ie: /ˈʋie̯dæ ˈsɑu̯nɑn ˈtɑːkse/ “to take behind the sauna”
                                              

                           In the beginning were the swamp, the hammer – and /ˌɛks.waɪˈzi/.
The ruins of a technically not traditional log
building serve as a refuge for those seeking to escape the limitations, which aim to virtually unite the individuals not on the edge. Above it stands a castle – (A) catering to even more traditionalized motifs.
                                             ;    ;    

                                                                                                   in the offline reality.



(B)Low and/or so on… the white cube
(criticism has been a superficial topic in public art discourse worldwide for
years, but it is often limited to seemingly insignificant off-space) space(s).
It is more interesting to rework the already existing meaning of (space as) an off-art, rather than just putting (finished) works on a jogging path or in a nearby forest without an A/C.
FELVIDEK as a concept
refers to both a video game released 2024 – and felvidék per se.
Panidivoka delivers (a) sense: anyway – unique postcards are available at the site. Only for you my friend – but remember – all (the) caps. (A)Mazing! The Upper Collective invites everyone eligible to stay in the bushes of Podhradie during the Kvantum Festival. In any case – and -ways, there will be a shaman from a distant land serving fresh and free food made out of local, natural ingredients. Dža ras-ta-fa-raj!



ie: /ˈʋie̯dæ ˈsɑu̯nɑn ˈtɑːkse/ “to take behind the sauna” In the beginning were the swamp, the hammer – and /ˌɛks.waɪˈzi/. The ruins of a technically not traditional log building once served as a refuge for those seeking to escape definitions; aiming to virtually unite (the) individuals (not) on the edge. Above it stands a castle – (A) catering to more traditionalized motifs. The steam has subsided, after all, but something is left.
---------------- 1
2
3

   The Upper Collective invites everyone eligible to stay in the bushes of Podhradie during the Kvantum Festival. Whatever and so on, there will be a shaman serving fresh and free food made out of local, natural ingredients.
 



























Dénes Kundrák (*2003, Debrecen, Hungary) aka. panidivoka operates in-between sound and image. What, after all, is the difference—one might rightfully ask—when entering the frequencies through which he moves, as though distinctions themselves begin to dissolve?

;        Kristína Grežďová (*1996, Prašice, Slovakia) is a wide-range cultural worker.
In the field of arts and education, she collaborates with kids between the age 0-99*. Grežďová’s projects mostly have a form of sculpted situations.
Her artistic research is dealing with topics relating to visual perception and interpretation – not to forget the everyday practice of talking about/communicating through images and (the so-called) art.





;     Jonne Väisänen (*1994, Kuopio, Finland)’s artistic activity is focused on materialization and visualization of current social themes of European spaces.
The “real” social context is the source of his artistic working material, as it is happening on levels that are not always material and permanent – despite the full dynamic of (neo)-ismuses being present ̶o̶u̶t̶ ̶(t̶
)h̶e̶r̶e̶. Väisänen works with such immaterial material, the character of which is dynamically changing, to achieve processual outcomes. We find ourselves embedded with(in) action – a process where the immaterial materializes. ;