Who is witnessing the hardest periods of history and who is making the story out of it? While girls were granted with the lovely gift of diaries, boys were given notebooks to study, to expand in their own thoughts for then sharing them with the world and participate in the global discourse of legitimate history. We think the time of thoughtful journals is up and in this project we are unlocking diaries as the most important and profound data collections on social and political disasters, we are micing up the stories that are private and sensitive that’s why they will be accessible in the symbolic password mode.

Diary method allows the participant to record it as it occurs (or at least closer to the moment that it occurs). When participants record their observations or perceptions in the moment, we learn something different about their experiences than might be gained from other methods.  Through this project we want to work with the personal documentation of this toughest period on planet Earth with those witnessing it in different problematic contexts.

We invite to participation artists, curators, musicians, art and social theorists from different countries who at one time or another have taken the brunt of instability, armed conflicts, occupation or colonial interventions and work with the relentless and ruthless ongoing social and political systems as abuse. Program set itself the task to speak about social injustice and suffering from imperialism and colonization. It will include various formats: audio, video, images and texts.

website with collected audiovisual materials: http://radiofantasia.online/diaries

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Unlocking Diaries

Txt file:

Տոտալ վերաիմաստավորման ճանապարհն իմ կյանքում սկսվեց 2018-ից: Մարմնով, մտքով, զգացողություններովմի օրգանիզմ դարձանք ("հեղափոխություն"): Կարճատև երջանկություն, որին հաջորդեց հիասթափությունն ումշտաներկա պատերազմը, որի գոյությունն ու ավերիչ ուժը ես խորապես չէի գիտակցել մինչ 2020 թվականը: 2019-ից ամբողջ աշխարհը կանգնեց: Տարօրինակ, ու հաջորդիվ, խորը արտաշնչի նման թեթևացնողզգացողություն էր "հեղափոխության" բուռն ապրումներից ու հաջորդիվ տարօրինակ տարվանից հետո: Ինձթվաց, թե "էս ա breaking point-ը" դեպի գլոբալիզացիա, աշխարհի բացություն, համերաշխություն, քանի որամբողջ աշխարհը խոցելիության փոռձառության մեջ ա ու դա կյանքի վերաիմաստավորման հիմք ա, փիլիսոփայության ու ռեֆլեկսիայի ժամանակ: Հետո պարզվեց որ էդ ամբողջ աշխարհը իմ գլխում ա (ու էլի ինչ-որմարդկանց): Նոր իրավիճակով ինձ ճանաչեցի լրիվ նոր կողմից:
Քովիդն ու պատերազմը ինձ գցեցին դեպրեսիայի մեջ, որը արդեն շատ երկար շարունակվում ա տարբերփուլերով: Ինձ երբեք էսքան անմասնակից ինքս իմ կյանքում չեմ զգացել: Առանց պայքար ու կիրք կյանքիհանդեպ, ուղիղ գիծ,  իսկ ես իմ բնույթով ինիցիատոր եմ ու միապաղաղություն չսիրող (կամ էի, ամեն ինչշարժման մեջ ա ու ըստ ազդեցությունների մի բանը արտահայտվում ա, մյուսը՝ լռում):
 Փուլեր են եղել, երբ ինքս իմ մտքերի թակարդի մեջ էի զգում ու գիտակցելով հանդերձ անզոր էի դուրս գալէդտեղից ու տագնապի զգացողությունից բացի ուրիշ ոչինչ չէր կատարվում ներսումս: Հետո եկավ ավելի դաժանփուլ՝ ապատիա, հուզականության, ցանկության բացակայություն, բութ վիճակ: 
Հիմա ամեն օրս գրեթե նույնն է՝ զարթնում եմ,  լվացվում, սուրճ խմում, հաց եմ սրաքում, ուտում, նստումհամակարգչի դիմաց աշխատելու, հաց եմ սարքում, ուտում, նստում համակարգչի դիմաց աշխատելու, ժամը 8ինձու փոսթում (արվեստագետ Վանանե Բորյանի հետ քովիդ ժամանակ հիմնեցինք "y collective” դուոն ու"eggsistentialism” նախագիծը), մտնում հեռախոսի մեջ մինչ ժամը գիշերվա 1-2ը ու գնում եմ քնելու (եթեստացվում ա): Ամեն երկուշաբթի "art box”- ի օնլայն հանդիպում ժամը 19:00ին, ամեն երեքշաբթի՝աշխատանքային օնլայն հանդիպում, ժամը 21:00-ին: Շաբաթը մեկ ամուսնուս հետ ամբողջ տունը մաքրում ենք(генеральная уборка): Ամբողջ օրս ուղեկցվում ա ինքս իմ գոյության, արվեստի (ան) կարևորության, տանեցիներիմեծանալու ու աշխարհի անկայունության մասին մտքերով: 
Դեպրեսիան սպառող ա դարձնում, ոչինչ ունակ չես տալ, քեզ անպետք ես զգում:
Վերջերս ակնթարթային զգացողություն եմ ունենում, որ սա մեկնարկային կետ ա, վերակերտման փուլում եմ ու էդակնթարթում ինքս իմ հետ հաշտվում եմ:

