ALYTUS PSYCHIC STRIKE BIENNIAL /// ALYTAUS [MENO STREIKO] BIENALĖ #5: PSICHOIŠ[SI]VALYMAS /// DESA KALA PATRA August 19 -25 /// 2013 /// Rugpjūčio 19-25

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Esa­me su­ne­ri­mę dėl itin ne­at­sa­kin­go Jū­sų mies­to Me­ro po­žiū­rio į psi­cho­ko­mu­ni­ka­ci­nę erd­vę, pa­ra­le­li­nius pa­sau­lius, sie­los ne­mir­tin­gu­mą ir si­tu­lo­gi­nę per­spek­ty­vą. Aly­taus dai­lės mo­kyk­la yra ta vie­ta, kur vi­si šie ra­dia­ci­niai ele­men­tai gy­ve­na der­mė­je ir su­si­klau­sy­me. Tai kvan­ti­nė bom­ba, ant ku­rios šian­dien už­sė­dęs mies­to me­ras Jur­gis Kras­nic­kas ne­at­sar­giai žai­džia su deg­tu­kais. Gra­sin­ti iš­kraus­ty­ti Aly­taus dai­lės mo­kyk­lą iš jos pa­sta­to (čia gal­būt pa­dė­tų me­di­kų ar­gu­men­tai, nes ki­taip vie­nas jų at­sto­vas ne­la­bai su­pras) – tas pat, kaip iš­kraus­ty­ti žmo­gaus sie­lą (gr. psy­che) iš jos kū­no re­mian­tis lo­gi­ka, kad taip jau bu­vo pa­da­ry­ta su inks­tais, šir­di­mi, sme­ge­ni­mis ir ki­tais mė­sos ga­ba­lais... ir nie­ko... apa­ra­tas, va­di­na­mas žmo­gu­mi, ir to­liau vei­kia. Bet ar tai vis dar žmo­gus?

 

Aly­taus mies­to me­ras di­džiuo­ja­si ra­cio­na­lu­mu ir sa­vo „ar­gu­men­tus“ jais grin­džia. Tik ar tik­rai čia yra kuo di­džiuo­tis? Ra­cio­na­lu­mas (ar­ba lo­gi­ka) tė­ra la­bai ma­žy­tė ir itin ne­reikš­min­ga žmo­gaus są­mo­nės da­lis, pa­rem­ta iliu­zi­ja, kad sis­te­ma ga­li pa­tei­sin­ti pa­ti sa­ve. Me­ras pa­mirš­ta (o gal ir vi­siš­kai ne­ži­no) Kur­to Göde­lio pir­mo­sios ir ant­ro­sios ne­pil­nu­mo te­ore­mų, ku­rios tei­gia lo­gi­nių sam­pro­ta­vi­mų ri­bo­tu­mą. Aly­taus mies­to Me­ras ne­įver­ti­na sprogs­ta­mo­sios ira­cio­na­lu­mo ga­lios, ku­ri bū­tų pa­vo­jin­gai iš­lais­vin­ta nu­trau­kus te­le­pa­ti­nės ko­mu­ni­ka­ci­jos ka­na­lus, esan­čius Aly­taus dai­lės mo­kyk­lo­je ir sie­jan­čius gy­vų­jų ir mi­ru­sių­jų pa­sau­lius. Trum­pai ta­riant, kur, po­ne Me­re, dė­si­te gar­siuo­sius Dai­lės mo­kyk­los kau­ku­čius? Iš­grū­si­te kar­tu su mo­kyk­los mo­ki­niais ir mo­ky­to­jais į ku­rį nors ne­re­no­vuo­tą bu­vu­sį vai­kų dar­že­lį? O gal pri­va­ti­zuo­si­te? O gal tie­siog įsi­dė­si­te į ki­še­nę?

