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📱 Staňte se součástí výstavy DATAS: The Data and the Sovereign v Galerii Rudolfinum

Jak? Díky workshopu Škola algoritmické solidarity: lze zakódovat kolonialismus? umělecké dvojice eeefff (@eeefff_org). Akce proběhne v Galerii Rudolfinum v pondělí 8. června od 17:30 do 19:30. Vstup je volný. V angličtině. Výsledky se stanou součástí díla, které bude k vidění na připravované výstavě.

Zveme vás do spekulativního veřejného prostoru, kde budeme zkoumat, jak digitální instrukce formují náš každodenní život. Během setkání se podíváme na nedávno uniklý zdrojový kód největší IT korporace pocházející z Ruska. Zdrojové kódy společnosti yandex byly zkopírovány v červenci 2022 a zveřejněny na internetu 25. ledna 2023.

Žádné programátorské ani jiné dovednosti nejsou pro účast nutné. eeefff celým workshopem provede.

▸ ▸ ▸ Omezená kapacita, zájemce prosíme o rezervaci míst na e-mailu rajnisova@rudolfinum.org. Podrobnosti naleznete na odkazu v biu.

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📱 Be part of the exhibition DATAS: The Data and the Sovereign at Galerie Rudolfinum

How? Join us for a workshop titled The School of Algorithmic Solidarity: Can Colonialism Be Encoded? with the artistic duo eeefff (@eeefff_org). The event will take place at Galerie Rudolfinum on Monday, June 8, from 5:30 pm to 7:30 pm. Admission is free. In English. The results will be presented in an artwork by eeefff, on display at the upcoming exhibition.

You are invited to a speculative public space exploring how digital instructions shape our daily lives. During the session we will look into the recently leaked source code of the biggest IT corporation originated in Russia. The source codes of the yandex company were copied in July 2022 and published on the Internet on January 25, 2023.

No necessary programming or any other skills are needed. eeefff will guide the session.

▸ ▸ ▸ The capacity is limited, we kindly ask for a reservation by emailing rajnisova@rudolfinum.org. More info via link in bio.

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🇪🇺 The DATAS: The Data and the Sovereign project is co-funded by the European Union under the Creative Europe programme.

@galerierudolfinum, @projektatol, @gi_tschechien, @izolyatsia, @meetfactory, @tallinnarthall

[Deutsch unten]
Virtual Tour and Expert Talk: "vertical synchronisation" eeefff @eeefff_org with Mark Cinkevich @m_cinkevich

📅 May 12, 2026, 5:00–6:00 CEST
💻 Online event, link & more in bio!
🗣️ English

Fibre-optic cables are part of digital infrastructures and enable global participation, economic communication, and civic exchange. But can their function be turned against those it serves when deployed for state surveillance and control?

As part of their artistic research for Prater Digital, the collective eeefff is hosting a series of Virtual Tours and Expert Talks. In the third talk, "vertical synchronisation," we welcome artist and researcher Mark Cinkevich.

His work examines how one state's control over the digital infrastructures and data of neighbouring countries is steadily expanding. Taking Belarus as a case in point, Cinkevich traces how Russian intrusion and digital appropriation have been unfolding there since 2022.

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Virtuelle Tour und Expert Talk: „vertical synchronisation" eeefff @eeefff_org mit Mark Cinkevich @m_cinkevich

📅 12. Mai 2026, 17:00–18:00 CEST
💻 Online-Veranstaltung, Link & mehr in Bio!
🗣️ Englisch

Glasfaserkabel sind ein Teil digitaler Infrastrukturen und ermöglichen globale Teilhabe, wirtschaftliche Kommunikation und zivilgesellschaftlichen Austausch. Kann sich ihre Funktion ins Gegenteil umkehren, wenn sie zum Zweck von staatlicher Überwachung und Kontrolle eingesetzt wird?

Im Rahmen ihrer künstlerischen Forschung für Prater Digital lädt das Kollektiv eeefff zu einer Reihe von Virtuellen Tours und Expert Talks ein. In der dritten Veranstaltung „vertical synchronisation" begrüßen wir den Künstler und Forscher Mark Cinkevich.

Seine Arbeit untersucht wie Kontrolle durch staatliche Macht eines Landes über digitale Infrastrukturen und Daten von Nachbarländern mehr und mehr an Einfluss gewinnt. Am Beispiel von Belarus zeigt Cinkevich wie russische Zugriffe und digitale Aneignung seit 2022 stattfindet.

