ALŽBĚTA BARTONÍČKOVÁ (KOVANDOVÁ) 

Opening of the 'Old and Restless' exhibition, beneficial event for the Czech Alzheimer Foundation / Staří a Neklidní – Benefiční výstava Michaely Eiseltové ve prospěch Alzheimer nadačního fondu ve Skautském Institutu

Visit Liverpool Biennial 2018: Beautiful world, where are you? at FACT until 28 October 2018: https://www.fact.co.uk/projects/liverpool-biennial-2018-agn%C3%A8s-varda-mohamed-bourouissa-morehshin-allahyari.aspx Find out more and book tickets for Agnès Varda: Pioneer, screening weekly at FACT until 17 October 2018: https://www.fact.co.uk/projects/agn%C3%A8s-varda-pioneer.aspx Agnès Varda is one of the pioneers of French New Wave Cinema. With a career spanning photography, cinema and visual art, Varda’s works are characterised by a playful yet radical approach to image-making, and the filmmaker’s keen attention to - and appreciation of - the world around her. In 2003, Varda was invited by Hans Ulrich Obrist to exhibit at the Venice Biennale. This pivotal moment in Varda’s career saw a shift in the perception and presentation of her work from film to visual art. Varda refers to this move as her ‘third life’ and since then, her films, photography, installations, and sculptures have been exhibited worldwide and now, for the 10th edition of Liverpool Biennial, Varda presents her first UK commission at FACT. On display at FACT from 14 July - 28 October 2018, Varda’s work highlights the importance of reflection and revisitation within her own work, stimulating questions around temporality and the rhythm of human life. The presentation will be accompanied by Agnès Varda: Pioneer, a programme of weekly screenings of her works and a personally curated selection of films to accompany her own. Hans Ulrich Obrist is Artistic Director of the Serpentine Galleries in London and since his first show in 1991, has curated more than 250 exhibitions. Obrist first began publishing interviews in 1996 and over the past two decades has recorded over 2000 hours of conversations with artists, architects, film-makers, philosophers, performers, scientists and writers. This event concludes with a Q&A led by Dr David Hering, Lecturer in American Literature and Co-Director of the Centre for New and International Writing at the University of Liverpool. Agnès Varda: In Conversation with Hans Ulrich Obrist is presented in partnership between FACT, Liverpool Biennial, University of Liverpool and Picturehouse. Agnès Varda is commissioned by Liverpool Biennial and FACT.

We’re going to be live from the Royal Liverpool Philharmonic as the Royal Liverpool Philharmonic Orchestra performs a programme of Walton, Grieg and Tchaikovsky! Pianist Nobuyuki Tsujii is the soloist in Grieg’s iconic Piano Concerto and the concert is conducted by Vasily Petrenko. Walton – Partita Grieg – Piano Concerto Tchaikovsky – Symphony No.4

ŘAP out now. Rap: ŘMDH1 Prod: USELESS INDEPENDENCY of MINEDATE VD: OBRAS1 ŘMDH1: https://www.facebook.com/heiko.one USELESS INDEPENDENCY: https://soundcloud.com/uslssindpndnc MINEDATE: https://soundcloud.com/minedate DBKL: https://www.facebook.com/dbkltykurvo Lyrics: Proboha!!! Sodoma Gomora!!! O mores, o tempora! Jsem jako Lotova žena a musím bědovat – Sodoma Gomora! O mores, o tempora! O mores, o tempora!!! Pobodat, zakovat, v betonu pochovat, Pohrdat, žehrat na svobodu projevu! Se z vás poseru, kam se poděla pokora?! Cotoje kokoti??!! Zpátky do školy studovat Latinu, Kulturu řeči a strukturu projevu! Budovat hodnotu postaru, Doplnit látku a výchovu potrati!!! Ten váš real talk v mejch uších zní jako newspeak. Mluvíš jenom v termínech, co k tobě pustí newsfeed. Smutný, spektrum vnímání, čím dál užší. Říkáš si pimp ale nikdy ses neživil jako kuplíř. Všichni cejtej se, jebat celej svět, perverze? Ne! Sou jenom líný přemejšlet, povrchně přebíraj tendence, trendy a chtěj bejt fresh Terminální fáze digitální demence – delirium tremens! Ztratil jsi rozum a řeč. Jseš de facto dement. Tristní slovní zásoba násobí fatální absenci názoru. Nádor metastázuje, vyplní prádzný nádoby, Vyhubí zárodek vlastního náhledu! Rozmaže rozdíly kladu a záporu, nerozenáš světlo a tmu! Nerozenáš světlo a tmu!!! Proboha!!! Sodoma Gomora!!! O mores, o tempora! Jsem jako Lotova žena a musím bědovat – Sodoma Gomora! O mores, o tempora! O mores, o tempora!!! Dokola melete hovna jak koledu, Forma i obsah je rapový ptydepe! Podle modelu Orwella to o čem mluvíte potom i žijete! Motivy hovoru užší než prdelní otvor, Společnej zápach rozkladu, skládky, odpadu Mozkovna v plamenech, ztracený naděje, Hovno na paletě!!! Tvůj rap je post pravda. Jsi asi nečetl nic vod Havla. Děláš music z lásky ale déj mi kéš do mý kapsy! Cash! Všechny ty individuality v klipu ukazujou značky! Swag! Máš svoji čest – vyprcáváš šlapky! Sex! Seš sám svůj pán, máš plán, vidim vás, ste v pasti! Trap!