Pa­na­šiai ga­li­ma pa­sa­ky­ti ir apie mi­nė­to Me­ro po­mė­gį skai­čiu­kams. Mes ir­gi mėgs­ta­me skai­čiu­kus, bet arit­me­ti­ka tė­ra skai­čių ka­ri­ka­tū­ra, tu­rin­ti pras­mę dėl ga­ly­bės ak­sio­mų. To­kio­je sis­te­mo­je skai­čiu­kai reiš­kia ne dau­giau nei tas, ku­ris juos val­do lai­ky­da­mas sa­vo kumš­ty­je. Tai­gi eko­no­mi­nė lo­gi­ka pa­rem­ta ga­lios sver­tais, o ne ban­do­mu įteig­ti uni­ver­sa­lu­mu ir yra prie­spau­dos prie­mo­nė val­dan­čių­jų ran­ko­se. Ar gir­dė­jo­te, po­ne Me­re, apie ira­cio­na­lius skai­čius? Aly­taus dai­lės mo­kyk­la yra ira­cio­na­lių skai­čių kom­bi­na­ci­ja – jie ne­si­skai­čiuo­ja, o juos pa­ju­di­nęs ga­li­te jau nie­ka­da ne­be­ras­ti vie­tos jiems pa­dė­ti. Pa­na­šiai prieš de­šimt­me­tį at­si­ti­ko ir ki­tam Aly­taus me­rui, pa­no­rė­ju­siam su­val­dy­ti gra­fi­ti­nin­kus, ku­rie ba­za­vo­si kaip ben­druo­me­nė prie Dai­lės mo­kyk­los. Pu­siau­svy­ra yra pu­siau­svy­ra, o pa­leis­to dži­no at­gal ne­be­pa­vyks­ta su­kiš­ti... nei re­mian­tis lo­gi­ka, nei su po­li­ci­jos pa­gal­ba.

Dar vie­nas po­no Me­ro ar­gu­men­tas su­si­jęs su švie­sos sam­pra­ta – jis vie­šai pa­reiš­kė, kad Dai­lės mo­kyk­lai rei­kia dau­giau švie­sos, o da­bar­ti­nia­me pa­sta­te, ku­ris yra pu­šy­ne, tos švie­sos ne­pa­kan­ka. Aki­vaiz­du, kad po­nas Me­ras lai­ko­si po­zi­ci­jos, bū­din­gos vi­sų lai­kų ma­so­nams, įskai­tant ir bol­še­vi­kus („Il­ji­čiaus lem­pu­tė“ plius ta­ry­bų val­džia). Mes įspė­ja­me – val­džios struk­tū­rų ta­pa­ti­ni­ma­sis su švie­sa tė­ra ide­o­lo­gi­nis triu­kas, opiu­mas žmo­nėms mul­kin­ti. Bu­dis­tai ir dai­li­nin­kai čia kiek są­ži­nin­ges­ni, nes vie­ni pa­ta­ria už­si­ge­sin­ti švie­są, kad ryš­kiau ma­ty­tu­me, o ki­ti siū­lo pri­si­merk­ti, kad to­nai iš­ryš­kė­tų. Mes siū­lo­me vi­siems už­si­merk­ti tiek, kad tik­rą švie­są pa­ma­ty­tu­mė­te, o at­si­mer­kus ir liu­me­nai ne­be­apa­kin­tų. Ka­dan­gi po­no Me­ro pa­ta­rė­jas me­no ir švie­sos klau­si­mais yra par­ti­nė­je mo­kyk­lo­je iš­mo­kęs ta­py­ti dai­li­nin­kas, spren­džia­me, kad po­nas Me­ras ne­at­si­tik­ti­nai kiek pai­nio­ja­si sam­pra­to­se: pa­brė­žia­me – Dai­lės mo­kyk­la nė­ra ka­lė­ji­mas ir pa­nop­ti­ku­mo sam­pra­ta jai at­mes­ti­na iš es­mės.

Pa­bai­go­je no­ri­me kreip­tis tie­sio­giai į Me­rą: po­ne Me­re, jei­gu ke­ti­na­te vis­gi sprog­din­ti tą po už­pa­ka­liu pa­si­kiš­tą ar, kaip sa­ko­te, pa­vel­dė­tą bom­bą su sa­vo mies­to žmo­nė­mis, ar pa­gal­vo­ja­te, ką pas­kui val­dy­si­te? Me­men­to Mo­ri, Me­re...

