VZOLM

[vzolm]

Hotel Salyut / Kyiv, Ukraine / -- Avraam Miletsky, N. Slogotskaya, Vladimir Shevchenko [1982-1984]

[vintage-ukraine]

Threat of War by Maria Prymachenko, 1986

[vzolm]

Dnipro, Ukraine [2017]

<3

[acehotel]

Skate legend Peggy Oki, photographed by James O’Mahoney in 1975. 

[patchjacketking]

I think my embroidery skills are getting better

[vzolm]

src

[abandonedandurbex]

Computer wiring tunnel inside an abandoned coal power plant, photo by Bryan Buckley [1280x854]

[aqqindex]

Florian Graf, Ghost Light-Light House, 2012

[standardizedprotocols]

[standardizedprotocols]

[vzolm]

[thebreathingman-deactivated2020]

MF Doom and Madlib

[architectureandfilmblog]

THE PRUIT IGOE MYTH (2011)

The infamous demolition of these housing blocks, only 20 years after completion, was seen by many to represent the death of Modern Architecture. The idealistic principles behind the project had by then given way to squalor, extreme violence, and chaos - for reasons which, in reality, went well beyond design - into management, maintenance and systemic racism. This film is a worthwhile watch as a cultural and historical document, but also as a reminder of the long-term complexity of creating successful places, and the naiveté (or arrogance) of believing they can be achieved by an architectural vision alone. 

As Urban Historian Robert Fishman says, “Housing alone could not deal with the most basic issues that were troubling the American city. There was just no way to build your way out of that tragedy. We have a responsibility to understand those failures, and to learn from them and try to do better.” That, of course, isn’t to say we shouldn’t try to do as much as we can through architecture and planning, just that we need to be aware of how those design interventions will work, long-term, within a larger context.

[vzolm]

Golubjevaite - We Bleed Like G

‘A performance that deals with a release of a female voice – off the leash and into the social abyss. This act takes a form of a monologue and functions also as a live/IRL version of an audiovisual project – www.WEBLEEDLIKEG.com‘

[...]

‘The website as well as the performance are based on poetry I have been writing for the past 4 years. The poetry is a personal fiction written in a self-confident matter, elaborating on feminism, postfeminism, gender, love, relationships, religion, patriarchy, world wide web and confusion.’

A selection of texts for the occasion are shuffled on the spot. A microphone to be used as an amplifier for the soft-toned voice. Calm vocal manner of the performance is important and functions as a notification that a quiet voice does not equal zero voice. Every voice counts, every word counts but off course there is always a risk of a message loss in the social abyss – the audience. A general visibility of this particular vocal tone is more important in this case. Numerous noisy industrial sound loops – mixed on turntables- are accompanying the vocal act. The rough soundscape serves as an extra struggle and a symbolic opposition to the tenderness of the voice.

-- http://www.webleedlikeg.com/

-- http://www.golubjevaite.com/

[standardizedprotocols]

[vdgrom-deactivated20210213]

Rotterdam [2019]

[vdgrom-deactivated20210213]

Vo Ezn - kmo.zix

Aqtushetii compilation: In His Knotty Ears, The Donkey’s Bells Would Jangle

“‘in his knotty ears, the donkey’s bells would jangle’ is a selection of music either performed live, bootlegged, composed, or partly developed at AqTushetii artist residency & festival, summer 2018. Mirroring the diversity of the residents that took part, this compilation is an eclectic mix of genres and styles — musique concrete, computer music, Ashiq music, Circassian folk, post-industrial, modular synthesis, electro-acoustic music, tape collage, noise, drone, ambient, audiobook — from different parts of the world: Georgia, Sweden, Australia, Switzerland, North Caucasus, USA, UK a run of cassette [c102] editions will also be available from August 2019. For more information/copies, contact:  [email protected]  / [phone] or [phone]“

Compiled by Scott McCulloch Artwork by Josey Kidd-Crowe