https://tentativetransmits.com Tentative Transmits Tue, 21 Jan 2025 15:18:34 +0000 https://tentativetransmits.com en https://tentativetransmits.com/Menu-don-t-edit-4 Wed, 17 Aug 2022 06:44:16 +0000 Tentative Transmits https://tentativetransmits.com/Menu-don-t-edit-4 AUDIO WRITINGS ABOUT AND CONTACT https://tentativetransmits.com/Audio Sat, 02 Apr 2022 11:34:27 +0000 Tentative Transmits https://tentativetransmits.com/Audio Meira Ahmemulić När moster gav SKF fingret (2023) 25:00 min Language: Swedish “När moster gav SKF fingret” handlar om ordens hemsökande kraft och förbannelsen som motståndshandling. Ahmemulić inspireras av förbannelser från byarna Gusinje och Plav i Montenegro, som ligger i skuggan av Prokletije – De fördömdas bergskedja.The sound work is about the haunting power of words and cursing as resistance.&nbsp;Ahmemulić is inspired by curses from the villages Gusinje and Plav in Montenegro, situated in the shadow of Prokletije – the Accursed Mountains. Ordens hemsökande kraft och förbannelsen som motståndshandling. I skuggan av Prokletije – de fördömdas bergskedja. &nbsp; &nbsp;BIO&nbsp; &nbsp; Meira&nbsp;Ahmemulić&nbsp;is an artist and writer. She studied at Valand College of Art in Gothenburg and at the Academy of Fine Arts in Colombo, Sri Lanka. Her work has been exhibited at several art institutions in Sweden, most recently at Blå Stället (Angered), GIBCA (Gothenburg International Biennial of Contemporary Art) and Moderna Museet. As an author, she has been published in magazines such as Ord&amp;Bild, Glänta, OEI and Paletten. CREDITS SOUND DESIGN AND SOUND MIX:&nbsp;Anders Kwarnmark and&nbsp;Meira Ahmemulić <img width="2985" height="3218" width_o="2985" height_o="3218" data-src="https://freight.cargo.site/t/original/i/3dc89d170734ba15512c3c23b13ed799be7e1746d0cb9a715a9c75ba46a7b9d0/Bild_finger.JPG" data-mid="178300852" border="0" src="https://freight.cargo.site/w/1000/i/3dc89d170734ba15512c3c23b13ed799be7e1746d0cb9a715a9c75ba46a7b9d0/Bild_finger.JPG" /> <img width="2985" height="3218" width_o="2985" height_o="3218" data-src="https://freight.cargo.site/t/original/i/3dc89d170734ba15512c3c23b13ed799be7e1746d0cb9a715a9c75ba46a7b9d0/Bild_finger.JPG" data-mid="178300852" border="0" src="https://freight.cargo.site/w/1000/i/3dc89d170734ba15512c3c23b13ed799be7e1746d0cb9a715a9c75ba46a7b9d0/Bild_finger.JPG" /> Image: Meira Ahmemulić &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Marianna Feher Walled up whispers (2023)20:00 minLanguage: English “Walled up whispers” is an experimental sound travelogue based on the search of the legend "The Walled Up-Wife" and the different versions expressing them in the Balkans. The audio-montage is assembled from personal experiences, collected testimonies and local stories. Myths travel. They get retold and translated. They are in a constant phase of transition that most times, never reach their final destination. Usually, there are no fixed versions, just many variations. &nbsp; &nbsp; BIO&nbsp; &nbsp; Marianna Feher (b. 1989, Malmö) is an artist, organizer and researcher. Her work is often mediated through writing, performance, sound, montage, collaborative processes and public gatherings. Her practice investigates ways in which socio-political, historical, and interpersonal forms of power interact with and affect bodies.︎ CREDITS SOUND DESIGN, SOUND MIX, MUSIC:&nbsp;Karl Sjölund READINGS OF&nbsp;Legjenda e Rozafës, Zidanje Skadra, Kőműves Kelemen:&nbsp;Sihana Shalaj, Jelena Ćulibrk, Maria Feher <img width="1701" height="2050" width_o="1701" height_o="2050" data-src="https://freight.cargo.site/t/original/i/4bde504c43b89b8bd61e21e419af90dfed7df3d58dde97656ab45e94b1b5b085/walled-up.jpg" data-mid="175227902" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/4bde504c43b89b8bd61e21e419af90dfed7df3d58dde97656ab45e94b1b5b085/walled-up.jpg" /> <img width="1701" height="2050" width_o="1701" height_o="2050" data-src="https://freight.cargo.site/t/original/i/4bde504c43b89b8bd61e21e419af90dfed7df3d58dde97656ab45e94b1b5b085/walled-up.jpg" data-mid="175227902" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/4bde504c43b89b8bd61e21e419af90dfed7df3d58dde97656ab45e94b1b5b085/walled-up.jpg" /> Larisa Crunţeanu In Others’ Words (2022)19:18 min Language: English “In Others’ Words” is a sound-based work and live performance that follows a non-linear script based on handwritten notes found by the author in her neighbourhood in Bucharest, between 2010 and 2022. While strolling around the house or going to nearby shops, whenever Crunțeanu saw a piece of paper handwritten on she would pick it up. For a long time, she thought this archive will one day turn into a work about handwriting, as a technology on the verge of disappearance. Maybe someday it will. In the meantime, the present work tells the story of a collective mind made of individuals who share only two things: they passed through a small geographical area in the last 10 years, and they had something that needed to be put into words, whether it was notes to self, shopping lists, complaints to or about neighbours, lyrics to be remembered, words of wisdom, love letters, homeworks, recipes or simply stream of consciousness writings. The accompanying soundscape, together with the performative delivery of the text, creates the atmosphere of a long lament, whose spiritual force lies in the possibility of awakening words once lost, ghost words, once again. For a long time, she thought this archive will one day turn into a work about handwriting, as a technology on the verge of disappearance. &nbsp; &nbsp; BIO&nbsp; Larisa Crunțeanu works as a performer, video artist and sound collector who moves from reality to fiction in an endless conversation with the viewer. Larisa Crunțeanu’s works create contexts in which facts and memories are reactivated, encouraging a shared effort and the emergence of new practices. Many of her projects reflect on the notion of collaboration and the ideas existing behind objects and stories. Her works were shown in important institutions such as the National Museum of Contemporary Art in Bucharest, SAVVY Berlin, Zacheta Project RoomWarsaw, RKI Berlin, Museu de Arte Brasileira – MAB FAAP, São Paulo.Laurențiu Coțac (b. 1986) is a Romanian doublebass player and sound artist, living in Bucharest. His activity shifts between performing in the avantgarde and the punk circuit and recording/mixing material for other notable leftfield acts, field location sound for documentary, sound design, installations and studio production. He is a member of the Hyperion Ensemble led by Ana Maria Avram and Iancu Dumitrescu and has toured throughout Europe several times. His musical views focus on composition and free improvisation, triggering an intimate reaction to irregular impulses from sounds carefully chosen and assembled as tectonic plates movement. Using acoustic and electronic sources and drawing inspiration from large ensemble classical and contemporary works,&nbsp;Laurențiu Coțac is looking to provide the listener with a sculpted sound siege-type experience, both secluded and meditative.