Whilst vast amounts of objects, sculptures and monuments are destroyed throughout history with different rationales, the destruction by ISIS in 2015 spawned a renewed concern to cultural heritage. In Material Speculation: ISIS, Allahyari creates a practical and political possibility for artefact archival, whilst proposing 3D printing technology as a tool for both resistance and documentation, as well as a process for repairing history and memory. Material Speculation: ISIS goes beyond metaphoric gesture (and digital and material forms of artefacts) by including a flash drive and a memory card inside the body of each 3D printed object. The information on these flash drives includes images, maps, pdf files, and videos, detailing the artefacts and sites that were destroyed. Sourced by an intense research process involving archaeologists, historians, and museum staff (from Mosul Museum to archaeologists and historians in Iraq and Iran), these 3D printable files are in the process of being archived and made available online to download and be used by the public.

Writer and researcher Florian Cramer shares some of his research into little known factors influencing the rise of the alt-right - a segment of right-wing ideologies presented as an alternative to mainstream conservatism in the US. His presentation maps the emergence of this large white supremacist subculture, shining a light on the complex origins of the cultist language and image codes adopted by the movement. The alt-right presence has grown on message/image boards such as 4Chan and 8Chan through its appropriation of the meme, and managed to achieve significant cultural dominance, transforming their own brand of meme culture into a powerful and tangible tool. Cramer’s research has not only charted the successes of this unexpected online activity, but has also illustrated the apparent lack of any equivalent sub-cultural energy on the left. From Trump and Pepe the Frog, to Kek (the Egyptian God of chaos), Cramer’s lecture will challenge the shallow discourse of fake news and ‘post-truth’, which creates a smoke screen covering the actual dynamics at play, and in doing so will course the continual popularity of ‘Fashy’, or ‘fashionable fascism’.

Julian Assange has been living at the Ecuadorian embassy in London since June 2012. In early 2013, !Mediengruppe Bitnik sent a parcel to the WikiLeaks founder, in a work entitled Delivery for Mr. Assange. The parcel contained a camera which broadcast its entire journey through the postal system live on the internet. FACT presents documentation of this performance, but also (in its first UK presentation) Assange’s Room, a striking, sculptural 1:1 reproduction of Assange’s office at the embassy. The room is meticulously constructed entirely from memory, (photography is not allowed in embassy rooms) after several visits made by the artists to the office. A disparity to Assange’s freedom, visitors to the room can freely walk in and out of the uncannily normal space. The physical restrictions placed on a seeker of political asylum stand in stark contrast to the reach offered by Wikileaks, and the Internet, as a platform for free speech. !Mediengruppe Bitnik is participating in How much of this is fiction. with the support of the Swiss Arts Council Pro Helvetia.

Part of No Such Thing As Gravity 11 November 2016 - 5 February 2017 Water Gas Car (2013-present) by Nick Laessing (UK/DE) questions what energy really is, and if it always adheres to the laws of physics. Investigating theories about free energy, cold fusion and new forms of propulsion, Laessing has spent a decade visiting backyard inventors, and is attempting to build a car that is fuelled only by water, neither accepting nor rejecting the idea that his experiments might work. In his work, composed of sculptures, installations, films and drawings, Nick Laessing explores the border areas of science, probing its relationship to the inconceivable. Often drawing on the utopian and aspirations of scientists and mathematicians of the past centuries, Laessingʼs sculptures and installations attempt to find the unexploited potentials in the obsolete or overlooked. He has also worked with harnessing energy, research into the free energy community, as well as attempting to replicate a radio first made by Friedrich Jürgenson to capture the frequency of the voices of the dead.