WORM OPEN CITY

open city

Lieve mensen, In deze publicatie proberen we stil te staan bij wat we aan het doen zijn. Dat lukt dus helemaal niet. Stilstaan vinden we lastig. We hadden bedacht om een boekje te maken waarin we laten zien wat we het afgelopen jaar gedaan hebben. In plaats daarvan hebben we het vooral over waar we naar toe willen en hoe de door ons gedroomde wereld er uit ziet. Hoewel de foto’s die we in dit boekje gebruiken gemaakt zijn in het afgelopen jaar, heeft onze vormgever Natalia Papaeva ze zodanig onder handen genomen, dat ze eerder een beeld van de toekomst geven dan dat ze iets zeggen over wat we hebben gedaan.

WORM is in constante beweging. Soms gestaag en behoedzaam, soms zo snel dat we lijken te trillen.

Het is de aard van het beestje. Het is ook onze rol in onze stad Rotterdam, vinden we. We zijn de vruchtbare grond voor ontmoeting, conceptie en recreatie. We zien dat we op deze manier, voor steeds meer mensen in onze stad, een ruimte zijn waarin gewerkt kan worden aan het realiseren van artistieke, culturele en sociale producties.

Ons Avantgardistische Bastion ontwikkelt zich tot een poreuze vrijplaats voor artistiek en maatschappelijk experiment. We noemen dit ‘WORM Open City’.

De teksten zijn van Charlien Adriaenssens, Jan Hiddink en Richard Foster, de beelden van Natalia Papaeva.

Welkom in WORM Janpier Brands Algemeen directeur 1

Leave minsken, Yn dizze publikaasje besykje we stil te stean by wat we oan it dwaan binne. Dat slagget dus hielendal net.

Stilstean fine we lêstich. We hienen betocht om in boekje te meitsjen wêryn we sjen litte wat we it ôfrûne jier dien hawwe. Yn stee dêrfan ha we it foaral oer dêr’t we nei ta wolle en hoe’t de troch ús dreamde wrâld der út sjocht. Hoewol’t de foto’s dy’t we yn dit boekje brûke, makke binne yn it ôfrûne jier, hat uze foarmjouwer Natalia Papaeva se sadanich ûnder hannen naam, dat se earder in byld fan de takomst jouwe dan dat se wat sizze oer wat we dien hawwe.

WORM is yn konstante beweging. Soms stadichoan en foarsichtich, soms sa fluch dat we lykje te triljen. It is de aard fan it bistje. It is ek uze rol yn uze stêd Rotterdam, fine wy. We binne de fruchtbere grûn foar moeting, konsepsje en rekreaasje. We sjogge dat we op dizze manier, foar hieltyd mear minsken yn uze stêd, in romte binne dêryn wurke wurde kin oan it realisearjen fan artistyke, kulturele en sosjale produksjes. Us Avantgardistyske Bastion ûntwikkelt him ta in poreus frijplak foar artistyk en maatskiplik eksperiment. We neame dit ‘WORM Iepen Stêd’.

De teksten binne fan Charlien Adriaenssens, Jan Hiddink en Richard Foster, de bylden fan Natalia Papaeva.

Wolkom yn WORM Janpier Brands Algemeen directeur 2

Hello there.

My name is Charlien. I grew up writing dadaist poetry, then thought I’d become a judge. I gained an MA in Law, then then thought I’d become a performer. So I switched to Art School. Now I’m here, writing and drawing, performing and producing content for WORM’s UBIK & S/ASH Gallery.

UBIK was WORM’s first theatre space, filling the gap left by Stichting Gouverne. S/ASH Gallery became the place for all the visual artists who’d previously roamed through the building. In my first full year as UBIK and S/ASH’s programmer I worked mainly as a facilitator and programme maker. Along the way I met great artists who made me rethink and refocus on what we can achieve in both spaces. Toine Klaassen changed the gallery into a mythical cave in the woods, where mythical creatures “used” visitors for seances. Congo’s Eddy Ekete brought a strong post-colonial consciousness and spirit to WORM with his street performances.