Grafik: eeefff

#pratergalerieberlin #kommunalegalerieprenzlauerberg #kunstundkulturpankow #praterdigital #eeefff #digitalinfrastructure #markcinkevic #fiberoptic

[Deutsch unten]
Virtual Tour and Expert Talk: "87000 km"

fiber optic cables ↔ oil ↔ protest ↔ signal ↔ body ↔ lead
eeefff @eeefff_org with Medina Bazargali @myodium

📅 April 28, 2026, 5:00–6:00 PM
💻 Online event, link & more in bio!
🗣️ English

87,000 km of fiber optic cables stretch across Kazakhstan, with their Internet Exchange Points (IXPs) centralized and managed by state-affiliated companies. What happens when this highly efficient network is instrumentalized?

As part of their artistic research for Prater Digital, the collective eeefff is hosting a series of Virtual Tours and Expert Talks. In the second event “87000 km”, we welcome artist Medina Bazargali.

Bazargali 's work traces the material links between resource extraction, digital infrastructure, and state control in Kazakhstan, and how they manifest in bodies, signals, and political resistance.

Graphic: eeefff

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Virtuelle Tour und Expert Talk: "87000 km"

fiber optic cables ↔ oil ↔ protest ↔ signal ↔ body ↔ lead
eeefff @eeefff_org mit Medina Bazargali @myodium

📅 28. April 2026, 17:00–18:00 Uhr
💻 Online-Veranstaltung, Link & mehr in Bio!
🗣️ Englisch

87.000 km lang sind die in Kasachstan verteilten Glasfaserkabel, deren Internet Exchange Points (IXPs) zentralisiert und von staatsnahen Firmen verwaltet werden. Was passiert, wenn dieses hocheffiziente Netzwerk instrumentalisiert wird?

Im Rahmen ihrer künstlerischen Forschung für Prater Digital lädt das Kollektiv eeefff zu einer Reihe von Virtuellen Tours und Expert Talks ein. In der zweiten Veranstaltung „87000 km“ begrüßen wir die Künstlerin Medina Bazargali.

Ihre Arbeit untersucht die materiellen Zusammenhänge von Rohstoffförderung, digitaler Infrastruktur und staatlicher Kontrolle in Kasachstan, und wie sich diese in Körpern, Signalen und politischem Widerstand manifestieren.

Grafik: eeefff

#pratergalerieberlin #kommunalegalerieprenzlauerberg #kunstundkulturpankow #praterdigital #eeefff #MedinaBazargali #digitalinfrastructure #experttalk

[Deutsch unten]
Virtual Tour and Expert Talk: Anxious Infrastructures
eeefff @eeefff_org with Iryna Loskot @lossskot & Oleksii Minko @lehaminko

📅 April 14, 2026, 5:00–6:00 PM
💻 Online event, link & more in bio!
🗣️ English

What happens to digital infrastructure in times of crisis – is it under threat, or does it itself become a source of anxiety?

As part of their artistic research for Prater Digital, the collective eeefff is hosting a series of Virtual Tours and Expert Talks. In the first talk, Anxious Infrastructures, artist Iryna Loskot and artist and writer Oleksii Minko will be joining as guests.

The discussion will focus on the body and its relationship to the infrastructures of war. While these infrastructures provide and protect, they can also generate anxiety: when their loss is imminent, when they are used for military purposes, when their very proximity becomes a danger. This extends to both human and non-human systems.

Graphic: eeefff

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Virtuelle Tour und Expert Talk: Anxious Infrastructures
eeefff @eeefff_org mit Iryna Loskot @lossskot & Oleksii Minko @lehaminko

📅 14. April 2026, 17:00–18:00 Uhr
💻 Online Veranstaltung, Link & mehr in Bio!
🗣️ Englisch

Was passiert mit digitaler Infrastruktur in Krisenzeiten – wird sie bedroht oder wird sie selbst zur Quelle von Angst?

Im Rahmen ihrer künstlerischen Forschung für Prater Digital lädt das Kollektiv eeefff zu einer Reihe von Virtuellen Tours Expert Talks ein. Im ersten Gespräch Anxious Infrastructures sind die Künstlerin Iryna Loskot und der Künstler und Autor Oleksii Minko zu Gast.

Im Zentrum der Diskussion wird der Körper in seinem Verhältnis zu den Infrastrukturen des Krieges stehen. Versorgen und schützen diese auf der eine Seite, können sie anderseits auch Angst erzeugen: wenn ihr Verlust droht, wenn sie militärisch genutzt werden, wenn ihre Nähe selbst zur Gefahr werden kann. Berücksichtig werden dabei menschliche und nicht-menschliche Systeme.