︎ <img width="5444" height="3637" width_o="5444" height_o="3637" data-src="https://freight.cargo.site/t/original/i/3f50caf34aa18c9d75163b7a139be28cb0d285b9e05a22add03fd459ea5be534/larisa-1.jpg" data-mid="159452910" border="0" src="https://freight.cargo.site/w/1000/i/3f50caf34aa18c9d75163b7a139be28cb0d285b9e05a22add03fd459ea5be534/larisa-1.jpg" /> <img width="5444" height="3637" width_o="5444" height_o="3637" data-src="https://freight.cargo.site/t/original/i/8f9984d597f24d503acdffd3747748ba05eeefc99123bfb4b6035619c779f9de/larisa-2.jpg" data-mid="159452911" border="0" src="https://freight.cargo.site/w/1000/i/8f9984d597f24d503acdffd3747748ba05eeefc99123bfb4b6035619c779f9de/larisa-2.jpg" />To dream in layers, to dream and scream series, b/w photography, 2022, courtesy of the artist Škart Collective&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Listening Session with Škart Collective (2021)56:02 min The listening session hosts Škart collective, who speaks about their practice in relation to choirs, self-organization and radical amateurism. The conversation is entwined with choral pieces from their project Horkeškart, formed in 2000. Produced for the online festival “Magical Cohabitations” by Akademie Schloss Solitude, March 2021. &nbsp; BIO&nbsp; Škart is a collective founded in 1990 at the Faculty of Architecture in Belgrade. While experimenting through their work, they focus primarily between the medium of poetry and design. "Architecture of the human relationships" is their main concept. Through the constant flux within the collective, present since its very beginning, members collaboratively work to develop new values. They are particularly capable through the process of making, to embrace 'beautiful' mistakes and tirelessly strive to combine work with pleasure.︎ CREDITS&nbsp; Working Song, Let's Sharpen Our Scythes, The Spirit of Youth, Rebuilding Song, Blue River, I’m Eating Your Plaster Plastic, Rewind, Antenna, Street, Vivacious School Trips SOUND MIX&nbsp; SOUND RECORDING SOUND DESIGNER POST PRODUCTION Niclas Stanik Ludwig Ernst (Akademie Schloss Solitude) Vladimir Zivkovic (Horkeškart)Yoshio Machida (Amorfon) HORKEŠKART GERMAN TOUR SUPPORTED BY &nbsp; WHW, ZagrebKC Rex, BelgradeCenter for Cultural Decontamination, BelgradeAkademie Schloss Solitude, StuttgartJean Baptiste JolyMaximilian Kosoric, ZKM, Karlsruhe WITH THANKS TO &nbsp; &nbsp; &nbsp; &nbsp; Škart collective, Horkeškart, Yoshio Machida, Akademie Schloss Solitude and the Royal Institute of Art, Stockholm &nbsp;&nbsp; <img width="2534" height="1462" width_o="2534" height_o="1462" data-src="https://freight.cargo.site/t/original/i/f71bc1415153fbd3ef640af0168a8179628298618cc5b2a2b8c392618602e3f3/horkeskart1-www.jpg" data-mid="159561915" border="0" src="https://freight.cargo.site/w/1000/i/f71bc1415153fbd3ef640af0168a8179628298618cc5b2a2b8c392618602e3f3/horkeskart1-www.jpg" /> teatru-spălătorieSymphony of Progress (2022) 52:39 Radio theatre Languages: Romanian, Russian, English (for full English translation click ︎︎︎here) In the radio theatre “Symphony of Progress”, different forms of modern progress are addressed and the structural violences that they present; the progress of the capitalist system that relentlessly develops new forms of exploitation and colonisation. The progress of technology that controls and punishes but never protects nor supports. The progress of violence in the relations between the West and the East, violence that has definitely only flourished during the pandemic when in Western societies own citizens were protected and migrant workers were exploited. The progress of a democracy where democratically taken political decisions tend to hit more and more the underprivileged communities and bring benefits to the ones in power. The progress of technology that controls and punishes but never protects nor supports. &nbsp; BIO&nbsp; teatru-spălătorie is a theatre company and a multidisciplinary platform that provides a space for artists to act and respond to political and social events in Moldova and the world. Since it was founded, teatru-spălătorie has produced 15 theatre productions, most of which are documentary plays. In their works they address issues like: Holocaust during the WWII on the territory of Republic of Moldova in the documentary play, Clear History (2012); a critical perspective on the first 25 years of Republic of Moldova history in Independent Moldova. Erratum (2014); labour migration issues in American Dream (2015); radiography of the Moldovan educational system in Uneducated (2015); working conditions in Moldova and workers’ rights in Requiem for Europe (2018); a critical reflection on the patriarchal system and patriarchal family in the Abolition of the Family (2019).︎ CREDITS Supported by Creative Force, Seed Funding, Swedish Institute <img width="8000" height="4188" width_o="8000" height_o="4188" data-src="https://freight.cargo.site/t/original/i/85e8b07ccfb6761a49b775f35a3f67e7f623382a6a69f42657ee84f32281b499/FB_EVENT_BANNERS-1.jpg" data-mid="159354689" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/85e8b07ccfb6761a49b775f35a3f67e7f623382a6a69f42657ee84f32281b499/FB_EVENT_BANNERS-1.jpg" /> Poster “Symphony of Progress” by Agga Stage Pavlo Grazhdanskij and Marina Karpova I Heard About It (2022) 17:02 Sound from public videos (stereo, mono) Language: Ukranian, Russian “I heard about it” is dedicated to the research of the media space after the Russian invasion of Ukraine from February 24, 2022. Dealing with representation as a state, following the changes of the documentary, and analyzing fragments as separate: evidence and out/information, we tried to assemble our experience from this process. The situation of the first days of the war, in which a huge amount of visual materials were published, has changed a lot. The concentrated homogeneity of the news spectrum, from missiles hitting hospitals and residences, to torn off body parts, casual shooting episodes, footage from body cameras and surveillance from the air, is realized with a delay under military censorship. The space of evidence has been transformed, having lost temporal and sequential connections, gradually replacing the image as a form of message. Already after a month of the war, information began to come in the form of a retelling, text, or a caption to a blurred video image, in which sound remained the only form of a document. The highly moderated media space, although it does not explicitly require