Making Oddkin. for joy, for trouble, for volcano love

7 – 10 September 2018
Nisyros, Greece
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Making%20oddkin iria%20vrettou

Making Oddkin. for joy, for trouble, for volcano love

7 – 10 September 2018
Nisyros, Greece
facebook

Making%20oddkin iria%20vrettou

Staying with the trouble requires making oddkin

Neither an exhibition nor a performance, a conference or an umbrella concept, Making Oddkin. for joy, for trouble, for volcano love is conceived as a four-day ‘outing and coming together ‘, a practice and process of worlding-with, in company and contextuality.

It is an event about human–nonhuman entanglements, about “the unfinished configurations of places, times, matters and meanings,” in which we are entwined and which we need to salvage, as per scientist-cultural activist Donna Haraway (“Staying with the trouble. Making Kin in the Chthulucene,” 2016, Duke University Press).

Drawing inspiration from her mobile term “oddkin,” which was coined by Haraway in order to describe the need for unexpected collaborations and combinations, for unpredictable and undomesticated kinships that can be formed beyond the usual genealogical, ethnocentric, anthropocentric relations, Making Oddkin will materialize, sympoietically, in the inter/intra-action of various kinds and kins, visiting Nisyros in the way that caravans, or ‘bouloukia, ‘ were travelling the early 20th-century world in a grand mobilization of talent, chance and surprise.

It is inspired by the celebrations springing up around the resilient temporariness of circuses, around public festivities, the infectious visit of oddities, processions, re enactments and traditions of world-making storytelling. Well before the advent of radio, film, television, or the internet, these were forms of engagement which developed into a whole industry of public spectacle before radically transmuting within the immateriality of the web and the emergence of virtual popular culture. At the 50th anniversary of the year that rocked the world (1968), Making Oddkin is invoking collective rituals, personal contributions and sensual/material aspects of a past (and present and future) in favour of presence, a coming out into the world in curiosity, care and joy, in conflict and trouble, in gonzo supergrouping, in species-varied livelihoods and wild imaginations.

Sympoiesis: we become with each other or not at all

Various agents will help create a contact zone through tactics of invention and differentiation: Artists, scientists, historians, farmers, musicians, dancers, traders, people who have a long, short, or no relation to, and experience of, the island will explore the possibility of joy, the anxiety of socioecological disaster, the love/fear for volcanoes, various 21st-century doom and gloom intuitions, the reality of ‘sentient beings, ‘ the escalating loss of mother tongues. Grounded on the memory of Nisyrian rock and water, with the help of materials, animals, plants, stories, ecologies and economies, Making Oddkin will attempt to get out of the shrouds of institutional language and instead dive into languages that can reimagine localization, retrace material spaces of conjunction, (un)weave the reality of empathetic bodies, frictions, (im)material hauntings and wandering wonders.

Making Oddkin will appear, between 7 and 10 September 2018, at several places around the island, such as, the old Loutra (public baths), the abandoned port of Avlaki, the deserted monastic settlement of Nyfios which bares traces of Minoan times, along the paths of the wild, Nisyrian hot springs, within the tiny public square of Emporio, in the volcano crater, at the Volcanological Museum at Nikia, and elsewhere.

Deviating from Athenian-obsessed discourses, Making Oddkin will retrace urbanity by entering the life of remote, islandic Nisyros (ecotourism and development, industrial past, the exploitation of natural resources, the politics of the Aegean), albeit not through direct representation and conventional simplifications. It will explore the pleasure of mixed-up times, of trading stories, of non-didactic interactions and the possibility of learning through simple gestures of equivalence and contemporary myth making.

It will thus unfold in performative talks, collective walks, food gatherings, work displays (films and objects) and time displacements (dances, poems, archives, recollections).
It will invoke past events and their outcomes and generate new ones within larger stories (Institute of Anxiety). Each day of the four-day program will be shaped by the commitment and contribution of several bodies over the course of the next few months leading up to September 2018. As these bodies multiply and change, there can be no standard programmatic process of an a priori naming of names and locking of ‘lists of participants ‘. Making Oddkin will reveal itself in due time. In the meantime it will be working like the Nisyrian volcano: by inherently mobilizing various agents along thematic axes, such as: “The cry of the donkey and the mana” (as in Michael Taussig ‘s/Walter Benjamin ‘s praise of mimesis); “The Dispossessed” as in Ursula Le Guin ‘s anarchist, alien literature); “Speculative Fabulations” (as in Haraway ‘s symanimagenic thinking); “Only the volcano held a surprise” (as in Susan Sontag ‘s account of The Volcano Lover); “Speaking Substances” (as in Dana Luciano ‘s research on Geo-affect in times of crisis); “Jumping is a delightful lesson in circumstances” (as in Michel Serres ‘s philosophy of mingled bodies) et.al.

Nadja Argyropoulou is the curatorial agent of Making Oddkin. for joy, for trouble, for volcano love.

The project is organized by Sterna, Nisyros and Are | are-events.org, Prague, as part of The Institute of Anxiety’s programme and co-organized by the Hellenic Republic, Periphery of South Aegean and Municipality of the Nisyrians. Supported by: Ministry of Culture, Czech Republic; NEON Organization for Culture and Development; Prague City Hall; AEGEAN; Blue Star Ferries.