Iki pa­si­ma­ty­mo!

Tik­ro­je švie­so­je!

Mi­ru­sių­jų dar­bi­nin­kų są­jun­ga prie Pa­sau­lio psi­cho­dar­bi­nin­kų ir duo­men­ka­sių prof­są­jun­gos

(DE­WOU-DAMTP)

An­ju­man Ma­tan Kah­ne­ek Aur Ama­li Kar­kan (AM­KA­AK) 

Švie­sos mu­zie­jaus Aly­taus sky­rius

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Faith Taylor writes about visiting Irina Putilova in detention in the UK. Irina sought asylum in this country because she is at risk of persecution as a political and LGBTQ (lesbian, gay, bisexual, transgender, queer) activist  in Russia. Instead of finding refuge, she has been locked up in Yarl’s Wood Immigration Removal Centre.

On 7th December 2013, I went to Yarl’s Wood Immigration Removal Centre to visit my friend Irina (Ira), who is being detained there pending deportation. On Friday 6 December Ira had her first asylum interview. She was given no chance to present evidence and instead was served with papers stating that she had been placed on a ‘fast track’ process. She was told she could be deported at any moment, and she was put on a bus to the Removal Centre.

In Russia, Ira has been systematically attacked, harassed, and threatened by the state and by far-right groups, because of her involvement in Voina, an internationally renowned art group, and because of her political identity.  In 2012 she received direct death threats from the Centre E Russian police department. It is highly likely that the same unit broke her friend Filipp Kostenko’s legs two months prior to the threats directed at Ira, since he had also received very similar threats. Ira’s parents’ house was raided repeatedly. She was followed and subjected to repeated illegal arrests and police beatings. After living itinerantly with friends and acquaintances, fearing for her life, Ira fled Russia illegally. If she were to be returned there, she would definitely be arrested and imprisoned.

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Prayers (Milaad) and Solidarity Event in Nishchinthapur with the remaining survivors and families. Speeches and Bands (details to be added) kept the flame for justice, our brothers and sister's did not burn to death in vain.

Yesterday was STRONG, the presence and spirit of the city dwelling bands, singers, activists and those who have persevered for this cause since the first day, cheered up this little town of ''Nischinthapur'', who embraced the solidarity and by the end I filmed the voices of workers scream for justice. May their voices not be quelled by tear gas, rubber bullets, threats or gun shots. The is only the beginning of a life long fight for justice.

“Civil disobedience is not our problem. Our problem is civil obedience. Our problem is that people all over the world have obeyed the dictates of leaders…and millions have been killed because of this obedience…Our problem is that people are obedient all over the world in the face of poverty and starvation and stupidity, and war, and cruelty. Our problem is that people are obedient while the jails are full of petty thieves… (and) the grand thieves are running the country. That’s our problem.”
― Howard Zinn

It has been one year since we witnessed those horrifying scenes of body bags and charred remains lining the grounds of the factory, anguish on the faces of relatives having to look through the rotting corpses to find their missing child, wife, sister or mother. Witness statements describing how the surviving women had smelt the smoke but where still being forced to work, some locked in, how they had to leave their colleagues behind to burn to deaths while they jumped out of the window to the next building or off the roof. Statements of mothers or wives, making their last calls, knowing they were going to meet a burning fate.

Tazreen Fashions supplied to Walmart, Disney, Edinburgh Woollen Mills, C&A, Li and Fung, Clothes for the US Marines, EVEN clothes for the Forbes listed billionairre Sean ''P Diddy'' Coombes. None have paid compensation, instead have rejected to be part of the agreements ensuring safe standards at Bangladesh factories.

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There have been many deaths and injuries caused by ongoing negligent practices in garment industry factories. Some companies have agreed to pay compensation for the many hundreds killed and thousands injured at Tazreen and Rana – but so far almost none have. We demand all companies implicated in this including Benetton do so IMMEDIATELY

Many companies have signed the Bangladesh Fire and Safety Agreement. This is a good sign but if there are no structures to enforce these guidelines then they are useless. We therefore demand that Benetton not only negotiates with IndustriALL – the global workers unon – but also provides resources to assist each and every worker to organise in any way they see fit. This means that if there are as many unions as workers then Benetton must support this by providing resources for them all.