Grafik: eeefff

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Today we’re featuring an conversation hosted by MOST’s own Vera Zalutskaya, “Playtesting ‘Present Future’: An Interview with eeefff”, which was conducted on the occasion of the MinnaTarkka Lectures 2025 produced by the Helsinki-based Media Culture and Art Agency M-Cult.

Zalutskaya began the conversation with a question about place. “I always had the feeling that your practice, despite being digital and algorithmically-oriented, is strongly connected with context and the specific tensions which are happening in our complicated geography. Did the transfer to Berlin influence your practice, how you shape and communicate it?”

To which eeefff (Dzina Zhuk, Kolja Spesivtsev) replied, “It’s a complex question, we’re still analyzing it. On the one hand, in Berlin it’s much easier to find other artists who are working within the techno-social landscape. On the other hand, our approach may seem a bit strange to some people, because our work with technologies is not about some fancy interfaces, it’s much more about creating relationships within these technological fields. Because we think the distribution of knowledge, of affect, is very geographically dependent. When we are thinking about situated actions, we are thinking about them not from the side of aesthetics, but more from a political conjunction. It’s also relevant when we’re talking about collective actions related to automation or algorithms, which are some of our main interests.”

Read the full conversation on our site!

@eeefff_org
@zalutskayavera
@mcult.helsinki
@kiasmamuseum

#mostmagazine #artculturepolitics #MinnaTarkkaLectures #mculthelsinki #cee

Wir möchten euch das Künstler:innenkollektiv eeefff @eeefff_org vorstellen.

eeefff (Minsk/Berlin) ist ein künstlerisches Kollektiv/ eine erfundene Institution / eine kybernetische politische Brigade / poetische Berechnungen / eine Hacking-Einheit / queere Zeit. Der Arbeitsschwerpunkt der Künstlerin und Fiction-Autorin Dzina Zhuk und des Künstlers und Informatikers Kolja Spesivtsev liegt auf der Poetik und Politik mit neuen Technologien.

Das Kollektiv arbeitet mit Emotionen und Affekten, die durch Technologien geprägt sind, und realisiert softwarebasierte Projekte, Publikationen, Netzwerke und Plattformen, die digitale Arbeit, Wertabschöpfung und Gemeinschaftsbildung kritisch untersuchen.

eeefff wird für Prater Digital in diesem Jahr eine künstlerische Forschung zu Infrastrukturen des Internets sowie deren Auswirkungen auf digitale Nachhaltigkeit machen. Gemeinsam mit ihnen arbeiten wir daran, unsere Rolle im Umgang mit digitalen Infrastrukturen und digitaler Nachhaltigkeit weiterzuentwickeln.

Stay tuned!

__//

We’re looking forward to collaborating with the artist collective eeefff @eeefff_org.

eeefff (Minsk/Berlin) is artistic cooperation / made-up institution / cybernetic political brigade / poetic computations / hacking unit / queer time. It is neither one of these, nor all together. The artistic practice of artist and fiction writer Dzina Zhuk and artist and computer scientist Kolja Spesivtsev focuses on the poetics and politics of new technologies.

The collective works with emotions and affects shaped by technologies and makes software-based projects, publications, networks, and platforms that critically explore digital labour, value extraction, and community formation.

As part of Prater Digital, eeefff will do artistic research into internet infrastructures and their impact on digital sustainability. Together, we will develop our role in engaging with digital infrastructures and digital sustainability.

Stay tuned!

Wir möchten euch das Künstler:innenkollektiv eeefff @eeefff_org vorstellen.

eeefff (Minsk/Berlin) ist ein künstlerisches Kollektiv/ eine erfundene Institution / eine kybernetische politische Brigade / poetische Berechnungen / eine Hacking-Einheit / queere Zeit. Der Arbeitsschwerpunkt der Künstlerin und Fiction-Autorin Dzina Zhuk und des Künstlers und Informatikers Kolja Spesivtsev liegt auf der Poetik und Politik mit neuen Technologien.

Das Kollektiv arbeitet mit Emotionen und Affekten, die durch Technologien geprägt sind, und realisiert softwarebasierte Projekte, Publikationen, Netzwerke und Plattformen, die digitale Arbeit, Wertabschöpfung und Gemeinschaftsbildung kritisch untersuchen.

eeefff wird für Prater Digital in diesem Jahr eine künstlerische Forschung zu Infrastrukturen des Internets sowie deren Auswirkungen auf digitale Nachhaltigkeit machen. Gemeinsam mit ihnen arbeiten wir daran, unsere Rolle im Umgang mit digitalen Infrastrukturen und digitaler Nachhaltigkeit weiterzuentwickeln.

