Program: COLLIDER_100: Kyiv 2014

LPM Live Performers Meeting 2014 Eindhoven
Edition XV June 26th - 28th 2014 | Eindhoven
Audio Visual Performing Artists Meeting
March, 26th 2014, 12:44 pm | June, 29th 2014, 4:00 am
June 26 - 28, 2014
StrijpS, Eindhoven Netherlands, Eindhoven, Netherlands
COLLIDER_100: Kyiv 2014 MAIN IMAGE

COLLIDER_100: Kyiv 2014

AV Installation

Duration: 23 min.

Friday, 27 June 2014 | 15:00 > 19:00
Saturday, 28 June 2014 | 15:00 > 19:00 | Installations

http://youtu.be/2E88q_DPYO0 - «COLLIDER_100: Kyiv 2014», 22:30 min. (loop);

The Collider project works with space-time, science, urbanism, history and new technologies. Collider examines the iconic places of C20-21 political history. The project deals with events, which took place in different urban landscapes, which had an influence on subsequent historical development. “COLLIDER_100: Kyiv 2014” focuses on the Kyiv Euromaidan and functioning of public space under conditions of paradigmatic changes. Project, working with science, history and peace-building practice, is about the understanding of our space-time, researching the relation between past, present and future transformation of society. Under experimental conditions, colliders set quantum particles on collision courses with one another to generate strange matter, anti-matter. Under planetary conditions we set human particles on collision courses that generate accidental matter, violent matter, discursive matter, political matter, ethical matter, matter of great weight and matter of no consequence. The interplay between micro- and macrosystems, between physical and social worlds explores a variety of contemporary and historical phenomena. Project connects science, history with the economic, social and political problems in order to come closer to the understanding of spatial relations, historical perspectives and interactions between human being. In the project, time-space is presented by panoramic video-projection that consists of 24-60 fragments of moving images, which are revolved with acceleration in an artistic collider, activating a mechanism of audio-visual jumps where certain fragments can gradually be substituted by archival videos.
For the first time «COLLIDER_100: Kyiv 2014» project was presented on 21 February 2014, the next day after the murders on the Institutska Street in Kyiv, within the framework of the International Festival "Sarajevo Winter 2014" “PAFF (Peace, Art Freedom)”, dedicated to the 100th anniversary of the World War I .
The first part of COLLIDER project was shown within the І Kyiv Biennale of Contemporary Art ARSENALE 2012 as a 7-channel video-installation. Last year COLLIDER project was nominated to British ARTRAKER AWARD 2013 Awarding Creativity in Art and Conflict . COLLIDER is a panoramic presentation of some of the world’s most perilous political flashpoints: Dallas, Texas, USA, site of the 1963 John F. Kennedy assassination; site of the LA Riot; the Russian White House, Moscow, site of a 1991 failed coup against Mikhail Gorbachev in Soviet Union; Independence Square, Kiev, Ukraine, site of 2004-2005’s Orange Revolution events. These sites are the focal points of multiple flows – cultural, political, capital – and their critical moments have entered into a global vernacular.
By brining Bosnian and Ukrainian events into this common language, COLLIDER_100 project deliberately resets the global understanding of modern history, while at the same time resetting the understanding of local, world-historic turning points. Geopolitical conflict in Sarajevo 1914 has led to well-known consequences. Geopolitical conflict in 2014 in Ukraine (country that already has lost its subjectivity) leads to the fact that the world is one step from the world war III.
It is an invitation to co-experience the complexity of the world, dealing with violent conflicts, social upheaval and war events, that took place in different urban landscapes, which had influenced subsequent historical development. Art project, fed by obscured histories, political urgencies and imaginative, acts as a catalyst for the culturally charged encounters– experiences, feelings, a kind of shared breath – that materialize through the local environments and social relations.
These collisions demand something of us as interpreters of our times. Our responses are always multidimensional – they are emotional, practical, political – and we continue to pore through the accounts with the rationality of hindsight, lest we become overwhelmed.
The craft of Collider’s panorama risks precisely this. COLLIDER_100 project creates the overwhelmingly immersive environments composed of multiple images of the one site. Collider’s bitmapping is a composition of multiple angles, such that the privileged position of the subject is itself distorted.
Curving these experiences all around the viewer’s body turning and craning to experience each moment, Collider enfolds you in embodied reality among manifold collisions of past and future. Collider takes some of the direst political turning points and represents them at a wholly subjective scale, placing you at their focus.
With each of these evoked moments, you are brought a little closer to that critical moment: the moment, which may have been the last.
It’s a tale of two cities, where collisions between past, present and future offer their own sets of correspondences. Whether hurtling towards a supercollision of world-historic accumulation, or taking it one collision at a time, project deliberately locates the work within the physical, responding quite literally to the possibility of a world coming to an end.
