lericq = corrector Linda Van Dalén = translator Sylvia Jonville = translator Beáta Kolbašovská = translator Special thanks to Yves de Saint-Do List of participants of the project: Agata Dutkowska Alexis Emery-Dufoug Beáta Kolbašovská Cristina David Desmesure collective / Agathe & Fred Edyta Masior , Guillaume du Boisbaudry Jan Sowa Jarosław Wójtowicz Joanna Bednarczyk Judit Kurtág Julie Chovin Kubo Pišek László Milutinovits Lujza Magová Łukasz Jastrubczak Małgorzata M. Dudek Marek Mardosewicz Marta Jonville Mathieu Lericq Nils Clouzeau Palce Lizac – Dominika & Barbara Paul Maquaire Roman Dziadkiewicz Seydou Grépinet Simon Quéheillard Thomas Desmaison Tomas Matauko Valérie de Saint-Do . special guests : Gaston & Leon Desmesure, Dymitr Sowa-Bojadzijew, Bruno Dziadkiewicz, Florian Patiny and Sylvestre Leservoisier The main issue of “Mechanisms For An Entente” is the production of a multiform collective artwork, to promote a deep aesthetic, philosophical and political reasoning about the becoming of Central European countries in relation to the idea of the European Union. We want to work the nature of the European condition. edition of 150 copies / August 26th 2013 Plavec http://mecanismespourentente.eu >

the font used on the cover comes from here : http://timesnewarialmuseum.org