it, nevertheless works with the imagination. We are listening to video recordings, but they only confirm the audio experience as an event and state. There is a restless intensity in its materiality, a body that can be spoken, an echo of fallen metal, someone screaming in the distance in the middle of the night. The highly moderated media space, although it does not explicitly require it, nevertheless works with the imagination. &nbsp; &nbsp;&nbsp; Pavlo Grazhdanskij &nbsp;is born in 1991 in Kharkiv, Ukraine. Grazhdanskij has exhibited at Detenpyla gallery (Lviv); Sörnäinen public bomb shelter (Helsinki); and Rosa’s House of Culture (Saint Petersburg), among others. Studied arts and politics at «Chto Delat» School for Engaged Art, has been a resident of programs such as ÖRES (Finland), Apexart Fellowship (United States), ISCP (United States). Research interests: strategies of representation; the problematics of documentary and found material; artistic approaches and manual labor in data processing and collection; the evidence potential of digital materials; dead-ends and turns of logics of sustainable states; biopolitics; images of survival strategies; abstraction. ︎︎︎ grazhdanskij.com&nbsp; &nbsp; Marina Karpova&nbsp;is a Russian sound artist and activist, non-binary person and anarcho-feminist. Marina works with field recordings, composes music, plays cello and piano, makes sound walks, teaches music theory and composition, leads sound and listening labs. Since the beginning of the war in Ukraine, Marina has been doing anti-war struggle:&nbsp; anti-war protests, helping Ukrainian refugees, doing anti-war actions. Marina likes working as a collaborative artist and has many collaborations with other artists.︎︎︎ chernayaevm.ru SOURCES ︎︎︎ “Database of 251 videos exposes the horrors of war in Ukraine”,&nbsp; Washington Post (2022) ︎︎︎ Twitter feed:&nbsp;UkraineRussiaWar Channels and links from the Telegram app are not provided for security reasons. <img width="2268" height="1276" width_o="2268" height_o="1276" data-src="https://freight.cargo.site/t/original/i/07e63773db6845dc82fbf79309be1e24b6304a82441c134684e2e5dfc301e366/00004.png" data-mid="154811860" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/07e63773db6845dc82fbf79309be1e24b6304a82441c134684e2e5dfc301e366/00004.png" />Image:&nbsp;anonymous source <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/dc148d946c5d25172f96759d4ea2b73c9da9aca100750c4d506475c91e673919/000001.png" data-mid="154811858" border="0" src="https://freight.cargo.site/w/1000/i/dc148d946c5d25172f96759d4ea2b73c9da9aca100750c4d506475c91e673919/000001.png" /> Image: anonymous source https://tentativetransmits.com/Tentative-Transmits Sat, 02 Apr 2022 11:34:27 +0000 Tentative Transmits https://tentativetransmits.com/Tentative-Transmits Tentative TransmitsThe Radio as G/HostMarianna Feher &amp; Olivia Berkowicz https://tentativetransmits.com/Text-Irfan Mon, 20 Jan 2025 17:06:08 +0000 Tentative Transmits https://tentativetransmits.com/Text-Irfan Navigating the Periphery: Irfan Hošić on Culture, Crisis, and Community Interview with Irfan Hošić https://tentativetransmits.com/Interview-with-Zdenka Tue, 21 Jan 2025 15:18:34 +0000 Tentative Transmits https://tentativetransmits.com/Interview-with-Zdenka Self-Historicization and Solidarity: Zdenka Badovinac on Art and Post-Yugoslav History&nbsp;Interview with Zdenka Badovinac Mapping the underground: Artpool Art Research CenterInterview with Júlia Klaniczay <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/84a398bd2ffccd2455ad3f78d25df45772b1e41fb460a8682ba2313c594874d6/TT-test_black_thicker_beige.png" data-mid="225407136" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/84a398bd2ffccd2455ad3f78d25df45772b1e41fb460a8682ba2313c594874d6/TT-test_black_thicker_beige.png" /> https://tentativetransmits.com/Mapping-the-underground-Artpool-Art-Research-Center Mon, 20 Jan 2025 17:06:14 +0000 Tentative Transmits https://tentativetransmits.com/Mapping-the-underground-Artpool-Art-Research-Center https://tentativetransmits.com/The-Radio-as-G-Host-in-the-former-East Mon, 25 Jul 2022 16:03:56 +0000 Tentative Transmits https://tentativetransmits.com/The-Radio-as-G-Host-in-the-former-East Tentative Transmits: The Radio as G/Host Marianna Feher &amp; Olivia Berkowicz Tentative Transmits is an artistic research project, archive and discursive audio platform that investigates memory, solidarity practices and anti-fascist struggles in Central and Eastern Europe. The project attempts to reclaim lost sites, spaces and narratives by transposing notions around the “former East”.&nbsp; The research explores archival findings on the Eastern bloc’s transnational and transcultural phenomena to reflect on post-socialist transitions a pluriversal sites of knowledge production. Following the cultural theorist Svetlana Boym, we depart from the term “off-modern”, that engages with the practice of double estrangement. Instead of teleologies of “post”, “neo”, “trans”, the off-modern follows the lateral move, the zigzag in cultural evolution. According to Boym, the off-modern is a detour into the “unexplored potentials of the modern project. It recovers unforeseen pasts and ventures into the side alleys of modern history at the margins of error of major philosophical, economic, and technological narratives of modernization and progress”. Boym argues that the off-modern has “a quality of improvisation, of a conjecture that does not distort the facts but explores their echoes, residues, implications, shadows”. By departing from these notions, our research topic revolves around how solidarity combines estrangement and engagement, suggesting interdependency without the loss of singularities and multiplicities. Through concepts such as hauntology and post-memory we seek to put the relationship of archive and memory into question. A quality of improvisation, of a conjecture that does not distort the facts but explores their echoes, residues, implications, shadows. Our research explores the possibilities of live radio production as well as public gatherings in which to discuss and disseminate knowledge. These sessions inhabit different sites (online/offline, digital/analog) to better understand how each context affects the content. Grounding our common practice in historical precedents, the research project investigates radio archives as well as using radio as an exhibitionary framework. Tentative Transmits seeks to investigate possible ways to write across media, authorships and readerships, and let the production constitute dialogues from within the practice itself. Voices and experiences are intersected and contextualized, while self-reflecting on the production at large by interlinking practices and contexts, subjects and histories. The project