Դեպրեսիան նմանեցնում եմ պատերազմին՝ (որպես մասնակից թիկունքից) սպառող ու տագնապի մեջ պահող, քեզնից մեծ մի բան: Երկու դեպքում էլ ավարտվելուց հետո (ֆոնային) տագնապով ես մնում, որ կարող ավերսկսվի:

LISTEN/READ FULL DIARY PAGE: zurkastepla.com/unlock
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Anna Vahrami (b.1993) lives and works in Yerevan, Armenia. She graduated Yerevan State Academy of Fine Arts in 2013. Starting 2016 Vahrami has been conducting and presenting her artistic research within Armenian contemporary art scene. Her artistic praxis is focused on relationship experiences, feminist issues, and particularly on female body and its exploitation in different perspectives. Vahrami works with video, sound, installation and performance.
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”y collective" 
ART COLLECTIVE BASED IN ARMENIA, FOUNDED BY CONTEMPORARY ARTISTS ANNA VAHRAMI & VANANE BORIAN.  “Y” IS A CROSSDISCIPLINARY ORIENTED ART COLLECTIVE, RESEARCHING THE COLLABORATION BETWEEN ART & SCIENCE.
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links/ссылки:

Anna Vahrami – https://annavahrami.wixsite.com/puter/bio
y-collective – https://annavahrami.wixsite.com/puter/y-collective
Vanane Borian from “y collective” – https://www.vanane.com/


*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 001 – Anna Vahrami

DIARY PAGE of Kani Kamil

Here is the text of one of my pieces, Masculine Hanger and also I have attached a few photos, Textiles have played a major role in the interconnections of the social, cultural and economic life of Iraqi Kurdistan. From making clothes to weaving rugs, the production of textiles was mostly executed by invisible and often unpaid labour by women. For instance, for a specific men’s Kurdish expensive Kurdish costume called ‘Shall’, a significant period of time and production is needed in order to prepare the raw material (the animal hair) to weave a ‘Shall’ fabric. The final handprint and selling process, however, belongs to men, superseding the work of women. Reproducing a (300cm x 17cm) shall fabric out of my hair is to articulate the notion of unpaid labourers and mundane jobs of women through a local product.

LISTEN/READ FULL DIARY PAGE: http://radiofantasia.online
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Kani is a visual artist and performer of experimental sound with hair. Born and raised in Iraq, she currently lives and works in London.
Her works signify the relentless and ruthless ongoing social and political systems of abuse in Iraqi Kurdish society, representing and embodying the hidden specific societal issues through her hair and voice to challenge the stereotype. Her interest is around stories that have never been told or heard, and history that has never been recorded, translating and decoding these stories into art and using art as a tool for social critique is the method in her artistic practice with using investigating form to reveal the unrevealed side of the stories, therefore the listening process is a major part of her practice.
She employs human hair as the main material as a tool for the entanglement of many perspectives and politics and converges personal stories through it as a protest against this stigma that never disappears against a specific gender in that society. Producing work through photography, installation, video performance and sound. 