Stay tuned!

__//

We’re looking forward to collaborating with the artist collective eeefff @eeefff_org.

eeefff (Minsk/Berlin) is artistic cooperation / made-up institution / cybernetic political brigade / poetic computations / hacking unit / queer time. It is neither one of these, nor all together. The artistic practice of artist and fiction writer Dzina Zhuk and artist and computer scientist Kolja Spesivtsev focuses on the poetics and politics of new technologies.

The collective works with emotions and affects shaped by technologies and makes software-based projects, publications, networks, and platforms that critically explore digital labour, value extraction, and community formation.

As part of Prater Digital, eeefff will do artistic research into internet infrastructures and their impact on digital sustainability. Together, we will develop our role in engaging with digital infrastructures and digital sustainability.

Stay tuned!

Wir möchten euch das Künstler:innenkollektiv eeefff @eeefff_org vorstellen.

eeefff (Minsk/Berlin) ist ein künstlerisches Kollektiv/ eine erfundene Institution / eine kybernetische politische Brigade / poetische Berechnungen / eine Hacking-Einheit / queere Zeit. Der Arbeitsschwerpunkt der Künstlerin und Fiction-Autorin Dzina Zhuk und des Künstlers und Informatikers Kolja Spesivtsev liegt auf der Poetik und Politik mit neuen Technologien.

Das Kollektiv arbeitet mit Emotionen und Affekten, die durch Technologien geprägt sind, und realisiert softwarebasierte Projekte, Publikationen, Netzwerke und Plattformen, die digitale Arbeit, Wertabschöpfung und Gemeinschaftsbildung kritisch untersuchen.

eeefff wird für Prater Digital in diesem Jahr eine künstlerische Forschung zu Infrastrukturen des Internets sowie deren Auswirkungen auf digitale Nachhaltigkeit machen. Gemeinsam mit ihnen arbeiten wir daran, unsere Rolle im Umgang mit digitalen Infrastrukturen und digitaler Nachhaltigkeit weiterzuentwickeln.

Stay tuned!

__//

We’re looking forward to collaborating with the artist collective eeefff @eeefff_org.

eeefff (Minsk/Berlin) is artistic cooperation / made-up institution / cybernetic political brigade / poetic computations / hacking unit / queer time. It is neither one of these, nor all together. The artistic practice of artist and fiction writer Dzina Zhuk and artist and computer scientist Kolja Spesivtsev focuses on the poetics and politics of new technologies.

The collective works with emotions and affects shaped by technologies and makes software-based projects, publications, networks, and platforms that critically explore digital labour, value extraction, and community formation.

As part of Prater Digital, eeefff will do artistic research into internet infrastructures and their impact on digital sustainability. Together, we will develop our role in engaging with digital infrastructures and digital sustainability.

Stay tuned!

💻 A moment from the session: eeefff reflecting on Outsourcing Paradise.

✨ Excerpt from ARE YOU FOR REAL. Cosmo-Clusters Activated, our free online guided tour with eeefff and Sara Bezovšek, where we explored their works together and opened space for conversations around their practices and ideas.

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

↜ Forest ↬ Assembly ⤤ of ⇝ Educational ↻ Fictions ⤯ @massiaofficinale archive is online at workhardplay.pw ⟿

↭⤻⤳⤥ THANK YOU ⤥↭⥀ for this week of collective fictioning, swamping, stargazing, un-talenting, maintenance and abolishing time ⤻⭈
to all the participants ⤥ Bilal Alame, Beciu, Ester Bergsmark, Lutzz Bog, Caro, Giulia Casalini, DJ Chantarelle, eeefff, Katsiaryna Firaho, Andria Nyberg Forshage, Gleb, Ida Hordiichuk, Nastia Hrychkovska, Marina Israilova, Anna Ivanova, Joshua Jenkins, Lea Kalfus, Urszula Kozak, Anne Kur, Iryna Loskot & Oleksii Minko, Mo, Lo Moran, Dan Nulty, Alisa Oleva, Hanna Paniutsich, Carnelian Seville, Nat Skoczylas, soft fantasy, TTS, Joanna Zabielska, Natálie Zehnalová, Olya Zovskaya ↜⥀⥒
↶ to MASSIA and all its care-takers for hosting us, especially to Nat Skoczylas, Lutzz Bog, Mo and Beciu, ↺↹
to everyone who proposed recipes ⥆⥒ Olya Zovskaya, Bilal Alame, Anna Xyana ⤽⥁ to Mo for making the bread ⤠ and all of us who cooked, cleaned, cooked, shared spices, cleaned, foraged and feasted and put their time and labour into collective maintenance,↸
to ⥲⥹ Natálie Zehnalová, Joanna Zabielska, Urszula Kozak, Dzina Zhuk, Kolja Spesivtsev, Anne Kur, Nat Skoczylas and Beciu ⤳↬ for navigating the logistics and caring for infrastructures ↯⤥⤻
↭⤻⤳⤥⟿
⥀