Natasha Taylor used show wrestlers to resolve neighbourhood issues.

In everything that triggered me, there was an exchange, an artistic playground where people meet. Instead of lectures, ideas were embodied in debate, performance and collaboration. This creates much more energy than the standard, “static” theatre, performance and art shows I had organised since 2016.

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Now we are heading towards the next step: UBIK as a gym and S/ASH Gallery as an open playground, both led by the concept “Art Physique”. This means re-creating rules, playful fights, connections that clash.

ART PHYSIQUE In UBIK GYM the tribune has been changed to a kitchen, bringing people around a table. A closed space offering a high level of concentration, where artists can train and experiment. It is also the space between Central Station and The Performance Bar, a gateway into the different nightlives of WORM. Here, we will research collaborative possibilities between Rotterdam-based communities and (inter)national artists. Using fight clubs and performances, we’ll create interactive plays to question social codes.

S/ASH Gallery is connected to the street. Here we will invite artists to create in an open studio, inviting the public and other artists in, questioning WORM’s surroundings and the conventions of the street.

Charlien Adriaenssens

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Open Stad WORM new phase for avant-gardism After the Happy Loss and the Avantgardistic State, WORM enters a new phase: that of WORM operating as an Open City.

The experiences of both the Happy Loss and the Avantgardistic State are actively included in the Open City. The Open City is not so much a caesura as a continuation of all the good things that happened in those two incarnations; albeit with enriched and deepened insights, ones which WORM promises to make future-proof and sustainable.

The Open City concept derives from Richard Sennett, an American sociologist who has spent a lifetime researching how cities can best adapt and thrive. His core plea is simple: the fewer people impose a mandatory ideas upon a city space - or the more limited the chance of top-down planned utopias being rolled out - the greater the chance that the inhabitants will live fruitful lives, where friction is reduced, well-being and safety increased and overall quality of life is maintained at an acceptable level. This practical formulation, “acceptable level� is not without reason: Sennett is concerned with the ideas of feasibility and livability, not with constructing utopias.

Perhaps his work is best illustrated by the deplorable state of former Olympic works in cities such as Beijing, Rio, or Soijtzi: here the efforts of bringing lasting success and enrichment to the Olympic Games often leads to the result of a cluttered and confused, unlivable social stalemate.

Sennett’s premise sounds obvious, but is often at odds with reality.

Because Sennett knows the most cherished wish of many metropolitan residents is the gated community: a community of people with a fence around it. This applies not only to the rich, who want to preserve their possessions and prestige in this way, but also to poorer populations who may not be able to pay for delineations such as a fence, but will nevertheless choose to stay within an enclave surrounded by their own people. Coupled with contemporary culture, 7

which encourages almost everyone to maintain their mental states within strictly personal bubbles, an urban society is created in which everyone, both physically and mentally, live completely parallel lives to each other, and the sparse moments of contact soon become sources of frictions and tensions. ‘The other’ has quickly degenerated from a stranger of whom little is known, to an enemy of whom one knows everything, with all the polarisation that entails.

In short, life will soon get grimmer. But at WORM we believe sociability is of vital importance. Especially in the literal sense of the word. Together, with friends of WORM, we like to create interesting, stimulating programmes that give the audience the enticing notion that there is more to be gained in this world than sampling the standardised fare found elsewhere.

Alternative We were, and still are, an alternative to the status quo, and it is also in that capacity that the term ‘avant-garde’ - as applied to WORM - can best be understood. For a considerable (but certainly not complete) part, this relates to the programme, where we present things that are rarely discussed elsewhere.

At the same time, we see that the current driving forces of avant-garde-ism appear in a completely different constellation than before. As an aspect of counterculture the term has completely lost its power. This was a reason why WORM, around 2012, found itself completely ignored by those enthralled by the ideas of ‘capitalist realism’ who at the time drove entire sectors within the arts (and who still conjure up this ethos to maintain their legitimacy). WORM has always questioned the idea that “something must be good because it is popular and if something is not popular it can not be good either”.