The elements of fragmentation and discontinuity in the project make conscious reference to quantum theory, and it engages with this readily. Mathematically, panoramas are simple manifolds, mathematical objects that appear flat and predictable at the small scale, but in fact curve and extend in unexpected ways – across multiple dimensions for complex manifolds. Sometimes these dimensions are differentiable: differential calculus allows us to make a flat map of the Earth, for example, taking the three-dimensional globe down to two in order to depict the continents in shapes we recognise, yet losing global accuracy in favour of local detail. Another familiar example: the Möbius strip is a two-dimensional compact manifold: a continuously flat surface which in fact loops onto itself – and indeed, it is this curvature that gives rise to its continuous flatness. The flat sides of the dome walls allow the projection to be received as surface, while the eyes and the body must move to navigate and understand the work as a whole within the enclosed curve. The Calabi-Yau manifold is a complex manifold which represents the extra dimensions of spacetime that are projected by theoretical mathematics and physics, particularly string theorists.
According to superstring theory, at every point in our four-dimensional space, a 6-dimensional Calabi-Yau manifold is attached – so small that they’re at the Planck scale, the subatomic scale at which quantum field theory breaks down and gravitational forces becomes erratic. These problematic scales are one of the objects of project investigations. The smallest particles, accelerated and brought into contact with one another, disfigure the experience of space-time – and thus, subjectively, space-time itself. Multi-dimensional manifolds incorporate these fluctuations – both quantum and geometric – giving rise to complex folds, complex forms.
Unexpected emergence and uncontainable risk, rebirth and apocalypse are both contained in those moments.
The end of the world contained within the structure of the world. These quantum-level accounts go some way towards explaining how can we be so close and yet not perceive, not understand, not prevent. Importantly, however, these are not metaphors; these are not analogies; these are physical explanations. In A Thousand Plateaus, Deleuze and Guattari insist that their work not be taken metaphorically – that it is variously practical, instructional, imperative. Nietzsche in his Gay Science famously proclaimed: “Long live physics!” – constantly reminding us that the physical world is all we have, that we need to say yes to contingency and ensure that our ethics are grounded in this one and only world. COLLIDER_100 too insists on an engagement with the physical.
These accounts also explain why it can be difficult to see the world from a broader perspective. It’s not simply a matter of standing back or taking a broader view. Project takes a keen sense of structure to form this experience: the philosophy and the physics of critical mass and emergence, of the conditions that yield the new, the unimaginable, the unthinkable. In structure there is both movement and gravity, from which a demanding set of questions emerge. As you stand within the dome, you are presented with the perspectives. Each of those moments have existed; each historic moment is driven by unknown individuals at untold speeds, accompanied by undeveloped possibilities. If we follow the logic of each moment’s construction, if we follow the logic of Collider’s near political destruction, what kind of an end to our world can we expect – and when?
The Doomsday Clock takes this possibility very seriously, marking just how close we are to the destruction of the world, and updating when a world-historic event occurs. The Doomsday Clock is maintained by The Bulletin of the Atomic Scientists as a perpetual present, indicating the proximity of threats to our survival from nuclear weapons, climate change, and emerging technologies. In January 2007, the Atomic Scientists moved the perilous hand from its originary 1947 setting of seven minutes to midnight, to just five, reflecting the twin threats of nuclear destruction and failure to act on climate change. How many tipping points do we need before moving to reframe the system?
If the latest theory of Tom Weiler and Chui Man Ho is right, the Large Hadron Collider – the world’s largest atom smasher – could be the first machine capable of causing matter to travel backwards in time. And time is one of the fundamental concepts for physics and philosophy, one of the key co-ordinates of space-time. In the project a fragmented representation of a space-time makes reference to the quantum theory. The possibility of developing Collider further – examining the Geumnamno street in Kwangju (South Korea), Gdansk Shipyard, a place of Solidarność events (Poland), the Tiananmen Square in Beijing (China), the former Berlin Wall (Germany), in Grozny in Chechnya (Russia), WTC memorial in New York (USA), Freedom Square in Tbilisi (Georgia), Paradis (Fardus) Square (now Freedom Square) in Baghdad (Iraq), Mexico City’s Zócalo and Paseo de la Reforma (Mexico), Tahrir Square in Cairo (Egypt), St Paul's Cathedral in London (Great Britain) and Aleppo (Syria) is real challenge. It is a critical art that testifies today’s social reality and its traumas. It is important as an approach in art to certify and record some corporeal feeling of contemporaneity, for sake of the future.
The “Collider” project, working with the events that have formed the world in which we live now, raises the question: is a person a particle in the system of accelerators of global forces, or the energy of interaction investigating new values, new forms of thought and new ways of existence in the world – insisting that ‘another world is possible’?

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