To summarise, we demand:

1. Benetton pay compensation to those workers and their families who were killed and injured making their clothes NOW.

2. Benetton agree to support workers set up the unions they require and provides the resources for them to do so.

3. Companies sit down with industriALL – the global union – to improve conditions across the industry internationally.

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It is easy to become disorientated in a forest. Especially for those artists who suddenly discover the place they’ve ended up is the site of Nazi massacres. Probably the best way to deal with histories of this kind is to stop and think about them for a very long time before incorporating them into works.

Within easy walking distance of the main venue for the Alytus Biennial is the Vidzgiris Forest. Visitors to the forest will find nine white pyramids above the pits in which the Nazis buried those they murdered at this site. There is also a monument to these victims of fascism which was erected in 1993 and that bears the inscription: “Here, in this place, the Nazis and their local helpers, in the years 1941-1944, murdered tens of thousands of Jewish children, women, men and old people, most of them from other countries. Let their memory live forever.”

The Alytus Biennial is ten years old but it was only during its fifth manifestation that a trip was organised to Vidzgiris Forest. It wasn’t a performance, just an act of remembering and it is documented on a Facebook page among other places. You need to be logged into a Facebook account to see this sober and considered response to the holocaust – it isn’t just about the murders in the forest and is run under the title Alytus and Nazi History. Approaching atrocities of this type through art is often best served by a simplicity of approach –mixing up a variety of concerns with something of this nature is usually a big mistake.

Photo above: 5th Alytus Biennial trip to Vidzgiris Forest, Sunday 25 August 2013.

http://randnotizen.steirischerherbst.at

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«Сложно говорить о субкультуре, особенно когда речь идёт об андеграунде»



В конце августа в провинциальном литовском городе Алитусе прошла очередная биеннале — впрочем, совсем непохожая на ту ярмарку тщеславия и демонстрацию неограниченных финансовых возможностей, свидетелями которой мы очень скоро опять станем в Москве. Здесь не было фуршетов, торжественных открытий и даже выставок как таковых. Зато были факельные шествия по ночному пустому городу, ситуационистский футбол с тремя командами, в котором победителем оказывается проигравший, нойз-фестиваль, где звук извлекался исключительно из металлолома, и много, очень много искренних и глубоких разговоров о современном порядке вещей и самых невероятных способах его разрушения. Одним из участников Алитусской биеналле был культовый британский писатель и художественный теоретик Стюарт Хоум, который поговорил с публицистом Ильей Будрайтскисом о своих взглядах на рабочий класс, светлых и тёмных сторонах субкультурной активности и перспективах сопротивления капиталистическому господству.



— Некоторые ваши книги (например, «Отсос» и «Красный Лондон») переведены на русский язык. Несмотря на то, что значительная часть шуток в этих текстах связана со специфическими особенностями британской крайне левой сцены и вряд ли до конца понятна русскому читателю, они пользуются здесь большой популярностью. Как вы думаете, в чём состоит связь между вашими сюжетами и ситуацией здесь, на Востоке? Почему ваш юмор хорошо воспринимается в России?

— Я начал писать в таком стиле в 80-е годы. Изначально моей целью было высмеивание конкретных политических групп в Лондоне. Но я думаю, эти шутки могут быть применены в любом другом контексте, даже вне Великобритании. Помню, переводом моего первого романа на финский занимался не очень профессиональный человек. Однажды у него случился недельный запой, но когда пособие по безработице закончилось, ему пришлось сесть за мою книжку. Он творчески подошел к этому вопросу и переписал часть материала, чтобы приспособить его к местному контексту. Но когда он переводил мои следующие книги, он не стал так сильно влезать в текст. Именно поэтому мой первый роман был популярным в Финляндии. Кроме того, в этой книге много отсылок к лондонскому панк-року 70-х, а в это время в Хельсинки была мощная панк-сцена.