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That moment, when artistic utility and necessity became the spiritual bedfellows of the time-honoured practicality and trading spirit of the Dutch, led WORM to retaliate with The Happy Loss. This was a guideline to programming that coupled a cheerful, Nietzschean urge to re-evaluate all that was lost culturally and socially with brave and quirky programming.

Although WORM may have seemed to the outside world like Asterix’s village, surrounded by malevolent forces of change from the outside, it is worth noting the parallel and essential, life-giving influx of new young programmers; which in turn led to the creation of a unique vitality and dynamism.

Something that stopped WORM becoming a “cultural conservation area” or even a hospital case.

Continued and attentive study of wider socio-cultural trends led to the Avantgardistic State (in full: the Avantgardistic State of Love, shown by our logo two overlapping hearts, a symbol of how we bring worlds together in a loving way) being proclaimed. With the Avantgardistic State of Love, we recorded how the concepts “recruitment”, “training”, “execution” and “production” resonate individually or collectively in the words, deeds, identity and idea of ​​WORM; both locally and internationally. The basis for this success is based in our working method and our programming as well as our organisation.

Organisation: because we are an ever-learning organisation, with a strong ability to adapt, and respond quickly to changing circumstances. Programming: because we accommodate a multitude of disciplines and therefore never have to deal with the limitations of a monocultural institution such as a pop/ rock venue, a cinema or a museum. Working method: because we have chosen to work with a multitude of parties (between 60 and 80) who we help in realising their ideas in WORM. These parties are often able to fully realise their ideas because WORM, acting as a sleeping benevolent partner, trusts their intuition and expertise.

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liaison WORM’s role as a liaison between dream and deed breeds a certain danger because, as with Richard Sennett, we also regularly see the individual programme makers wishing to set up ‘a fence’ around their programme, as if it were a gated community for their peers. We accept that to a certain extent this is simply a given: the audience at an urbane trap party is exactly the same as an audience in an unruly improvisation session; neither come to be confounded in their expectations, nor take kindly to adventures that deviate from the chosen path. WORM notes that the public can be conservative right across the board.

At the same time WORM tries to smooth the difference between expectations and findings in practice. On a basic level, this is done by the physical “presence” of the building itself, which forms - in every aspect - an alternative to the conventional. In addition, we put a lot of time into coaching the various programme makers, where we repeatedly make clear how “their story” relates to the much larger socio-cultural construct that WORM is. Those who want sole rights or 100% perfection can better look to another location.

Finally, and more recently (and also the prelude to WORM as Open City), we started working on a more integral vision our programming. We now analyse laterally and critically, noting where programmes overlap.

These measures should germinate and add considerable value in the longer term. They are partly drawn from a very simple, practical consideration, namely: how does the programme relate in one room to the programme in a different room on a particular day, and what opportunities does that offer to “take the public” through those rooms into the wider WORM story? In addition, it involves a thematic consideration, 10

where we look to supplement an established scene with fresh, or different ideas. This is particularly important when it comes to programmes by, or for makers, which form a vital part of what we do. In the end, it is all about achieving a cultural house that functions as an open city, with everyone enjoying a chance to shine within set limitations. Analogous to a city, this also means: coming and going, finding momentum and letting go, building up or establishing and rehabilitating or renovating with an eye for the real needs; all this coupled with a strong, dynamic sense of identity and a legacy that serves culture in rapidly changing circumstances.

This summary - programming, organisation, working methods is where our avant-gardism is anchored. WORM as Open City is our new guideline for the avant-garde, both as best practice and a manual on how best to thrive

Jan Hiddink

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WORM - An Open City “Anyone who resists the forces of standardization is a public benefactor.” (Ithel Colquhoun, visionary artist.)

Cities will play a central role in the coming century as the triple imperatives of population growth, technological innovation and the planet’s resources dictate wider policy.