seeks to align with the need for shared public places, where we regard the radio program as a space for various practices, authored and listened to by the many. How to (un)learn collectively, locating politics of error, envisioning new forms of knowledge and public practice. Previous gatherings by Tentative Transmits&nbsp; have included interventions by Škart collective, Sanja Horvatinčić and Larisa Crunțeanu, exploring notions of radical amateurism, critical heritage, on micro- and macro-political self-organization, collective practices, artistic experiments and thinking alternative realities beyond simplistic divisions of centers and peripheries. By dissolving boundaries between theory and practice, arts and politics, as well as art and criticism, we insist on practices, its scores, traces and shared knowledge. Thus, we situate our project at the intersection of space, temporality and bodies. From this position, we research how to (un)learn collectively, locating politics of error, envisioning new forms of knowledge and public practice.︎ <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/45eded84e8e6a868d129389e490589ed7e2b621e26dcb7561c5b7a532eee1bab/TT-test_dark-green_thicker.png" data-mid="225459351" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/45eded84e8e6a868d129389e490589ed7e2b621e26dcb7561c5b7a532eee1bab/TT-test_dark-green_thicker.png" /> https://tentativetransmits.com/Symphony-of-Progress-English Wed, 30 Nov 2022 12:18:05 +0000 Tentative Transmits https://tentativetransmits.com/Symphony-of-Progress-English Symphony of Progress by Nicoleta Esinencu, Artiom Zavadovsky, Doriana Talmazan, Kira Semionov, Nora Dorogan, Oana Cîrpanu Translated by Artiom Zavadovsky The Symphony of Progress is performed by the power tools, which were reconfigured by Yulian and Neonil. Both study at the Technical University Of Moldova and work for foreign companies. They are very much looking forward to finding a job abroad. SELF CAREAre you not essential? Are you not productive? Are you not enough? Are you not efficient? Have you lost your job? Do you perform the work that you hate? No money to pay the bills? Do you have debts? Bank loans? Mortage? Do you live from salary to salary? Has your rent doubled? Have you been evicted by the landlord? Do you work from home, but you don’t have a home? Did you get sick? No insurance? Natural healing with 432Hz. The harmonic frequency of nature. Playing music at 432Hz makes the body and the organic world around it resonate in a natural way. The frequency of happiness. The music that releases serotonin, dopamine and endorphin. The vibration of sounds orders everything around. They fight chaos in all its forms. Totally relax your mind and body. Tune your rhythm to our planet’s heartbeat. EUROPEAN CIVILISATION It’s civilised to have a family: heterosexual monogamous one It’s civilised to go to the theater, isn’t it? To see a show about class struggle To speak English English is the mother of civilisation The father of civilisation To have a car for you and your family I mean, two cars or three As of now, electric ones because you’re kind of environmentally friendly Eco Sounds civilised, doesn’t it? As long as the lithium is extracted from the colonies, pardon me, the former colonies, it’s not our problem, is it? When civilised, you are white, and you take the lead wherever you set foot on It’s civilised to civilise countries to decide that the countries owe you to live at their expense collecting debts every year When civilised, you give soap to the poor even if they don’t have access to water Civilised means to have private property to have a free market just like the free chicken we have chickens for 5 euros but we also have free chickens for 20 euros It's civilised to eat strawberries, but it’s not civilised to pick strawberries Travelling is something very civilised Working in another country as a migrant is less civilised If you’re a German, you can go during the pandemic to dance civilised in Mallorca It’s civilised to donate to church to do fundraising and ban begging in civilised European capitals Civilised is when you trample eachother queuing up at Black Friday not when you queue up to get the only hot meal for free Not paying for the tram ride is uncivilised building the city like a ghetto is civilised a city where urban transport doesn’t reach the suburbs where women are afraid to walk the streets Privatising the healthcare system is more civilised than having access to a public healthcare system public is a communist thing communist is by definition uncivilised It’s not civilised not to recycle but to export your garbage for recycling in another country is civilised, isn’t it? from Germany to Romania is ok, isn’t it? or to Poland It’s okay, isn’t it? There’s the European Union as well but a little less European than Europe Why don't we send our garbage to them so it doesn’t stink here? it is civilised to be from the west and teach civilisation those from the east calling yourself Kaufland and annihilating by expansion the small local entrepreneurs is civilised stealing a yogurt from Kaufland is uncivilised It’s civilised when you steal from me and it’s not civilised when I steal from you It’s uncivilised to destroy the windows of luxury stores or banks to throw stones Because the police protect you when they crush your head against asphalt holding their knee until you suffocate So, we carry out protests in a civilised manner we do not enter the government building’s lawn with a tractor because we destroy the lawn and that is more than uncivilised it’s violent it’s barbarian Throwing away food from the restaurant or supermarket daily is not violent, is it? Not having pockets on your work uniform so you can't get tips is not violent, is it? Taking your water, bottling and selling it to you is not violent, is it? Producing yogurt with less fruit for the east and saying that the east has a “different taste” is not violent, is it? Destroying the student canteen and placing a restaurant instead is not violent, is it? A project funded by Sweden, UK and USAID in Eastern Europe is not violent, is it? Evicting people from their homes to build apartment buildings is not violent, is it? Squatting a house is violent Sleeping on the street is not violent, is it? When the bank tells you happy birthday because you owe them and after they’ve taken your home, they still tell you happy birthday is not violent, is it? It’s violent to cross the border illegally, selecting who can enter your country is not violent, is it? Permission only for skilled and highly qualified foreign workers whose employment is necessary from an economic perspective It’s not violent to live from your privileges, is it? SUMMER JOB I’ve been working as a freelance interpreter for 