Когда я предложил сделать то же самое немецкому переводчику, он мне объявил, что он — профессионал и не может за меня переписывать книгу. Я не совсем уверен, как мои книги переведены на русский. Но насколько я знаю, переводчики не сильно изменили материал. Мне вообще кажется, что у финнов и русских отличное чувство юмора, такое же, как у лондонцев. Так что в этом вся причина. Но когда я писал свои ранние книги и рассказы, я не думал, что они будут когда-либо переведены на другие языки. Эти вещи написаны для конкретной аудитории.

Вообще, мне кажется, что есть такая установка капиталистической культуры. Если ты хочешь написать бестселлер, то ты должен сочинить универсальную книгу, интересную всем, а не ориентироваться на какую-то узкую аудиторию. Это большая ошибка, потому что обычно в результате ты убираешь из книги все самое интересное, без чего она никому не интересна. Мне кажется, книгу делает уникальным тот факт, что в ней есть индивидуальная точка зрения, что некоторые шутки и аллюзии не совсем понятны людям из других субкультур. Это нравится людям.

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some email addresses, phone numbers etc for those taking part...

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Information regarding Sean Coombs - P Diddy

Facebook group : https://www.facebook.com/Diddy

Twitter Page : https://twitter.com/iamdiddy

Sean Coombs clothing label ENYCE was found in the remains of the Tazreen Garments Factory Fire where 112 garment workers were burned to Char because it was normal practice to be locked in to work in the sewing lines.

After the Fire, as a PR stint, Sean Coombs PR Company said he would pay the pathetic sum of $1200 to each victim as compensation. Have they heard back? No.

As victims and their dependant families have had to deal with the loss of their loved ones in such a brutal manner, many of them traumatised, the injured who have not been able to claim medical charges because the Government have been protecting the Garment owner from the corrupt industry, even though he has been found to be criminally negligent. Sean Coombs or 'P Diddy' has been roaming around free.

In 2012 Forbes estimated Combs' net worth at $550 million, making him the richest figure in hip hop.

Should he be allowed to forget the deaths of the forgotten workers. Do you feel their lives are disposable enough to forget.

Play your part, do your thing.

We urge you take some clicktivist action. We, the Dead Workers Union, want to create a shitstorm on his door step.

Do you want to join us?

IT can make a difference.

Our collective DISGUST should be known.

Sean Combs’ ENYCE labels found in Bangladesh factory fire

Company linked to rapper P-Diddy will pay family members $1,200 in wake of Bangladesh garment factory fire



Families Demand Justice

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Above: entrance to the main venue for the 5th Alytus Biennial.

A video posted to YouTube of the Psychic Workers Monstration probably gives a better idea of what the 2013 Alytus Biennial was about than mere words. Starting out as a live art festival in 2005, the world’s best but most obscure biennial rapidly evolved into a cultural politics jam session dedicated to destroying serious culture and simultaneously speeding up the process of decolonisation (not just in Lithuania – which was until recently under that state capitalist yoke of the Soviet ‘communist’ party bourgeoisie – but also outside the overdeveloped world). And, of course, most of those present were very interested in decolonising their own minds as a part of the process of decolonising the world.

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Psychic Workers Monstration in Alytus, Lithuania, on 22 August 2013. Protest against capitalism and link up with the dead! Demolish serious culture! Take your disease for reality! Death is not true! Capitalism murders the dead - psychic workers bring the dead back to life! The world is upside down, we will place it back on its feet! Pyschic workers of the world unite! World Congress of Data Miners & Travailleurs Psychique 2013! With musical improvisation to create the kind of improvised music you like! Among the psychic workers who can be seen marching and improvising on the demo and rally are: Mbaku Fidelis Mbabit , Martin Zet, Asim Butt, Ilya Budraitskis, Katya Samigulina, Andrius Savickas, Lukas Diržys, Mantas Kazakevičius, Guoda Diržytė, Matas Janušonis, Redas Diržys, Aurėja Stirbytė, Pablo Hermann, Roberta Raudone and Christoph Fringeli. But this is an incomplete list, there are many more present!

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