To quote the Director of Tallinn Institute of Health and Sport Sciences, Kristjan Port at Tallinn Music Week 2018, “humans need to keep inventing to survive”. This inventing can’t be done in total isolation. For cities to be successful, it makes sense to house centres where innovation, risk and creative energies can be harnessed.

Especially as the current models for inner city regeneration increasingly throw up obstacles.

Gentrification and reliance on standard models of market capital-based growth can lead to more of the same; leading in turn to stagnation, division, and eventually isolation.

But this is where WORM comes in. An inner city needs artistic uncertainty, fluid identities, creative mess and gung-ho spirits to tackle the current ossification. WORM’s central location is a healthy counterpoint to the gourmet food chains, boutique shops and set-piece, top-down, cultural events. WORM has always revelled in its role as an interface where everything - however undeveloped - is possible. A meeting point, a place to party, a place to think, a place to do. By taking risks, experimenting, messing up, by simply being there as a place to go, WORM can help others find and define success that in turn, help to shape the modern cityscape.

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WORM acts as an open city. In miniature maybe (in the sense that it’s just one building, a space of interconnected rooms in the mighty port of Rotterdam). But in spirit, this openness has been proved greater than bricks and mortar.

WORM operates above ground and underground, personally and publically, building ideas from city partnerships and chats on the terrace, at an evening, at workshops, or in the street. WORM is open for ideas, people, meetings relationships, developments. From anywhere, anyone, and in any time-zone.

Underground Openness Moving underground and adopting unorthodox modes of communication and action can be far more giving and inspiring than just following the crowd. WORM has always moved in mysterious ways. Sometimes WORM is misrepresented as an ivory tower, an escapist fantasy, a golden cage for misfits. But WORM is a city that sees potential in the unorthodox. To show this we’d like to quote Peeter Laurits in a book on Tarkovsky’s Stalker, compiled by WORM friend (and future collaborator), Andres Lõo of Tallinn’s Contemporary Art Centre (EKKM). This passage struck us: the worm in the text could be WORM. Italics are ours.

Escapism is not a popular concept in our society, it’s more of a curse word. Popular words include struggle, success, growth and expansion, but escapism is defined through fleeing and loss. Moving from one place to another, turning away, is flight seen through only one angle, it might be called approach or arrival from another.

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When we turn our back on where escapists are leaving and focus instead on where they are going, we can also configure an escapist avant-garde. Tendencies that seem completely asocial also embody a new type of sociality. Stalker, who looks away from where social pressure tells him to look, is an earthworm, who tenderises and aerates the manure for a new and different kind of society to sprout.

WORM - The Fluid Interface ...WORM moves, WORM meets.

Let’s think about Peter’s quote a bit. And imagine what would happen if the borders in our lives were less static, fixed elements (e.g. the line separating two countries), but as things we carry with us and use creatively? Imagine turning these terms’ meanings (literally) around: inverting them. Turning to facing borders and boundaries means bringing people and ideas into contact not sealing something off.

The point of contact is the key. WORM has long realised this. We are, after all, constantly looking out for new audiences and new insights. We realise that the membrane between WORM and the rest of the world has always been a fluid, changing one. And WORM has always revelled in its role as an interface where everything - however undeveloped - is possible.

A meeting point, a place to party, a place to think, a place to do; both in relation with Rotterdam and the wider world. WORM realises that these interfaces are flexible, portable. Boundaries can be taken with you and reshaped 18

elsewhere, to suit new ideas and partners in creative crime. WORM, the Open City should be seen as a creative caravanserai. This new focus on the idea of an identifiable entity engaged in creative movement, began in its “physical form” with an extension to the building and continued with highly successful international, local and national residencies.