Since 2015, her works have been exhibited in galleries and institutions including the National Museum NOMUS in Gdansk, Poland(2021), (Babylon Cinema as Moviemento, Kreuzberg and FSK Kino) in Berlin, Middle East Institute, Washington
D.C(2019), V&A London, Manchester art gallery the UK, Institute of fine art Iraq, Reykjavik Art Museum in Iceland, woman made Gallery (WMG) Chicago.
Kani also holds an MA in [fine art] from Middlesex University, London, with the artist Sonia Boyce as her tutor. She is currently studying for a PhD in [fine art] at Manchester Metropolitan University.
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links/ссылки:
web: https://kanikamil.com
instagram: https://www.instagram.com/kani_kamil_majid/

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 002 – Kani Kamil

Kasha Potrohosh is a visual artist from Ukraine, currently based in Bratislava. Kasha studies intermedia at the Academy of Fine Arts and concentrates her creative endeavors on intermedia projects. While she has a wide range of solo activities and projects, Kasha is also a participant in the MAPSN performative group. In her works, Kasha often uses textile as a medium and a camouflage element. Her themes intersect with the subjective experience with the themes of death, autotherapy, and reflections on social issues.
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February.
A new phrase "bystander effect", to remember what doomscrolling is. Drink so that you don't wake up already. The phone is cracking from screenshots of what / to whom / from where / to where to take. I struggle with myself to start creating. It seems that the artist needs to cover the problems after he sublimates his own. All right.

April.
......
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Read full Diary: http://radiofantasia.online

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 003 – Kasha Potrohosh

Cedrik Fermont (aka C-drík, Kirdec, Cdrk) is a Berlin-based Belgian-Congolese composer, musician, mastering engineer, author, radio host, concert organiser, independent researcher and label manager (at Syrphe) who operates in the field of noise, electronic and experimental music since 1989.
His compositions and installations vary from sound art and electroacoustic to noise, to
industrial to more conventional “dance” music such as electronica or acid and so on ;
solo and in collaborative projects (as Axiome, Tasjiil Moujahed, Ambre, with Marie
Takahashi, Luong Hue Trinh, Yan Jun, Mick Harris, Mark Spybey, Gülce Özen Gürkan and many more artists). He has toured extensively in Eurasia, Africa and North America, and his main research focuses on electronic, electroacoustic, experimental and noise music from Asia and Africa – history, sociocultural context and decolonisation.
He composed music for sound installations, theatre and choreographies, including collaborations with Robyn Orlin, Guangdong Modern Dance Company (GMDC) and Dao Anh Khanh.
In 2017 he released together with Dimitri della Faille the book Not Your World Music
about noise music in South-East Asia, winner of the 2017 "Golden Nica" Prix Ars
Electronica in the "Digital Musics & Sound Art" category.
In 2005, his soundtrack for the experimental film Atalodz directed by Gisèle pape won the best prize at Côté Court festival, Paris/Montreuil, France.
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http://syrphe.com/c-drik.html
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The sea is on fire.
I’m not a professional photographer but I tend to take a lot of pictures together with field recordings.
Mountains, insects, rivers, found objects, or else. The beauty of “nature”, the beauty and ugliness of human activities.
.......

read/listen/watch fill diary page: https://radiofantasia.online

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 004 – Cedrik Fermont

Medina Bazargali diary page
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Medina Bazargali is a kazak transdisciplinary contemporary artist, fem- and queer- folk politics activist, steppe cyber-warrior, coder, researcher. Born in 2001 in independent Kazakstan. Bazargali operates at the intersection of decolonization, feminism and political activism, practically experimenting with AR, video, 3D graphics, installation, web-development, visual programming, cyber-physical systems, computer vision and neural networks.
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read/listen/watch fill diary page: radiofantasia.online

