Cosmo[s]politan Radiophonic Picnic Saturday 29/8, 12.00–16.00 (EEST/UTC+3) Venue: In front of Pixelache office, Kaasutehtaankatu 1/21 Suvilahti (Bldg. 7), 00540 Helsinki
Hallo Helsinki and beyond! This Saturday marks the inaugural ‘official’ broadcast from fugitive-radio.net. We’re celebrating by throwing a ‘radiophonic picnic’. ‘What’s that’, you say? It’s a bit like a ‘teddy bears’ picnic’ for signal surfers, acoustic astronauts, crystal radio cultivators, outside(r) broadcasters and anyone with a penchant for experimental offbeat radio.
There will be an open mic/line, so feel free to bring your set-ups. Also bring snacks, your devices and portable speakers to listen to. If you have a bluetooth JBL we can ‘connect’ for a roaming broadcast or ‘Sound Swarm’.
If you would like to beam in from elsewhere, please contact: firstname.lastname@example.org
We will meet in front of Pixelache office at 12.00. Kahvila Katarsis opens at 14.00 if you need refreshments. We might go wandering later, so stay tuned for updates!
Cosmo[s]politan Radiophonic Picnic is initiated by Sumugan Sivanesan, a Berlin-based artist and writer who will be in Helsinki over the coming year to develop ‘Fugitive Radio’ in collaboration with Pixelache and with support from the Kone Foundation.
Given the recent trend of radio in Contemporary Art I have been thinking about radio as performance and installation. Indeed, I’ve been thinking about how people come together to make radio, rather than listen to it. Juxtaposed to the ‘golden era’ trope of families huddled around the wireless to listen to the latest news of the world or radio play, my emphasis on radio as a social practice concerns how community forms around sound, equipment and the notion of broadcasting (to whom?). For me, this suggests an aspect of ‘gear fetishism’ — I do happen to think that sound equipment can be quite fascinating and obtuse and I enjoy the process of playing such technology as one would a toy or instrument. It reminds of some discussion about the postcolonial deployment of scientific or technical apparatus, the classic example being the turntable in early hip hop, and leads me to think about cultures of pleasure (indeed pleasure activism) and the libidinal qualities of technology and sound. This is arguably most apparent in a kind of commodity fetishism attached to consumer audio gear designed for leisure. I am not immune.
With this in mind, I’ll be hosting a Cosmo[s]politan Radiophonic Picnic in conjunction with Pixelache, Helsinki. I think of it as a ‘teddybears’ picnic’ but for radio lovers and broadcast ‘freques’. I’m hoping to connect with some of the radiophonic community here to share and learn about a diversity of practices, set-ups and approaches; from crystal radios, biosignals, pirate radio, parasite radio, outside(r) broadcasters and more…
Here’s a little (ghetto) blast from the past to whet your ears!
Today is the first day of a year-long artist-research project Barraca do Sound System and I want to mark the day with a clearing gesture. Given the current climate of anti-Blackness I want to begin by acknowledging my debt to Black culture, Black ingenuity and Black resistance. As a project that proposes to investigate and develop anti-racist media activism (initially in Europe), it makes particular reference to Afro-Brazilian practices and innovations.
The above Instagram post is from Daddypus Rex AKA Lee Richards, a multidisciplinary artist/poet/stand-up comedian and yoga teacher here in Berlin, which they published after the Black Lives Matters rallies following the lynching of George Floyd. Listen to Lee and Camille Barton speak about decolonial practices of healing, connection and pleasure during the Coronavirus pandemic.
[soundcloud url=”https://api.soundcloud.com/tracks/803953654″ params=”color=#96989f&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /] Decolonization in Action · S2E4: Finding Pleasure in the Age of Corona
Anti-racism can seem too general a term as differently racialised, and thus privileged people, confront anti-Blackness in their own families, communities and indeed in their own thoughts and perceptions. As the curator and scholar Kathy-Ann Tan recently demanded on Facebook:
non-Black People of Color need to step up and stand together with Black people to decry anti-Black violence!!! That means you, Asians in the diaspora — you who know only too well, and have internalized, the reductive and infantalizing cultural stereotype of the model minority.
This is a time for radical love, empowerment and care, for the force of anger and the erotic as power. It’s a time for re-connection to those who came and fought before us, because they believed in justice and deeply understood what solidarity meant at all costs. Because they knew that no one is free until Black people are free, no one is safe until Black trans people are safe.
With Barraca do Sound System I would like to extend an ongoing process of Black, indigenous and people-of-colour (BIPoC) solidarity that I’ve been fortunate to be a part of with the Berlin-based climate justice collective Black Earth. Even in the context of white supremacy, BIPoC solidarity cannot be presumed. I understand it to be a careful process that unfolds in ways that are particular to the communities, places and spaces in which it occurs. Barraca do Sound System proposes to develop such spaces, platforms and infrastructures where such solidarity can develop, online and ‘in real life’.
Barraca do Sound System is a practice-based research project, investigating the overlap of migrant media activism and urban music culture. It combines practice-based ‘DJ-as-method’ media experimentation with urban research and academic scholarship. The project is funded by the Kone Foundation Finland and is being developed in collaboration with Pixelache, a transdisciplinary platform for emerging art, design, research and activism based in Helsinki.
I feel that we need to find a way to liberate ourselves from centralized media and entertainment, and realize that we are not in fact consumers but actors. We need to get a bit uncomfortable and dim the ego, to dive deeper and find that it’s better to try and understand that we are all connected, organically. When we communicate, we don’t actually need to reach the whole world, we just need someone to listen and respond in some way. So it’s not mass media, it’s person to person communication. And to form a living community, we need to have a good platform and an inviting space. Radio is so very powerful because it can be very intimate, and it is free from the burden of images that instantly take hold of our thought, and thus gives room for your imagination.