WORM is interested in the potential unleashed by the union of mental, physical and spiritual powers of creation. Thus, we offer chances to others to join in the fun. Everywhere. Everyone can “come hang” with us in Rotterdam, that goes without saying. Recently we read with sadness this year’s Experimental Culture report commissioned by the Arts Council England, that highlighted the chronic underrepresentation of working and lower class voices in the arts in the UK. Here in Rotterdam, too, WORM also notes that many expressions of working class or urban culture are derided as tacky, commercial or lacking in intrinsic artistic value.

WORM does not hold with this view. And exclusion on grounds of conventions round taste is certainly not the answer.

To break down these barriers, the creative caravanserai has also been on the move. We were inspired, and genuinely moved by recreating the Avantgardistic State in Hull City of Culture, 2017. In Spring, 2018 WORM Pirate Bay set up camp in Liverpool, as curators and mess makers at Liverpool Sound City 2018, working with local arthounds such as the infamous Liverpool Arts Lab, tapping into that great city’s tradition of “pulling together to be bohemian” (to quote The Bluecoat Chambers’ Jayne Casey).

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We will carry on our nomadic, flaneur-style wanderings by way of The Neapolis project and related initiatives in port and “gateway” cities such as Tallinn, Ljubljana, Liverpool (Liverpool Sound City), Melbourne and Kinshasa, at KINACT festival. KINACT, an international gathering of performance artists from Africa and Europe, is a good example of WORM acting as a fluid interface.

We still have no idea what we will do there, but that’s not the point. And it all came about through our gut feeling that something was “there” when UBIK invited Eddy Ekete and his fellow artists to perform the striking body art, “Les Hommes Canettes” (the can people) during our Voodoo Tax Festival.

Simply put, we liked Eddy and felt his creative energy and worldview was akin to ours. Also during 2019-2020 we hope to understand the strongly spiritual role of the underground Estonian music and film scenes, and how gender identity is still affected by socio-cultural norms associated with ageing in Melbourne Australia. And, of course, building long-lasting relationships and working partnerships along the way. So: watch this interface.

WORM - Makerspace WORM’s core strength is making products and producing and executing events. Take our theatre residencies in UBIK and art residencies in S/ASH. Elsewhere international artists and locals alike produce radio plays, LPs and sound documents or hold workshops in the WORM Sound Studios. Or just come to mess about on ARPs and Russian 808s whilst playing a gig here.

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Others delve into the world of analogue film techniques in our Filmwerkplaats, an artist-run lab and workspace dedicated to DIY analogue practice, geared towards artists interested in film as an expressive, physical medium. There, initiates, enthusiasts and masters alike use wild and rare equipment such as the Oxberry Optical Printer.

Sometimes a lot of what happens in the building isn’t seen by our visitors. But that actually is a very good thing. The most absurd thought processes or half-made irrelevances are concocted here, often way into the night and end up in bags at airports, under floorboards or being given to friends, frozen in time in Flickr or Instagram, or packed away deep in the vaults of Facebook Events Discussion threads. You could almost see it like a new Chinese Terracotta army (in pixelated form) waiting to be discovered. And “WORM works” [sic] turning up decades later in another continent, or on a server that is stuck in orbit isn’t necessarily a bad thing. That’s the essential beauty of creating, creative afterthoughts or things that didn’t work in the making become revelatory to someone else, somewhere else.

This should remind us that makerspaces aren’t just there to make products to sell, or works that need an answer or a night or good press to justify them. WORM, unashamedly makes a mess. WORM’s Open City, a city-state of mind where all creative garbage will eventually be recycled, will look to both embrace and subvert Zygmunt Bauman’s idea of Liquid Modernity to its own ends. Bauman saw Liquid Modernity as a doctrine of the individual, a chaotic continuation of modernity, where socio-cultural nomadism becomes a general trait of the 21

‘liquid modern’ person as they flow through life like tourists; changing places, jobs, spouses, values; excluding themselves from traditional networks of support and freeing themselves from the restrictions or requirements those networks impose.

Bauman saw negative implications down the line: namely increasing feelings of uncertainty and the “privatization of ambivalence”. WORM, however wants to see the fluidity of cultural flaneurism in a more positive light.