11 years. When the pandemic started and the lockdown was introduced, I realised that if I didn't do something, I would starve to death. I am divorced and have a 13-year-old daughter. I had to look for a summer job. I initially thought of going to the Netherlands or Germany. But because my last beautiful trip was to Finland and I really liked the country, I read Finland’s labour legislation and it seemed to me a country with good working conditions and a better pay. I thought it would be okay to look for a seasonal job there. I found an article which said that the Finnish farmers were in a very critical situation. Until then, workers from Asian countries had picked their harvest from the fields. Then they were banned from travelling. The produce in the European fields was spoiling because there were no workers to pick them. Because the citizens of Finland, the Netherlands, and Germany don’t feel like doing this work. I mean, they think this job, let's say, is too hard, and they always appeal to foreigners. I googled it: Seasonal farm work in Finland. I got a list of about 14 farms. I sent an email to all 14 of them, saying that I’m a Moldovan with an EU ID, the Romanian passport, and that I wanted to come and work for them. The first farm answered me: yes, you are more than welcome. We’re sending you the contract tomorrow. The contract was one page long. It seemed very simplistic to me, but having friends in Finland, I showed them the contract and asked them to tell me if it was in accordance with their legislation, if everything was ok. Both friends answered me the same: Corina, a Finn would never work in such conditions under any circumstances. However, it’s still in accordance with the law. The bottom line of the legislation. It cannot be worse than that. I only signed the contract after they’d confirmed to me: Yes, it's ok. I bought a bus ticket. I left by bus… It was complicated flying there. I found a company that transported pakages, but it also transported passengers. In 2 days, I was in Finland. UPPER MIDDLE CLASS In your normal day-to-day life she really takes care of everything Upper middle class SorrycanIhelpyou You don’t know where to take the garbage Upper middle class SorrycanIhelpyou You don’t know if mustard and pickles are kept in the fridge Upper middle class SorrycanIhelpyou One day you loaded the washing machine by yourself Upper middle class SorrycanIhelpyou Your lockdown was very creative You learned a lot of new things The housekeeper gave you instructions over the phone how to wash the bathtub Upper middle class SorrycanIhelpyou Upper middle class struggling Performing housekeepers Sorry not sorry Upper middle class struggling Performing fathers Sorry not sorry Upper middle class struggling Performing rich when you are only upper middle class Sorry not sorry struggling struggling struggling Performing empathy By offering us to serve you FAMILY BUSINESSWe were 6 women living in a two-roomed apartment with a kitchen and a shower. For the room, I paid the farm owner 7 euros a day. Later, I found out that we had been paying her 3 times higher than the landlord asked for. The other 16 women lived on the farm. They lived in a kind of... a bunker that had small rooms of 3 square meters. There were 4 beds in each room. Sixteen people had only one shower and toilet at their disposal. We’d wake up at 6 a.m.&nbsp; There were days when I wouldn’t feel my arms or back. In the morning, my coworkers would take painkillers to resist until the night. So, we’d wake up at 6 a.m. and be in the field at 7 a.m. In the field, there was a large tractor with a kind of wings. The wings had 15 beds on which we lay on our stomachs and picked cucumbers while the tractor was moving. The tractor wouldn’t stop for 2-3 hours straight. Once a woman couldn't resist and simply eased herself in the middle of the field. They cut her working hours because she stopped the tractor for more than 30 seconds. It was a family business. There were no Finnish employees. It was I from Moldova, a woman from Belarus, and the rest of the women were from Ukraine. Our supervisor was a hippie guy from the UK who got stuck in Finland due to the pandemic. He supervised us. We picked the harvest by hand and he drove the tractor right behind us, so we wouldn’t stop or rest. I mean, he was kind of, you know how sheep are handled? That was his job in the field. In the afternoon, we’d pick and clean onions or garlic, or zucchinis, depending on the order from the supermarkets. Today we have a very large order of garlic. You will stay in the field until you have collected all 300 kg. I don't care if the garlic in the field runs out. We worked in the rain with our hands wet for 12 hours straight. We asked for at least a 15-minute break to eat, because we were exhausted. With your hands bleeding, you cut and cut, and cut those garlic tails… You cut and you cut, and you cut... For the produce to keep fresh, we had to work in the refrigerator. From +28-degrees, we would enter the fridge at +4-degrees. I dealt with packaging. I’d combine 3 garlic bulbs of the same size because, you know, everything there must be by the book. The working day would end when we picked everything to fulfill the supermarkets’ order. A good day would end at 6 p.m. A bad day would end at 11 p.m. According to the contract, we were supposed to have a day off after every 35 hours of work. There was no such thing on the farm. The order from the supermarket would come on Sunday morning. They needed new merchandise for Monday. On Sundays, we’d get up at 6 a.m., work until 8 p.m. and again from Monday on – on the field. TOXIC POSITIVITY Imagine living a richer happier life stop sweating talking about trouble and your worries will evaporate you can overcome your worry if you always keep yourself busy don't be tense work 16 hours a day your financial success depends on you and on Anti-cramp vitamins Forte Lecithin Forte Bien Dormir Forte Zen Forte Day and night Nervocalmin Complex Stresclin Complex Detox for women Liver support for men Sorry, non-binary people, the pharmaceutical companies do not sell yet these products for you. But it’s on their agenda. The market is busy now selling vegan chicken to vegan people vegan steak vegan salmon vegan American ribs vegan double burger vegan marbled steak and other beans they call meat because you buy it but don’t worry non-binary liver detox is coming soon! increased sales and reduced losses that’s the solution your financial success depends on you and on your strong hands your straight back the oxygen saturation in your blood muscle mass protein size of your thyroid gland migraines menopause cirrhosis in your liver gangrene cancer ► Subscribe to my channel “Good Vibes Only” and stay up to date with the latest