Research Catalogue

on being left behind free scattered together Artist book as a residency report. Residency "Play(the)ground. Informality as resistance" in Trafaria - Torrão, Lisbon, PT. September 2024 Residency organised by Maisunomaisum and experienced by Diana Ferro, artist.

DoPeopleLikeYourFeet? The first workshop held by the Institute for Piedilogical Research aims to question basic assumptions at the foundations of spatial practice such as how we orient in space, what is the ground we stand on, how we move through space with our feet and so on. As xenofoot research scientists, we propose an intensive training schedule alternating between walking practices in the territory of Calarasi and reflective/ making/transcendental moments on the grounds of EASA community. As walking is really close to doing nothing (Solnit,2000), it opens up a world of possibilities for the participants that allow encounters with local inhabitants, found materials, conversations, random observations and visions of other dimensions to affect what they will make or write or perform or preach throughout the time of the workshop.

SWEAT - YoNoSudoBrillo Two weeks workshop held in Benidorm, Spain, in August 2024. In the context of EASA, European Architecture Students Assembly 2024 event. Tutored by Diana Ferro and Angelo Ciccaglione. 𝐼𝓉’𝓈 𝒶𝓁𝓁 𝒶𝒷𝑜𝓊𝓉 𝑒𝓂𝒷𝓇𝒶𝒸𝒾𝓃𝑔 𝓇𝑒𝓁𝒶𝓍𝒶𝓉𝒾𝑜𝓃. 𝐿𝑒𝓉'𝓈 𝑒𝓂𝒷𝒶𝓇𝓀 𝑜𝓃 𝓉𝒽𝒾𝓈 𝒿𝑜𝓊𝓇𝓃𝑒𝓎 𝑜𝒻 𝓌𝑒𝓁𝓁𝓃𝑒𝓈𝓈 𝓉𝑜𝑔𝑒𝓉𝒽𝑒𝓇. In a sauna, people meet strangers and exchange stories while absorbing heat being naked and sweaty. In this workshop we brought the sauna to a step further: we absorbed heat, stories, gestures, words, objects, skills, dreams and sweat them out to other people, re-enacting what we have learned. Also naked, why not. We learnt how to live, how to breathe, how to make a kebab, how to embody old wisdom, how to tie shoes the proper way. All you need is a fan, a towel and a body. A kebab stick, a drink, some snackies. Participants developed a deeper perspective on what it means to operate within a complex identity such as the city and gained skills to open their own kebab shop.

This article provides an overview and analysis of transformations of the Belarusian political soundscape. Based on the author’s archive of audio recordings made in Minsk and other Belarusian cities in 2016-2023, the article analyzes how protesters and the authorities used voices, noises, and music during the major political protests of recent years. The field recordings became the starting points for a further discussion on the multifaceted role of sound, music, and silence in contesting for urban and political space in Belarus. The “loudest” period in the country’s recent history is then put in a wider context of studying the clashing ideologies of the authoritarian regime and the democratic, pro-independence movement. The study of audio materials is accompanied by participant observations, interviews, and an extensive analysis of Belarusian and international media that reveal various sonic practices used by the country’s and its critics. The primary goal of this article is to address the gaps in studies of the contemporary Belarusian political soundscape and independent music scenes.

Sashko Protyah is a film director and activist from Mariupol, Ukraine. He's a co-founder of Freefilmers, a collective of artists and filmmakers. In his films, he works with topics of memory, otherness, and alienation. Now Sashko is based in Zaporizhzhia and volunteers for IDPs and the Ukrainian army. This interview was taken in February 2024 over email.

Drawing from samizdat literature, contemporaneous interviews, and musical recordings, this paper investigates the reception and creation of “new jazz” in late socialist Leningrad. Figures of interest are critic Efim Barban and pianist Sergei Kurekhin. In my analysis, I read an understanding of “freedom” in this instance as more than simply a freedom from state socialism and position these works in a larger discourse regarding “the emancipation” of European jazz from African-American hegemony. This analysis reveals that new jazz was an amorphous concept in its circulating from Barban to Kurekhin and back again, its meaning shifting between the aesthetically universal and culturally particular. This enlivens understandings of avantgarde jazz in the late Soviet imagination – most often framed as a part of the “imagined West” (following Yurchak 2006) – by illustrating that new jazz carried a more complicated imagination variously projected as a universal, a European, and a Soviet/Russian musical form (rather than an American importation).