Mural workshop with kids at Mara Mandic primary school

Pancevo, Serbia, 10 June 2021

Our dear friend, painter and musician Katie Woznicki from Ohio, USA, has just accomplished this amazing wall with students from Mara Mandic, primary school for kids with special needs in Pancevo, Serbia. The action follows up on the workshops and painting sessions we started at the same spot in 2020 with generous support of Ministry of Culture of Serbia, Institut Francais and Austrian KulturForum Belgrade.

Co-Orbitals mix by Ana Radonja

One more contributor to the Klepsydra expo soundtrack, deep digger and connesseuse of frequencies that send the breeze up your spine and skin, our friend Ana from the global introvert dj’s network has dedicated her attention this time to the resonance of the fluid aura of souls and entities that frequented through mythical rave parties of the legendary squat Klepsydra, while still floating in the hypnothic aether of recent Jupiter/Saturn conjunction. Some of her sets can be checked at the following link: soundcloud.com/ana_radonja/

Klepsydra exhibition was presented by street/collage artist Dzaizku in Parisian alternative culture center “2+1” in December 2020, as an attempt to re-create the ambience of legendary 1980’s squat of the same name.

more info below both in French and English:

DZAIZKU: KLEPSYDRA

21 Rue Jonquoy, 75014 Paris, France

Wednesday, 30 December 2020 from 15:00 h

/////SCROLL DOWN FOR ENGLISH TXT, MERCI!////////

La toute dernière installation de Dzaizku, un hommage à la scène techno party parisienne en voie de disparition, plonge ses racines dans l’histoire de l’underground parisien — une histoire qu’il a redécouverte en explorant à pied la capitale française.Vers la fin des années 1980, il a existé dans Paris un squat appelé Klepsydra. L’endroit, lieu d’exil et d’utopie pour groupes alternatifs, était connecté aux catacombes par plusieurs entrées menant à des points opposés de la ville. Il était si bien caché dans le tissu urbain que pendant toute la durée de son existence, il n’a été accessible qu’aux initiés. Imprégné de l’esprit néo-romantique de l’époque, on y entend encore l’écho de séances de musique paranormale, on y ressent tout l’esprit de la renaissance techno-futuriste d’alors.
Parce que personne ne savait exactement ou ne voulait révéler où Klepsydra se trouvait — et si même l’endroit existait vraiment, il est devenu un mythe, une hallucination collective cultivée par des esprits à la sensibilité particulière, avides de trouver un refuge dans un monde hostile.
Trente ans après sa disparition, Klepsydra est un lieu qui ne nous parvient plus que comme une image floue, un héritage collectif et incertain; une intuition qui ne se révèle que lorsqu’on pense à lui suffisamment longtemps. C’est ce qui m’est arrivé un jour de l’automne 2015, quand par le plus grand des hasards je l’ai découvert au cours de mes recherches. Je me suis mis alors à le retrouver dans mes rêves. Il m’apparaissait toujours de la même manière: abandonné, fermé, cadenassé après un dernier effort collectif vers la transe, ses couloirs traversés par les rayons du soleil levant. C’est cette atmosphère onirique que j’essaie de transmettre aux visiteurs dans mon travail.” – DzaizkuEn conformité aux mesures sanitaires liées à l’épidémie de Covid-19, l’installation n’est visible que de la rue, à travers des portes en verre, pour faire signe vers Klepsydra, lieu à l’abandon et endroit vu en rêve, et sans vernissage officiel.

L’exposition est réalisée par le biais de la plateforme Street Art Residencies, qui est soutenue par l’Institut Français de Serbie, le Forum culturel autrichien de Belgrade et le ministère de la Culture de la République de Serbie.