tunes. end your worries start working now I AM SORRY TO BOTHER YOU While working under the tractor I noticed two surveillance cameras. I asked: why are we filmed while working? And my boss says, "What's the matter?" What bothers you? Do you have something to hide? One day they came to photograph us for the advertising of their products on the website. They were photographing us while we were working. We all were tired, sweaty, full of dust and they... you know, like monkeys in the circus: Smile, smile! Make it look like you're happy! Smile, smile! I translated the European General Data Protection Regulation for the Republic of Moldova. There it’s written in black and white: All the collection of personal data, including video and photo must be done with the person's consent. I referred them to this European document and said, “I know that Finland is a signatory to this act, too”. To which my boss replied, “Who are you? How do you know all this? How did you generally get here?” Once again, I referred her to the contract and to the Finnish legislation. What do you think I was doing prior to going to bed every night? I was looking for legislation regarding overtime and seasonal workers’ pay. I’d text her via WhatsApp in order to save screenshots and collect proof. Hi! I am sorry to bother you, but I have just 2 questions related to our working hours and payment. About cucumbers: If I understood it correctly, the payment is per hour while only the tractor working hours are counted. But what about all the very heavy boxes we carried after the tractor was stopped? Isn’t it also counted as work?I checked it with the girls: on the seventh we have six hours, not three hours and twenty minutes I am sorry to bother you… I am sorry to bother you… I am sorry to bother you… &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ENJOY KILLJOYNot happy enough when working for me Enjoy Not happy enough when delivering me food to the 6th floor without elevator fast? Enjoy Not happy enough when washing tons of plates a day? Enjoy Not happy enough when washing their underwear and socks? Enjoy Not happy enough when cutting and painting kilometers of fingernails a day? Enjoy Not happy enough when changing tens of diapers a day? Enjoy Not happy enough when doing animation dressed as a fast food chain mascot in 40+ degrees? Enjoy Not happy enough when collecting the vomit from the couch after their weekend parties? Enjoy Enjoy Be happy to bother them Destroy their Chirstmas party Enjoy Killjoy BEHAVIOUR – RELATED ISSUESOne day my boss summoned me and said, “Corina, I want all my workers to be happy. Do you feel fulfilled on our farm? Look, everyone is working and everything is fine. Only you are unhappy. Maybe the problem is in you?! Maybe you should quit this job?” I searched on the internet and found several NGOs in Finland that dealt with the rights of seasonal workers. I wrote them via any means I could. Someone wrote me that I could go to the police I called the police. They told me, “We can only intervene if the farmer took your passport”. Meaning, in situations that are more serious. Then, I wrote to the prime minister’s office. This mail is a cry for help and a letter of disappointment from me, an EU citizen who came to work at a farm in the South of Finland as a seasonal worker. At this farm, we are treated badly and there is no respect for human rights. In my country, I used to work in the Parliament, so I am familiar with EU legislation, GDPR and human rights. I chose Finland for seasonal work because I was sure it was a country of great people, respecting other people, but I found an unbelievable situation here… All my complaints to our boss have zero effect. She just tells us that everything is conducted according to the Finnish Collective Agricultural Agreement and if we don’t like it, we should just pack our bags and leave. The next day I received an answer signed by the prime minister’s secretary. Dear Corina, Exploitation of labour is under no circumstances allowed in Finland and the Government is currently developing new measures to tackle exploitation of foreigners in the Finnish labour market. The next day my boss gave me an ultimatum to leave the farm in 24 hours. The employee is being dismissed because of work and behaviour-related issues. She has been several times notified about her performance on cucumber and zucchini fields. The employer gave her many opportunities to improve and tried to talk to her about her motivation problems. She is constantly disturbing the work of other people. Last time, on the fifteenth of August twenty-twenty, with a strong loud voice, she shouted and argued on the zucchini field… During the following days, she approached a representative of the company by presenting her complaints in an inappropriate way and caused a credibility gap between the employee and the employer. She doesn’t represent the company in a loyal manner. She spreads a bad image of the farm, negatively affecting the overall working environment and disturbing other workers. Unfortunately, the employer doesn’t see potential for cooperation with her as a seasonal worker and dismisses her from the farm. MEDITATION FOR GRATITUDE we’ll count from 5 to 1 and when we reach 1, your anger will disappear 5 it's time to deal with anger in a healthy and productive way it's okay to be angry notice this feeling, but do not react imagine a beautiful place where you like to be let's say Western Europe colonised by Eastern Europe direct your attention back to how you feel where is the anger stored in your body? 4 notice the feeling of anger that is flooding you Western Europe a colony of Eastern Europe you may feel angry, but calm and controlled at the same time some persons’ shoulders get tense when they feel angry others have their fists or jaw clenched 3 and now let’s go back to that beautiful place we have been in Western Europe a colony of Eastern Europe we’ll steal the forests we’ll steal the gold oil we’ll take the lands water people 2 we are in a field we’re listening to the sound of rain nature is calming us down it’s giving us a feeling of well-being so we're in the field actually no you are in the field we’re staying home because it’s raining and you’re harvesting potatoes for us and beets and peas 1 face anger through relaxation anger can come and go you can manage it let the anger breathe deeply and leave with each exhale hmmm hmmm hmmm the Germans pick asparagus and work in slaughterhouses the Belgians pick our apples the Finns harvest our cucumbers the Brits pick our strawberries the Italians take care of our old women the Austrians clean our homes the French build us houses the Spaniards milk our cows the Norwegians sew clothes for Balti and Bangladesh and now look around How do you