///This is a report and archive of THE VOID’s livestream at REMIX Fest 2024///
Organized by the Netherlands Institute of Sound and Vision, REMIX Fest 2024 took place on the 18th of October 2024. REMIX Fest offers practical insights, inspiring examples, and innovative ideas. A day specifically designed for art & film school students, alumni and artists with a budding interest in creative reuse: the implementation and usage of archival materials in artistic practices.
Hosted and curated by Giulia Timis, Jordi Viader Guerrero, and Tommaso Campagna, with the support of , and , THE VOID’s livestream at REMIX Fest 2024 features around 3 hours of in-depth conversations with timeis.capital, Auke Triesschijn, Wytze Koppelman, Melisa Cenik, Mitsitron, and REMIX Fest curator Cees Martens.
Program
- Introduction with Cees Martens
- Archiving Self-Organized Spaces with timeis.capital
- Queer Zine-Making with Auke Triesschijn
- Archiving Video Games with Wytze Koppelman
- Documenting De School with Melisa Cenik
- Reconstructing the Peiraiki-Patraiki’s Factory Occupation with Mitsitron
- Closing Remarks and Bridge with UKRAiNA TV
Introduction with Cees Martens
Opening of THE VOID’s pop-up streaming studio at REMIX Fest 2024. A conversation between REMIX’s program creator and project leader Cees Martens and THE VOID’s Giulia Timis and Tommaso Campagna.
REMIX Fest offers practical insights, inspiring examples, and innovative ideas. REMIX Fest is a festival where you can explore new research methodologies, learn about copyright, gain insight into storytelling, and discover the value and importance of archival material in new work. Be inspired by international artists and experts through a range of masterclasses, interactive workshops, and extensive keynotes, packed with practical examples.
Archiving Self-Organized Spaces with timeis.capital
Interview with Iskra Vukšić & Roman Tkachenko by Tommaso Campagna. Iskra and Roman are founders of timeis.capital, an online platform for audio-visual research on self-organization. They conduct interviews mainly in self-organized spaces, of which they make photogrammetry and upload it on their website.
Iskra Vukšić is a writer and artist working with installations, performance, videogame, and photography.
Roman Tkachenko is an artist and researcher. His practice is based on investigating the political and social implications of the built environment.
Watch timeis.capital’s Index on Self-Organisation in the Arts here and their research on self-organized art spaces in The Netherlands here.
Queer Zine-Making with Auke Triesschijn
Interview with Auke Triesschijn by Jordi Viader Guerrero on the zine as underground medium for queer expression.
Auke Triesschijn (1987) is a graphic artist from Rotterdam. Under the title Hello Mom he has been working on a series of screen prints and riso printed zines about his coming out. Growing up gay means growing up with a secret, which can feel lonely and scary at times. Auke’s work deals with religion, family, homosexuality and coming to terms with who you are.
Archiving Video Games with Wytze Koppelman
Interview with Wytze Koppelman by Jordi Viader Guerrero on the traveling installation series Archives at Risk: Seeking Shelter, in which the Network Archives of Design and Digital Culture (NADD) highlights the uncertain future of Dutch design and digital culture archives.
In this iteration of the traveling installations series, NADD presents the archive of Utrecht-based game studio Wispfire. The installation showcases the design process of the indie game Herald and was on view during REMIX Fest 2024 at Sound & Vision in Hilversum.
Wytze Koppelman is a curator for the Culture & Entertainment section at Sound & Vision, overseeing a broad array of domains, including Entertainment, Animation, Documentary, Drama, Games, Art & Culture, Music, Nature, Religion & Philosophy, and Satire. His responsibilities involve both developing the collection through active and passive acquisitions and presenting the material in various formats.
Documenting De School with Melisa Cenik
Interview with Melisa Cenik by Giulia Timis at REMIX Fest 2024 on Het Archief, an expansive online sound archive documenting the Amsterdam club and cultural venue De School.
Melisa Cenik (1993) has been deeply involved in nightlife culture since her early twenties, where most of her insights were put into practice at international music label and festival organization Dekmantel. For the past two years, she has expanded her focus to the broader fields of arts and culture, contributing to and being involved in projects such as Het HEM’s digital platform The Couch, the Amsterdam Fund for the Arts, and De School. At De School, she recently initiated and launched the digital sound archive, Het Archief.
Reconstructing the Peiraiki-Patraiki’s Factory Occupation with Mitsitron
Interview with Mitsitron by Giulia Timis on their experimental publication dedicated to the occupation of Peiraiki-Patraiki’s factory in 1990 at Patras, Greece, as well as their ongoing live coding performance Thanks for Listening.
Mitsitron (they/them) is a transdisciplinary artist that has been caring about political art, exploratory music and making things public consecutively since 2018. They currently work with sound, coding, performance, writing and organising on softening, politicizing and queering aural cultural productions. They’re part of the Platform for Extratonality that organizes live events, broadcasts and workshops around dissident sound making, the inter-dependent publishing project Blob Shop Collective and the bottom up space Klakschool, currently being imagined and developed by Rotterdam locals and sound lovers.
Closing Remarks and Bridge with UKRAiNA TV
Closing remarks to THE VOID pop-up streaming studio at REMIX Fest 2024 and hybrid connection with UKRAiNA TV.
THE VOID is a research project on tactical video and an audiovisual publishing venue for practice-based research. Hybridity and collectivity are essential for the way THE VOID functions: we propose to reframe modes of media production into collective acts of broadcasting. By setting up hybrid pop-up streaming studios, we merge production, distribution and archiving into a single event. In order to practice audio-visual criticality, our streams display the on-site social and technical infrastructure with all its glitches. We see our hybrid pop-up studios as tactical video: an occasion to pollute online spaces with offline encounters and, vice versa, to rearrange how we physically exist together to create new ways of inhabiting a stagnating online media landscape.