plus de infos, sons et images:
@lefrit
www.facebook.com/dzaizku/

/////////ENGLISH VERSION///////////////////////////

Dzaizku’s latest installation, as an hommage to disappearing techno party scene of Paris, is inspired by the research of history of Parisian non-formal scenes, during which he stepped on the clues of a squat named Klepsydra, that existed in French capital during the late 1980’s. This space of utopian exile for subculture groups was so well hidden in the urban tissue, with many entrances and exits through catacombs at the totally opposite parts of town, that it remained invisible till the end of its existence to everyone except to the initiated ones. In the spirit of last neo-romantic waves of 1980’s, non-formal art scenes of the time were echoing with stories about paranormal music seances and about the romantic techno-futuristic renaissance of the cult minds of the epoque, who happened to be present in the hallways of Klepsydra during these events. Due to the fact that nobody exactly knew – or never wanted to say publicly – where is this place exactly located or if it even exists for real, Klepsydra has soon achieved the mythological status of collective hallucination, developed in the circle of sensitive minds who were in search of refuge from the hostile reality.”Decades after it’s disappearance, still alive as a blurry image, as an uncertain term in collective symbolic legacy, Klepsydra keeps appearing as an intuitive innuendo in minds of those who keep thinking of her long enough. This happened to me in autumn 2015, when i discovered Klepsydra totally accidentally while i was researching the history of Parisian squat scene, and i started seeing this space often in my dreams – it always appeared as already abandoned and closed, locked up forever after the last exhausting collective trance, with hallways probed by the rays of morning sun. During the installation of my artworks, i will try to transfer at least part of this dream atmosphere to the visitors.” – Dzaizku. In compliance with Covid 19 security measures, the installation is visible only from the street, through the closed glass doors, as an abandoned location from a dream, with no official vernissage.

Exhibition is realized through the Street Art Residencies platform, that is supported by Institut Francais Serbie, Austrian Kultur Forum Belgrade and Ministry of Culture of Republic of Serbia.

Graffitti workshop with design students in Sabac, Serbia

October 2020 – we hosted a small workshop with students of design school in Sabac, Serbia, with generous support of Festival Na Sopstveni Pogon and Jovan Shpira Obradovic accompanied by Aleksandar Buncic. The action was funded by Ministry of Culture of Serbia and NKSS – independent cultural scene of Serbia umbrella network. Video by Darko Pavlovic.

JEANSPEZIAL IN BELGRADE

July 2015

/Greg Bishop, Joris Goulenok, Kermit Dee, accompanied by Belgrade based Linnch, Djuradj Stevanovic, Sretan Bor, EmaEmaEma, RageFreaks, Ligoff/

FOUnding members of legendary French collective Jeanspezial have visited Serbia, accompanied by Parisian dj Kermit Dee of Jekyll et Hyde collective. This was a great opportunity to host a collective expo together with local forces in the windows of Institut Francais Belgrade, as well for a blossoming jam together with Belgrade-based artists in the center of pedestrian zone, followed by dj sets of Kermit Dee and Pann+Onn. /photos/

After Belgrade,  JEANSPEZIALS moved some 20km north to city of Pancevo, where another jam took place together with Linnch and Boris Stanic.

More links and infos:

https://www.facebook.com/jeanspezial/

EmaEmaEma
http://www.emasdream.com/
Linnch
http://linnch.com/
Sretan Bor
http://cargocollective.com/sretanbor
Stevan Lončarević alias Ligoff
https://www.flickr.com/photos/tvdoily/
Gregory Banas/Bishop Jeanspezial collective, Paris, France
https://www.flickr.com/photos/bishop_jeanspezial/
Joris Goulenok /Jeanspezial
https://www.flickr.com/photos/joristrevorgoulenok
Kermit Dee / www.Jekyllethyde.fr

Niko Yang – Klepsydra mix

NIKO YANG /Belgrade, Serbia/ – easily moving from the deep melancholic moods of industrial landscapes in toxic suburbs of Belgrade, to the premium hardness of techno and trance, composer and producer Niko Yang is a master craftsman of hypnotic beats, managing to externalize the most subtle personal and collective feelings that many are not even aware of. Rarely playing at any place except his own room, Niko Yang has gained cult status among the circle of very few followers who ever heard his sets. In Decemver 2020, Niko coined this mix for the closing of Klepsydra exhibition in Paris – more info both in English and French can be found below:

DZAIZKU: KLEPSYDRA

21 Rue Jonquoy, 75014 Paris, France

Wednesday, 30 December 2020 from 15:00 h

/////SCROLL DOWN FOR ENGLISH TXT, MERCI!////////

La toute dernière installation de Dzaizku, un hommage à la scène techno party parisienne en voie de disparition, plonge ses racines dans l’histoire de l’underground parisien — une histoire qu’il a redécouverte en explorant à pied la capitale française.Vers la fin des années 1980, il a existé dans Paris un squat appelé Klepsydra. L’endroit, lieu d’exil et d’utopie pour groupes alternatifs, était connecté aux catacombes par plusieurs entrées menant à des points opposés de la ville. Il était si bien caché dans le tissu urbain que pendant toute la durée de son existence, il n’a été accessible qu’aux initiés. Imprégné de l’esprit néo-romantique de l’époque, on y entend encore l’écho de séances de musique paranormale, on y ressent tout l’esprit de la renaissance techno-futuriste d’alors.
Parce que personne ne savait exactement ou ne voulait révéler où Klepsydra se trouvait — et si même l’endroit existait vraiment, il est devenu un mythe, une hallucination collective cultivée par des esprits à la sensibilité particulière, avides de trouver un refuge dans un monde hostile.
Trente ans après sa disparition, Klepsydra est un lieu qui ne nous parvient plus que comme une image floue, un héritage collectif et incertain; une intuition qui ne se révèle que lorsqu’on pense à lui suffisamment longtemps. C’est ce qui m’est arrivé un jour de l’automne 2015, quand par le plus grand des hasards je l’ai découvert au cours de mes recherches. Je me suis mis alors à le retrouver dans mes rêves. Il m’apparaissait toujours de la même manière: abandonné, fermé, cadenassé après un dernier effort collectif vers la transe, ses couloirs traversés par les rayons du soleil levant. C’est cette atmosphère onirique que j’essaie de transmettre aux visiteurs dans mon travail.” – DzaizkuEn conformité aux mesures sanitaires liées à l’épidémie de Covid-19, l’installation n’est visible que de la rue, à travers des portes en verre, pour faire signe vers Klepsydra, lieu à l’abandon et endroit vu en rêve, et sans vernissage officiel.

L’exposition est réalisée par le biais de la plateforme Street Art Residencies, qui est soutenue par l’Institut Français de Serbie, le Forum culturel autrichien de Belgrade et le ministère de la Culture de la République de Serbie.

plus de infos, sons et images:
@lefrit
www.facebook.com/dzaizku/

/////////ENGLISH VERSION///////////////////////////

Dzaizku’s latest installation, as an hommage to disappearing techno party scene of Paris, is inspired by the research of history of Parisian non-formal scenes, during which he stepped on the clues of a squat named Klepsydra, that existed in French capital during the late 1980’s. This space of utopian exile for subculture groups was so well hidden in the urban tissue, with many entrances and exits through catacombs at the totally opposite parts of town, that it remained invisible till the end of its existence to everyone except to the initiated ones. In the spirit of last neo-romantic waves of 1980’s, non-formal art scenes of the time were echoing with stories about paranormal music seances and about the romantic techno-futuristic renaissance of the cult minds of the epoque, who happened to be present in the hallways of Klepsydra during these events. Due to the fact that nobody exactly knew – or never wanted to say publicly – where is this place exactly located or if it even exists for real, Klepsydra has soon achieved the mythological status of collective hallucination, developed in the circle of sensitive minds who were in search of refuge from the hostile reality.”Decades after it’s disappearance, still alive as a blurry image, as an uncertain term in collective symbolic legacy, Klepsydra keeps appearing as an intuitive innuendo in minds of those who keep thinking of her long enough. This happened to me in autumn 2015, when i discovered Klepsydra totally accidentally while i was researching the history of Parisian squat scene, and i started seeing this space often in my dreams – it always appeared as already abandoned and closed, locked up forever after the last exhausting collective trance, with hallways probed by the rays of morning sun. During the installation of my artworks, i will try to transfer at least part of this dream atmosphere to the visitors.” – Dzaizku. In compliance with Covid 19 security measures, the installation is visible only from the street, through the closed glass doors, as an abandoned location from a dream, with no official vernissage.

Exhibition is realized through the Street Art Residencies platform, that is supported by Institut Francais Serbie, Austrian Kultur Forum Belgrade and Ministry of Culture of Republic of Serbia.

BELGRADE GOES WEIRD

DXTR/LOOK/VIDAM/HVBR /Austria/Germany/, facade of Urban Incubator Gallery, Belgrade

July, 2014

In cooperation with curators from Berlin-based Neurotitan gallery, we had great opportunity to work with the members of German-Austrian collective The Weird. During they stay in Serbia, a total eruption of creativity took place, resulting in exhibition at Urban Incubator gallery in Savamala, Belgrade, /might be important to mention that all art for this expo was produced at the spot by these marvelous artists!/ and two huge murals, one in the town Pancevo and one in Belgrade.

The Weird, Mural in Pancevo

After Belgrade, The Weird crew continued their way south-west, visiting our fellows from Boombarstick street art festival in Vodnjan, Croatia, and accomplished one more mural there.

The Weird at Boombarstick Festival in Vodnjan, Croatia

This action was generously funded by Goethe Institut Belgrade, Municipality of Pancevo, Austrian KulturForum Belgrade and Ministry of Culture of Republic of Serbia.

Dj Frit, Weird Rave in Klepsydra

Paris-based dj Yann Le Frit generously made this mix for the opening of the DZAIZKU’s Klepsydra exhibition at Parisian alternative cultural center “2+1”, in late December 2020. Mix, as well as the exhibition itself, are inspired by the local urban legend of mythical squat named Klepsydra that allegedly existed in Paris in late 1980’s. /more info below/.