feel? Are you grateful? CRANES OF PROGRESS You work until you get sick you lick your wounds until they form a crust which breaks and you start over again you lick your wounds until they form a crust which cracks again you’ll have the Italy syndrome like your mother the illness in the women from the east who work in the west the syndrome Italy the derangement Germany the disorder Finland the crisis France the anxiety UK the depression Europe Berlin malls are built from kidney stones the supermarket cucumbers grow in the bladder gravel the western slaughterhouses are washed with feverish perspiration the walls/bridges/highways are built from dental fillings the packages are delivered from the hip prostheses the water is bottled from the spilled blood the cleaning is done from exhaustion children and the elderly are cared for from deep depressions the cranes of progress rise from multiple anxieties <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/45eded84e8e6a868d129389e490589ed7e2b621e26dcb7561c5b7a532eee1bab/TT-test_dark-green_thicker.png" data-mid="225460995" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/45eded84e8e6a868d129389e490589ed7e2b621e26dcb7561c5b7a532eee1bab/TT-test_dark-green_thicker.png" /> https://tentativetransmits.com/Walled-up-whispers-Marianna-Feher Thu, 18 Aug 2022 08:18:41 +0000 Tentative Transmits https://tentativetransmits.com/Walled-up-whispers-Marianna-Feher Marianna Feher Walled up whispers (2023) Viskande väggar20:00 minLanguage/Språk: English “Walled up whispers” is an experimental sound travelogue based on the search of the legend "The Walled Up-Wife" and the different version expressing them in the Balkans. The audio-montage is assembled from personal experiences, collected testimonies and local stories.“Viskande väggar” är en experimentell ljudresa baserad på sökandet efter legenden "The Walled Up-Wife" och de olika versionerna som finns på Balkan. Ljudmontaget är sammansatt av personliga erfarenheter, insamlade uttalanden och lokala berättelser. &nbsp; &nbsp; BIO&nbsp; &nbsp; Marianna Feher (b. 1989, Malmö) is an artist, organizer and researcher. Her work is often mediated through writing, performance, sound, montage, and public gatherings. Her practice investigates ways in which socio-political, historical, and interpersonal forms of power interact with and affect bodies.Marianna Feher (f. 1989, Malmö) är konstnär och researcher. Hennes arbete rör sig mellan text, performance, ljud, montage och publika sammankomster. I sin praktik undersöker hon hur sociopolitiska, historiska och interpersonella former av makt uppstår och påverkar kroppar. <img width="1701" height="2050" width_o="1701" height_o="2050" data-src="https://freight.cargo.site/t/original/i/4bde504c43b89b8bd61e21e419af90dfed7df3d58dde97656ab45e94b1b5b085/walled-up.jpg" data-mid="175227141" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/4bde504c43b89b8bd61e21e419af90dfed7df3d58dde97656ab45e94b1b5b085/walled-up.jpg" /> <img width="1701" height="2050" width_o="1701" height_o="2050" data-src="https://freight.cargo.site/t/original/i/4bde504c43b89b8bd61e21e419af90dfed7df3d58dde97656ab45e94b1b5b085/walled-up.jpg" data-mid="175227141" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/4bde504c43b89b8bd61e21e419af90dfed7df3d58dde97656ab45e94b1b5b085/walled-up.jpg" /> “Myths travel. They get retold and translated. They are in a constant phase of transition that most times, never reach their final destination. Usually, there are no fixed versions, just many variations.” (Dubravka Ugrešić,&nbsp;Baba Yaga Laid an Egg) CREDITS Sound design, sound mix, music: Karl Sjölund Readings of Legjenda e Rozafës, Zidanje Skadra, Kőműves Kelemen: Sihana Shalaj, Jelena Ćulibrk, Maria Feher <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/45eded84e8e6a868d129389e490589ed7e2b621e26dcb7561c5b7a532eee1bab/TT-test_dark-green_thicker.png" data-mid="225461003" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/45eded84e8e6a868d129389e490589ed7e2b621e26dcb7561c5b7a532eee1bab/TT-test_dark-green_thicker.png" /> https://tentativetransmits.com/Navigating-the-Periphery-Irfan-Hosic-on-Culture-Crisis-and-Community Thu, 18 Aug 2022 08:18:50 +0000 Tentative Transmits https://tentativetransmits.com/Navigating-the-Periphery-Irfan-Hosic-on-Culture-Crisis-and-Community Navigating the Periphery: Irfan Hošić on Culture, Crisis, and Community&nbsp; This interview features art historian and professor Irfan Hošić, who reflects on how the Yugoslav wars shaped his personal and professional trajectory. He also discusses founding KRAK – Center for Contemporary Culture in Bihać, and its role in navigating the complexities of post-socialist realities in Bosnia. Tentative Transmits: How did your art practice evolve in dialogue with, and as a critique of, the cultural, social, and economic structures of the Yugoslav and post-Yugoslav period? Irfan Hošić: My generation, and I, personally, were profoundly shaped by the war in the 1990s. Living through the Yugoslav era as a teenager, I was somewhat aware of the political landscape, but not so much the economic context. The war began when I was 14, and those experiences have left a lasting imprint on me. That period, so intense and formative, remains deeply embedded in my identity. Being a refugee during the war also shaped my perspective. Many around me had varied experiences – some were refugees, others stayed behind as children in the warzone, while some fought in the war. These layers of experience influence how I view and interpret the world today, especially in relation to the Yugoslav socialist era, the war, and the post-war period. Rather than a seamless continuum, I see these periods as marked by significant disruptions – ideological, economic, and social. The socialist system of Yugoslavia, Bosnia’s independence amid turmoil, and the new post-war societal framework all represent shifts that continue to resonate. As an art historian, I’m particularly interested in how these shifts are reflected in visual and mental images, tracing the evolution of artistic expression. For instance, during the socialist period, painting flourished as a medium. However, during the war, its ability to convey the profound realities of that time was questioned. Artists began exploring other forms of expression, marking a departure from traditional mediums. These shifts remain a central theme in my work. I was in Munich as a refugee. My escape wasn’t planned; it happened spontaneously due to family circumstances. I left with nothing, expecting to return soon. However, as the war escalated, communication with Bosnia was severed. I remember one of the last calls with my father. He told me, “Start living there”. At 14, it was hard to grasp, but I began integrating – learning the language, finding