Surely Bauman’s doctrine should also address the fact that making cultural, creative mess is necessary to a wider picture of cultural creation.

In these hidebound, spreadsheet-driven times, where exam or work stress can cripple us, WORM realises that a subverted, more positive take on the concept of liquid modernity can be used to counteract the increasingly static “support network” we build for ourselves, online and off. WORM’s Open City allows a mooring and a freedom. Being ambivalent, dropping things half way through, talking without apparent reason, saying nonsensical things or using such “wasteful” methods to create something that others can usefully employ need not be an issue.

Here we should remember Laurits’s earthworm, who tenderises and aerates the manure for a new and different kind of society to sprout. WORM creates wherever it goes The Open City sees creative shapeshifting and mess as our last line of defence in any case. Boundaries can be magicked up when needed, to create a backdrop for new socio-cultural possibilities and artforms.

Remember, too: fluid boundaries give space and 22

confidence to all of us. In a maker culture like WORM’s, creating through what the successful world could call “wasted time” is really the core impetus in understanding our own physical and spiritual borders.

As an independent, free-thinking makerspace, WORM feels a close affinity to the spirit expressed by visionary post-punk and electronic musician Gudrun Gut, expressed in the sleeve notes of the recent album release, Monika Werkstadt, on her all-female label, Monika.

What Gut writes about is what WORM practises week in, week out. We just don’t have a herb garden. Though Boomgaardsstraat, where we are based, signifies that once, an orchard stood here, in the heart of Rotterdam.

“Let’s get together. Get to know each other. In the studio.

In the kitchen. Unpack our equipment and get the salad into the fridge. Detangle the cables. Set it all up. Live and work. Organize. Station to station. More suitcases. Some come some go. Fresh food. Go for a walk, and adjust to the quietness. Taking Pictures. Here is the herbgarden, there are the apple trees, the park, the pond with the weeping willow. Food is on the table. Tech. Talk, laugh and unwind. Studiotime. Make music together. The sound is in the air. Improvise. Invent. Some take over, some add to it. Playing with the toys. Coffee or tea. Late at night we discuss popmusic. We are free. We are here together.

We can make it. Let’s do this.”

(Gudrun Gut 2017) WORM. Everyone. Inclusion. Progression. Let’s do this.

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Quotes WORM is a place for curious minds. The programming and people are really interesting. Natasha Taylor Worm institut de l avant garde recreatif, ou on deboulone les standards et melange les experiments. Vincent Denieul WORM – авангардистское арт пространство, одно из самых популярных в Нидерландах, состоящее из нескольких площадок, на которых выступают приглашенные художники со своими перформансами, выставками, музыкальными шоу. В составе WORM находится проект Pirate Bay – архив арт материалов на разных носителях, созданный и накопленный в организации за более чем 20 лет истории.

Anna Nesterenko WORM is a place where weirdo individuals find community by mutual non-conformativity.

Manon van Driel Nunca había estado en un sitio como WORM, en España no hay sitios así. Estoy buscándome en el arte y quiero aprender de todas las disciplinas, por lo que este es el mejor sitio para hacerlo. Además la gente es super abierta y me han recibido muy bien. Aquí me siento tranquila, cómoda, todos los días aprendo algo, disfruto, y me bebo una buena cerveza. Sara Delgado It’s the place to be in Rotterdam / WORM gives opportunities to programme a wide vaiey of things / Be surprised! Janneke van der Putten 25

Jei reiktų apibūdinti WORM keliais būdvardžiais, tai būtų – keistas, meniškas, avangardinis, gyvas, duodantis sielai kažko, ko ji taip ilgėjosi. Visą tai galėjai pajusti šį savaitgalį, festivalio MOMO metu. Atvykęs į vietą nebežinai kaip suspėti visur: Wunderbar bare artistas pardavinėja savo darbus, kiek palypėjus laiptais -koncertų salė, perpildyta muzikos gerbėjų, besimėgaujančių džiazo ir indie muzika. Koncertų salės gale, slaptos durys veda į teatro erdvę, kur atlikėjai ruošiasi pasirodymui bokso ringe.