Staying with the trouble requires making oddkin

Neither an exhibition nor a performance, a conference or an umbrella concept, Making Oddkin. for joy, for trouble, for volcano love is conceived as a four-day ‘outing and coming together ‘, a practice and process of worlding-with, in company and contextuality.

It is an event about human–nonhuman entanglements, about “the unfinished configurations of places, times, matters and meanings,” in which we are entwined and which we need to salvage, as per scientist-cultural activist Donna Haraway (“Staying with the trouble. Making Kin in the Chthulucene,” 2016, Duke University Press).

Drawing inspiration from her mobile term “oddkin,” which was coined by Haraway in order to describe the need for unexpected collaborations and combinations, for unpredictable and undomesticated kinships that can be formed beyond the usual genealogical, ethnocentric, anthropocentric relations, Making Oddkin will materialize, sympoietically, in the inter/intra-action of various kinds and kins, visiting Nisyros in the way that caravans, or ‘bouloukia, ‘ were travelling the early 20th-century world in a grand mobilization of talent, chance and surprise.

It is inspired by the celebrations springing up around the resilient temporariness of circuses, around public festivities, the infectious visit of oddities, processions, re enactments and traditions of world-making storytelling. Well before the advent of radio, film, television, or the internet, these were forms of engagement which developed into a whole industry of public spectacle before radically transmuting within the immateriality of the web and the emergence of virtual popular culture. At the 50th anniversary of the year that rocked the world (1968), Making Oddkin is invoking collective rituals, personal contributions and sensual/material aspects of a past (and present and future) in favour of presence, a coming out into the world in curiosity, care and joy, in conflict and trouble, in gonzo supergrouping, in species-varied livelihoods and wild imaginations.

Sympoiesis: we become with each other or not at all

Various agents will help create a contact zone through tactics of invention and differentiation: Artists, scientists, historians, farmers, musicians, dancers, traders, people who have a long, short, or no relation to, and experience of, the island will explore the possibility of joy, the anxiety of socioecological disaster, the love/fear for volcanoes, various 21st-century doom and gloom intuitions, the reality of ‘sentient beings, ‘ the escalating loss of mother tongues. Grounded on the memory of Nisyrian rock and water, with the help of materials, animals, plants, stories, ecologies and economies, Making Oddkin will attempt to get out of the shrouds of institutional language and instead dive into languages that can reimagine localization, retrace material spaces of conjunction, (un)weave the reality of empathetic bodies, frictions, (im)material hauntings and wandering wonders.

Making Oddkin will appear, between 7 and 10 September 2018, at several places around the island, such as, the old Loutra (public baths), the abandoned port of Avlaki, the deserted monastic settlement of Nyfios which bares traces of Minoan times, along the paths of the wild, Nisyrian hot springs, within the tiny public square of Emporio, in the volcano crater, at the Volcanological Museum at Nikia, and elsewhere.

Deviating from Athenian-obsessed discourses, Making Oddkin will retrace urbanity by entering the life of remote, islandic Nisyros (ecotourism and development, industrial past, the exploitation of natural resources, the politics of the Aegean), albeit not through direct representation and conventional simplifications. It will explore the pleasure of mixed-up times, of trading stories, of non-didactic interactions and the possibility of learning through simple gestures of equivalence and contemporary myth making.

It will thus unfold in performative talks, collective walks, food gatherings, work displays (films and objects) and time displacements (dances, poems, archives, recollections).
It will invoke past events and their outcomes and generate new ones within larger stories (Institute of Anxiety). Each day of the four-day program will be shaped by the commitment and contribution of several bodies over the course of the next few months leading up to September 2018. As these bodies multiply and change, there can be no standard programmatic process of an a priori naming of names and locking of ‘lists of participants ‘. Making Oddkin will reveal itself in due time. In the meantime it will be working like the Nisyrian volcano: by inherently mobilizing various agents along thematic axes, such as: “The cry of the donkey and the mana” (as in Michael Taussig ‘s/Walter Benjamin ‘s praise of mimesis); “The Dispossessed” as in Ursula Le Guin ‘s anarchist, alien literature); “Speculative Fabulations” (as in Haraway ‘s symanimagenic thinking); “Only the volcano held a surprise” (as in Susan Sontag ‘s account of The Volcano Lover); “Speaking Substances” (as in Dana Luciano ‘s research on Geo-affect in times of crisis); “Jumping is a delightful lesson in circumstances” (as in Michel Serres ‘s philosophy of mingled bodies) et.al.

Nadja Argyropoulou is the curatorial agent of Making Oddkin. for joy, for trouble, for volcano love.

The project is organized by Sterna, Nisyros and Are | are-events.org, Prague, as part of The Institute of Anxiety’s programme and co-organized by the Hellenic Republic, Periphery of South Aegean and Municipality of the Nisyrians. Supported by: Ministry of Culture, Czech Republic; NEON Organization for Culture and Development; Prague City Hall; AEGEAN; Blue Star Ferries.

Předchozí akce

Past events