a school, and navigating daily life without my parents. Tentative Transmits: You eventually returned to Bihać. What motivated that decision? Irfan Hošić: Sometimes, I still wonder why I returned. Life could have taken a very different path if I’d stayed in Munich. My most logical explanation is homesickness. At 18, I felt a deep need to reconnect with my parents and my roots. I hadn’t yet achieved a sense of independence and needed that familial bond to feel whole again. Returning allowed me to recover a part of myself, and from there, I moved forward – pursuing university and building my life in Bosnia. Tentative Transmits: How did the cultural center KRAK (an acronym for Klub radnika Kombiteksa ("Kombiteks Workers’ Club") come together, and how does it navigate the post-socialist context of Bihać and Bosnia at large? Irfan Hošić: When I speak about KRAK, I often find myself summarizing the story briefly. But when I reflect more critically or delve deeper, I realize that the process behind it is far more extensive – extending beyond KRAK itself or even its initial conception as a project. I see it as part of a long journey of investigating and grappling with certain ideas and contexts, particularly related to where I live and teach: Bihać. My role as an educator, as a university professor, was foundational. In many ways, this journey began from that platform. Perhaps I’m being subjective, but I believe that much of what I explored and examined in academia laid the groundwork for what later evolved into KRAK. What I’ve done outside academia is deeply tied to the research practices I developed within it. I would describe KRAK as the culmination of these long-term research processes. These have often focused on the post-industrial and post-socialist characteristics of Bihać and the surrounding region, as well as the broader context of the former Yugoslavia. I’ve always been drawn to the complex constellations of Yugoslavia – its countries, regions, and cities – and how they interacted. Bihać, for example, once had a completely different life. It was well integrated into broader networks. Take the railroad as an example: Bihać was a stop on the line between Belgrade and Split. This connection was significant – it linked Bihać directly to Dalmatia, Belgrade, and beyond. It enabled daily communication between vastly different regions, or even, you could say, different worlds. You could travel to Munich with just one layover in Zagreb. Today, all of that is gone. The connections, the logic of space, and the sense of regional collaboration have been severed. A new reality has emerged, one shaped by disconnection. In many ways, KRAK is rooted in this disconnection, or what I sometimes think of as a crisis. But even calling it a crisis is complicated. A crisis is something temporary – a disruption or failure that eventually resolves or shifts. What we’re experiencing is not temporary; it’s an ongoing, continuous condition. It’s a new reality, one that has been unfolding for over three decades and will likely persist much longer. So, it’s not a crisis in the traditional sense. For me, it might feel like one because I’ve lived through the shifts and the cuts, and they seem jarring, even disruptive. But for the younger generation, this is simply the norm. It’s not perceived as a crisis but as the status quo. This perspective highlights how subjective and relative these experiences and interpretations can be.Tentative Transmits: As you mentioned, Bihać once played a central role in Yugoslavia but is now considered peripheral. How does this shift affect your work as a cultural worker and curator? Irfan Hošić: The notion and understanding of terms like “periphery” are flexible, adjustable, and constantly evolving. What does it really mean? For example, I consider Bihać to be peripheral to larger cities in Bosnia, like Sarajevo, or Banja Luka, the second-largest city. But Bosnia as a whole is itself peripheral to dominant cultures and centers surrounding it. Positioned on the border of the European Union, but not a member, Bosnia occupies this "first line" just outside the EU. This creates a palpable and tangible sense of being on the periphery. These peripheries manifest themselves physically and concretely. Take the migrant crisis from a few years ago as an example. Bihać became a key location on the so-called "Balkan route," a migratory path. This intensified the peripheral experience, as stricter border controls were imposed, reinforcing a sense of exclusion. This heightened the physical and tangible reality of being peripheral. Bihać, though it serves as the capital of the Una-Sana Canton in northwest Bosnia, remains deeply affected by post-war and post-socialist dynamics. While it holds a certain regional significance, it is still just a smaller adjustment within the broader narrative of peripherality – a balancing act between competing forces. Interestingly, I find that being on the periphery can be inspiring. At first glance, it might seem depressing or provoke anxiety, but for me, my colleagues, and the team at KRAK, it presents a fascinating space to work within. It’s a liminal zone – a place where boundaries blur and possibilities emerge. There is also a kind of freedom in being on the periphery. This sense of relaxation or detachment can feel liberating. For instance, during the recent invasion of Gaza and ongoing Israeli occupation, we noticed how international media often reported on the situation with heavy censorship and a narrative skewed by political constraints. In contrast, we felt a sense of privilege and freedom in expressing the truth as we see it, without external pressures or adjustments. This is just one example, but there are many layers to the experience of working from a peripheral position. It offers a unique vantage point, where challenges coexist with opportunities for creativity, enjoyment, independence, and self-expression.︎<img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/72b4b7f6bd08285813e00bf7e499b4e1d4a861752765b75eaba35a6ed7a39fc0/2024-11-13-23.32.56.jpg" data-mid="225390038" border="0" src="https://freight.cargo.site/w/1000/i/72b4b7f6bd08285813e00bf7e499b4e1d4a861752765b75eaba35a6ed7a39fc0/2024-11-13-23.32.56.jpg" /> A backyard in Havana, November 2024. photo:&nbsp;Irfan Hošić This interview was conducted in relation to the public program of the exhibition Transitions, curated by&nbsp;Tijana Mišković &amp; Liatna Rodríguez. <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/45eded84e8e6a868d129389e490589ed7e2b621e26dcb7561c5b7a532eee1bab/TT-test_dark-green_thicker.png" data-mid="225461013" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/45eded84e8e6a868d129389e490589ed7e2b621e26dcb7561c5b7a532eee1bab/TT-test_dark-green_thicker.png" />