Už teatro erdvės, meno galerijoje, eksponuojamos video instaliacijos tampa keliu į pasirodymų barą, kuriame, undinėlėmis apsirengę atlikėjai bando išpešti lankytojų nuodėmes. Rūta Genyte Το WORM Pirate Bay λειτουργεί ως ένα αρχείο με διαδικτυακή βάση δεδομένων, αντιγραφικό κέντρο και ιδιαίτερο χώρο προβολής μέσα στον πολυχώρο του WORM.Παρέχει δωρεάν και απεριόριστη πρόσβαση σε μια αξιοσημείωτη εκλεκτική συλλογή +6000 ταινιών (DVD, VHS), βιβλίων, περιοδικών, μουσικής (CD, LP, κασέτα) και ηχητικών συσκευών. Η θεματική του αρχείου κινείται γύρω από την avant-garde, πειραματική, cult και diy αισθητική. Μέσα από περφόρμανς, συναυλίες, προβολές, εγκαταστάσεις και ομιλίες ερευνά τη διαχρονική σχέση μας με τα μέσα αυτά. Angeliki Kardamaki Getting ripped and sick light shows, performance constantly - Oh the GREAT WORMY LOVE!!

Piupiu-Maya Turei WORM – Wort in sich als auch Symbol für eine Bewegung von Kreativen, Freidenkenden und Ausbrechern. Ein Tornado, der sich am Ende des Tages auch bei allen Unterschieden im Auge trifft, um Visionen 26

für die Zukunft zu schaffen. WORMs unverwüstlicher Wirbel weht sich mit großer Zuversicht und Bedeutung in das Leben aller Mitgerissenen. Auftrieb wird durch Liebe gewonnen. Meteorologisch unerforschtes Ende.

Katja Krüger Doskonaly chaos czyli Dzien w pracy, po pracy.

Siedzac przy barze z wodka w reku, kostka lodu i cytryna oczywiscie, podchodzi do mnie 7 osoba w przeciagu 15 min zeby sie przywitac. Buziak, misiek, co slychac, fajnie cie widziec.

Zaczyna sie soundcheck kapeli we Foyer WORMu. To niskie miejsce a kapela jest punkowa i perkusjonista ma w dupie to ze dzwiek sie nie rozchodzi i wali po bebnach jak oszalaly. Niektorzy wychodza bo nie moga porozmawiac. Technik drapie sie po glowie : jak tu kurwa robic soundcheck, bez sensu. Duzo smiechu.

Lubie takie klimaty garazowe.

Wchodze do gory, do Central Station. Zaczyna sie koncert klasycznej muzyki. Ludzie ladnie ubrani, uprzejmi, usmiechnieci. Dzwiek czysty, przyjemnie posluchac. Lubie takie klimaty koneserskie. Wychodze z budynku zobaczyc co dzieje sie w Perfomance Bar. Mijam elegancko ubranych ludzi. Pieknie umalowana kobiete. Goscia bez spodni....? “Par de pantalon” w Performance Barze.Wszyscy w majtach. Publika, ktora przyszla na Classical Next miesza sie z ludzmi wsamych gatkach. Za strony wunderbaru, Foyer dobiegaja dzwieki perkusji. Kompletny chaos.

I wszystko jest doskonale. Anka Pajor

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sources Richard Sennett, The Open City.

Ithel Colquhoun, The Living Stones: Cornwall (1957).

Toimetanud Andres Lþo, Stalking Stalker / Stalkeri jälgedes (2011).

Arts Council England, Experimental Culture (2018).

Zygmunt Bauman, Liquid Modernity (1999).

Gudrun Gut, Monika Werkstadt (LP) (2018).

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credits Content: Charlien Adriaenssens Janpier Brands Richard Foster Jan Hiddink Design: Natalia Papaeva

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