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

we have recently been intertwining and twisting (🔗🔗🔗 in bio 🔗🔗🔗)from:
– fiber optic cables, that are used for military drones, underwater and land network connections, leisure relaxation toys, frontex border control sensors infrastructures, but they are also used now by birds to build their nests in Ukraine full of left-overs from war-drones;
– pipes of different kinds used for modeling of the oil pipelines, watering plants, building fountains for cats and aquariums as well as for artificial lungs and hearts;
– sabotage wires: leftovers of the session “is it possible to feel the infrastructural time?”;
– found parts of trees, plants and mundane objects near the Museum of Contemporary Art Antwerp.

@mostmagazine__ @yulia_krivich @kyivbiennial @zalutskayavera @ewa_borysiewicz @kathryn.zazenski

💻 Hello, human on the other side of the screen.

Join ARE YOU FOR REAL. Cosmo-Clusters Activated for a free online guided tour with eeefff and Sara Bezovšek.
eeefff’s Outsourcing Paradise looks into the hidden labor behind algorithms, exposing the emotional and political weight of digital work.

🌌 12 Nov 2025 | 18:30–20:00 CET
💻 Online and free
🔗 Register through the link in our bio

💻 Hello, human on the other side of the screen.

Join ARE YOU FOR REAL. Cosmo-Clusters Activated for a free online guided tour with eeefff and Sara Bezovšek.
eeefff’s Outsourcing Paradise looks into the hidden labor behind algorithms, exposing the emotional and political weight of digital work.

🌌 12 Nov 2025 | 18:30–20:00 CET
💻 Online and free
🔗 Register through the link in our bio

And one more speaker to meet. Dzina Zhuk is an artist, techno-politics researcher, and writer. Her work spans para-fiction texts, experimental infrastructures, and situations addressing digital conditions, colonial dependencies, and fragile solidarities. She will share a new para-fiction piece — “Scene: Walking/listening/assembling underneath ‘Druzhba’ oil pipeline…” (2025) — alongside experiences with the cooperative @eeefff_org the School of Algorithmic Solidarity (2022–ongoing), the co-organized Work Hard! Play Hard! (Minsk, 2016–2020), and the recent Forest Assembly of Educational Fictions (2025).

Moderator: Mariam Yeghiazaryan

🗓 ONLINE | October 30, 14:00–16:00 CET
Register via link in bio. Participation by registration only.

This project is supported by the Danish Cultural Institute through the New Democracy Fund.

And one more speaker to meet. Dzina Zhuk is an artist, techno-politics researcher, and writer. Her work spans para-fiction texts, experimental infrastructures, and situations addressing digital conditions, colonial dependencies, and fragile solidarities. She will share a new para-fiction piece — “Scene: Walking/listening/assembling underneath ‘Druzhba’ oil pipeline…” (2025) — alongside experiences with the cooperative @eeefff_org the School of Algorithmic Solidarity (2022–ongoing), the co-organized Work Hard! Play Hard! (Minsk, 2016–2020), and the recent Forest Assembly of Educational Fictions (2025).

Moderator: Mariam Yeghiazaryan

🗓 ONLINE | October 30, 14:00–16:00 CET
Register via link in bio. Participation by registration only.

This project is supported by the Danish Cultural Institute through the New Democracy Fund.

🌌 Step into the digital cosmos with ARE YOU FOR REAL. Cosmo-Clusters Activated🪐

An online guided tour with eeefff & Sara Bezovšek!poetic critique, web fictions, and the digital worlds we build together. 💻

📌12 Nov 2025 | 18:30–20:00 CET | Online via BigBlueButton
🔗 Register through the link in our bio

🌌 Step into the digital cosmos with ARE YOU FOR REAL. Cosmo-Clusters Activated🪐

An online guided tour with eeefff & Sara Bezovšek!poetic critique, web fictions, and the digital worlds we build together. 💻

📌12 Nov 2025 | 18:30–20:00 CET | Online via BigBlueButton
🔗 Register through the link in our bio