In a place far, far away, in the boonies, in the shithole of the world, ominous things happen. Initially disregarded, flat and indistinct, fear emerges from beyond everyday life bubbles. Hidden in the shadows, it reveals itself with the falling darkness to become more and more tangible, and to paradoxically concretize its shape. Sharp wire, rusty fence, some old boards, Polish – and not only – pulp, crumpled foil, randomly scattered objects of unknown origin, hum, whistle, clatter, and finally non-relaxing, monotonous noise – all these elements become deterrents in the multithreaded composition of odren alina and alex libertad. The audio-visuality constructed by the artistic duo emits a scent – extracted – devoid of its source, it abstracts itself, evoking surprising associative afterimages.
Decaying traits of oppression and gargantuan absorption appear as the remorse of the participants of Marco Ferreri’s The Grand Bouffe – to die by gluttony or put the barrel of an AK47 to your head. U VIRU NA KAŁU does not allow much room for manoeuvre. The decision to make an accusatory gesture is the only way to stay in the Temporary Autonomous Zone. Pulsating traumas of experience resonate like the heaviest dark industrial, shouted out by the legendary Genesis P-Orridge.
To quote Hakim Bey: “(…) we must realize (make real) the moments and spaces in which freedom is not only possible but actual. We must know in what ways we are genuinely oppressed, and also in what ways we are self- repressed or ensnared in a fantasy in which ideas oppress us.” (Autonomedia, 1991)
Taking up the topic of systemic regulation of the world, odren alina and alex libertad are disappointed by the star-like glowing lights, far beyond the horizon of the place where the devil says goodnight. They already know that the enchanting blaze of brilliance is reflected in the senseless machine sweating in its efforts to produce infinite amounts of unnecessary objects, ideas and activities.
The shithole of the world is not a place, it is in us. Everywhere and nowhere.
Alina Stsiatsova aka odren alina (born 1995, Belarus) – pharmacist, activist, volunteer, she currently studies at the Academy of Art in Szczecin. Alina Stsiatsova worked for non-governmental organizations in Belarus and supported people experiencing homelessness. While studying at the Belarusian State Medical University, her activities attracted the attention of the KGB and the militia. During her work in a pharmacy, she tried to engage the community of pharmacists to actively support the protests, which was negatively perceived by the management. She experiences “drugstore” nightmares to this day. She learned the basics of graphic design on her own and left her job – she is very happy with the decision. She currently lives in Poland and has a successful relationship with Aliaksandr Vialitchanka (aka alex libertad), although her prospective partner initially feared she had been a KGB agent. In her artistic practice, Alina Stsiatsova actively explores women’s experiences, ecological themes, human rights and various forms of oppression. Drawing from pharmaceutical education in the field of chemistry, biology and microbiology, she tries to bring a unique perspective of Art&Science to her work. The artist works in the fields of installation, video, performance and photography. She uses radical expressive means (smell, menstrual blood, self-mutilation)
Aliaksandr Vialitchanka aka alex libertad (born 1992, Belarus) – activist, punk, hooligan, volunteer, anarchist, he currently studies at the Academy of Art in Szczecin. He supported non-governmental organizations in Belarus, worked as a journalist for independent media. The artist sold electronic goods at a market, he taught himself to work with video (registration, editing), he lived in a dog shelter. Arrested and imprisoned by the regime on numerous occasions. He left Belarus and cannot return there. He currently lives in Poland. In his artistic practice, he deals with political and social topics and explores the mechanism of the system of oppression, with its causes (capitalism, patriarchy, state) and effects (migration, poverty, repression, corruption, institutional violence). He works in the field of installation, video and animation and frequently employs irony and pastiche.
They raise their dog Karo together.