Diary page 006 – Medina Bazargali

The Circassians' self-awareness is closely connected with the traditional music and culture of our people. And, of course, with the formation of Ored Recordings. In expeditions and research, we try to maintain objectivity and impartiality. But at the same time, Ored is a very personal story. This is the story of the decolonization struggle and the rejection of some stereotypes. And first of all, it is a struggle with one's prejudices. During school years and at the beginning of university studies, the local cultural environment offered us to listen to ethno-pop and radio pop music. We didn't know anything about our native culture outside of the official layers and didn't seem to want to know. Why remember your native language and why you need it at all are also questions to which the elders had no answers. Answers that would be suitable for young rebels who were looking for themselves in the ideas of Anton LaVey or in the music of Led Zeppelin. Radical and bold artistic practices and ideas of the West and Moscow seemed much more attractive than exemplary song and dance ensembles. Today it is obvious that the denial of one's identity was based on emotions and lack of knowledge. And the first to break through this wall of denial was not knowledge, but emotions. Thanks to the Жъыуensemble from Adygea, we heard what our music could be. Gloomy, ascetic, uncompromising - not like we've been told all this time. At the moment of acquaintance with Жъыу, we decided that this was pure music, as it used to be in the glorious pagan past, when globalization did not come to us. They took the archives of the past and tried to reproduce the music of the past with meticulous accuracy. Today it is clear that this is not a reconstruction at all, but a re- creation. Because nothing from the past can be recreated in its purest form. But at the moment of national “awakening” - the first reaction is not a decolonial shift, but the romanticization of the past and the search for purity in one's past. This was the case, for example, with Aslan Tashu, co-founder of the Circassian group Myst and resident of Ored Recordings.
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read full material: http://radiofantasia.online/diaryv6

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 007 – Ored Recordings

Self-awareness occurs even deeper for us when we accept our identity, not as a single point, as a place where many borders, languages and elements intersect. So instead of chasing a “pure pagan” heritage, over time we decided to abandon the imposed stereotypes about originality, antiquity and greatness. Instead, the label decided to adopt different sides of Circassian music: not only the epic and songs of the War of independence from the Russian Empire, but also Islamic chants- zachirs, wedding dance tunes and even a late Soviet chanson from Adygea. And even ethno-pop, which used to cause rejection, requires reflection and acceptance today. Because being Circassians for us is to abandon the cultural hierarchy and give space to different people. The space that was taken away from our people in the 19th century and the hierarchy that was imposed on us. 

АдыгэбзэкIи сыпсалъэми, урысыбзэр къасщтэми - тIум щыгъуи сыадыгэ. Эстрадэм тетыри, шыкIэпшынэ зы1ыгъыри, синтезаторым кIэрысыри - псори адыгэщ. Уадыгэмэ псори адыгэ пщ1ыф1ынущ. Къащти щIы.
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read full material/читать полный материал: radiofantasia.online/diaryv6

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 007 – Ored Recordings – Aslan Tashu (voice message)

But wounded pride and revanchism subside when people turn from nostalgia to concrete actions and artistic practices. Although this transition is often very traumatic and difficult. 

This was the experience of Daiana Kulova, the vocalist of our other project Jrpjej.
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Но уязвленная гордость и реваншизм утихают, когда люди от ностальгии переходят к конкретным действиям и художественным практикам. Хотя и этот переход часто очень травмирующий и сложный.

Таким был опыт Дайаны Куловой вокалистки другого нашего проекта Jrpjej.
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read full material/читать полный материал: http://radiofantasia.online/diaryv6

*Project funded by the Stabilisation Fund for Culture and Education 2022 of the German Federal Foreign Office and the Goethe-Institut

Diary page 007 – Ored Recordings – Daiana Kulova (voice message)

EXTRA-GENRE COMMUNITY RADIO «FANTASIA» ORIGINATED BY TYPOGRAPHY CENTER WORKERS IS TO CREATE A PLATFORM TO SPEAK OPENLY ABOUT ACTUAL PROBLEMS OF THE WORLD SOCIETY AND ARCHIVE MATERIALS COLLECTED BY ARTISTS, CURATORS, JOURNALISTS, ART AND SOCIAL THEORISTS, SONIC RESEARCHERS AND SOUND POETS.

WE CREATE AN IMPULSE AND HOPE THAT IT WILL FIND AN OUTLET IN DIFFERENT POINTS OF REALITY, WE WANT TO COME TOGETHER WITH THOSE CULTURAL WORKERS THAT CONTINUE TO WORK IN DIFFICULT SITUATIONS ALL AROUND THE WORLD.

WE CONSIDER IT IS IMPORTANT TO FIGHT FOR YOUR RIGHTS, STATEMENTS AND FREEDOM IN VARIOUS FORMS. THERE ARE DIFFERENT WAYS OF CIVIL RESISTANCE, SPREADING INFORMATION ABOUT WARS, CONFLICTS, DISCRIMINATION AND A CLEAR AND UNAMBIGUOUS EXPRESSION OF THE POSITIONS.

Unlocking Diaries

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