DZAIZKU: KLEPSYDRA

21 Rue Jonquoy, 75014 Paris, France

Wednesday, 30 December 2020 from 15:00 h

/////SCROLL DOWN FOR ENGLISH TXT, MERCI!////////

La toute dernière installation de Dzaizku, un hommage à la scène techno party parisienne en voie de disparition, plonge ses racines dans l’histoire de l’underground parisien — une histoire qu’il a redécouverte en explorant à pied la capitale française.Vers la fin des années 1980, il a existé dans Paris un squat appelé Klepsydra. L’endroit, lieu d’exil et d’utopie pour groupes alternatifs, était connecté aux catacombes par plusieurs entrées menant à des points opposés de la ville. Il était si bien caché dans le tissu urbain que pendant toute la durée de son existence, il n’a été accessible qu’aux initiés. Imprégné de l’esprit néo-romantique de l’époque, on y entend encore l’écho de séances de musique paranormale, on y ressent tout l’esprit de la renaissance techno-futuriste d’alors.
Parce que personne ne savait exactement ou ne voulait révéler où Klepsydra se trouvait — et si même l’endroit existait vraiment, il est devenu un mythe, une hallucination collective cultivée par des esprits à la sensibilité particulière, avides de trouver un refuge dans un monde hostile.
Trente ans après sa disparition, Klepsydra est un lieu qui ne nous parvient plus que comme une image floue, un héritage collectif et incertain; une intuition qui ne se révèle que lorsqu’on pense à lui suffisamment longtemps. C’est ce qui m’est arrivé un jour de l’automne 2015, quand par le plus grand des hasards je l’ai découvert au cours de mes recherches. Je me suis mis alors à le retrouver dans mes rêves. Il m’apparaissait toujours de la même manière: abandonné, fermé, cadenassé après un dernier effort collectif vers la transe, ses couloirs traversés par les rayons du soleil levant. C’est cette atmosphère onirique que j’essaie de transmettre aux visiteurs dans mon travail.” – DzaizkuEn conformité aux mesures sanitaires liées à l’épidémie de Covid-19, l’installation n’est visible que de la rue, à travers des portes en verre, pour faire signe vers Klepsydra, lieu à l’abandon et endroit vu en rêve, et sans vernissage officiel.

L’exposition est réalisée par le biais de la plateforme Street Art Residencies, qui est soutenue par l’Institut Français de Serbie, le Forum culturel autrichien de Belgrade et le ministère de la Culture de la République de Serbie.

plus de infos, sons et images:
@lefrit
www.facebook.com/dzaizku/

/////////ENGLISH VERSION///////////////////////////

Dzaizku’s latest installation, as an hommage to disappearing techno party scene of Paris, is inspired by the research of history of Parisian non-formal scenes, during which he stepped on the clues of a squat named Klepsydra, that existed in French capital during the late 1980’s. This space of utopian exile for subculture groups was so well hidden in the urban tissue, with many entrances and exits through catacombs at the totally opposite parts of town, that it remained invisible till the end of its existence to everyone except to the initiated ones. In the spirit of last neo-romantic waves of 1980’s, non-formal art scenes of the time were echoing with stories about paranormal music seances and about the romantic techno-futuristic renaissance of the cult minds of the epoque, who happened to be present in the hallways of Klepsydra during these events. Due to the fact that nobody exactly knew – or never wanted to say publicly – where is this place exactly located or if it even exists for real, Klepsydra has soon achieved the mythological status of collective hallucination, developed in the circle of sensitive minds who were in search of refuge from the hostile reality.”Decades after it’s disappearance, still alive as a blurry image, as an uncertain term in collective symbolic legacy, Klepsydra keeps appearing as an intuitive innuendo in minds of those who keep thinking of her long enough. This happened to me in autumn 2015, when i discovered Klepsydra totally accidentally while i was researching the history of Parisian squat scene, and i started seeing this space often in my dreams – it always appeared as already abandoned and closed, locked up forever after the last exhausting collective trance, with hallways probed by the rays of morning sun. During the installation of my artworks, i will try to transfer at least part of this dream atmosphere to the visitors.” – DzaizkuIn compliance with Covid 19 security measures, the installation is visible only from the street, through the closed glass doors, as an abandoned location from a dream, with no official vernissage.

Exhibition is realized through the Street Art Residencies platform, that is supported by Institut Francais Serbie, Austrian Kultur Forum Belgrade and Ministry of Culture of Republic of Serbia.

more infos, sounds and images:
@lefrit
www.facebook.com/dzaizku/