Educational Programme – 6. Moscow International Biennale for Young Art
Educational Programme
The School of the End of Time
TSUM, 5th floor
Teatralnaya Metro Station
2 Petrovka street
+7 800 500 80 00
+7 (495) 933 73 00
9 – 11 June
The word school, as familiar as it sounds, has turned out to be greatly misinterpreted and paradoxical. It derives from the greek term scholé, which means leisure, rest, a time which is free from duties and tasks, a time of suspension from labor, the scholaic time, as opposed to the ascholaic time. The term conveys the idea of a time of slowdown, a time of humanness and human sovereignty, as opposed to a time motivated by the necessity of survival. The irony of History is that, nowadays, school, meaning the institutional apparatus that goes under this name, solely exists to introduce – and later completely leave room to – the ascholaic time of labour: we are no more going to school to contribute a verse to Walt Whitman's "powerful play", but rather to become an efficient and dedicated labourer.

What the Greeks considered of little value, a necessary toil towards the time of leisure and life, became the supreme value, while everything that ontologically opposed or contrasted it, and life itself, has been absorbed or diverted. This shift in values could explain the traumatic passage from studies to labour, from the exaltation of the blessed frivolity of youth as opposed to the perpetual struggling of adultness (that finds its sole reward in the satisfaction of laying the groundwork for the perpetuation of a system by one's own progeny). In a certain way, we are perpetually thrown out of School, as humanity is eternally thrown out of Eden. Or, maybe, we were never kicked out, but school, and paradise as well, have been turned into something else: the universal factory.

This process reflects the shift that occurred in the relationship between two categories that the Greeks used to define human activity: poiesis (from Poiein) and praxis (from Prattein). If the first means to produce, in the sense of bringing something from non-being into being, or in the sense of bringing something from darkness to light, the second one indicates the will that directly translates into a concrete action that will culminate in an immediate effect. Throughout History, as the Italian philosopher Giorgio Agamben remarked, these two categories have merged. The consequences of this coalescence is the elevation of praxis (what we can define as labour) to the rank of the highest human activity, and the relegation of poiesis (creating something that was not existing before and that does not serve any human biological necessity) to a purely intellectual and abstract contemplation.

According to this scenario, the whole range of human endeavours is destined to become laborious: every action, from cutting down a tree to making love or a piece of art, is urged to produce an immediate, quantifiable, result.

This is here. On the verge of an indiscernible end. This is eventually where Art becomes a territory to reclaim, a territory infused with poiesis, a place where a faith persists in the way things and ideas manifest themselves through the uncanny, the unquantifiable, devoid of the necessity of efficiency. The time of Art is secret, sacrificed, would say Georges Bataille, as this time and these energies are constantly stolen from labour.

The School of the End of Time was founded by Ambra Pittoni, Paul-Flavien Enriquez-Sarano and Lucrezia Calabrò Visconti as a quasi-educational and performative platform aiming at exploring new ways of inhabiting knowledge, at preserving the capacity of art to produce a scholaic time and space, to exist as the realm of the undomesticated human agency. "The End of Time" is the joyful moment in which the several domains of existence collapse one into the other, producing a foreign territory where the relationship between history and man, consciousness and mystery can be renewed.

The School of the End of Time aims at building the stage and circumstances within which the event of knowledge can take place and be embodied. It will do so through the programming of collective activities and experiences devoted to disable the notion of time as productive, and focusing on the nourishment and activation of a specific form of attention and posture. The programme will borrow approaches and techniques from somatic practices, fringe sciences, minor literature, automatic writing and forgotten practices and knowledge. By nature, the activities of The School of the End of Time tend to be formatted in a performative framework, a temporary set in which the tools and roles developed by dramaturgy and theatre can situate knowledge in a specific, exuberant act, through a non-hierarchical approach between theoretical learning and artistic research.

The School of the End of Time aims at becoming a long-term project, a living organism, a nomadic institution composed of an ever-changing community of researchers and practitioners.

Ambra Pittoni, Paul-Flavien Enriquez-Sarano and Lucrezia Calabrò Visconti

Curator
Lucrezia Calabrò Visconti
Lucrezia Calabrò Visconti is an independent curator and co-founder of the research-driven project CLOG. She was appointed curator of the Moscow International Biennale for Young Art in 2018 with the exhibition project Abracadabra, and since 2017 she is the coordinator of the Young Curators Residency Programme by Fondazione Sandretto Re Rebaudengo, Torino. She completed the De Appel Curatorial Programme, Amsterdam, graduated in Visual and Performing Arts at IUAV, Venezia, attended the curatorial programme CAMPO12 at Fondazione Sandretto Re Rebaudengo, and pursued a curatorial internship at Artists Space, New York.

Recent projects include Umlaut. The public programme for contemporary visual arts (together with Stefano Collicelli Cagol and Luigi Fassi); Why Is Everybody Being So Nice?, De Appel, Amsterdam; Goodbye, See You After the Revolution!, UvA, Amsterdam; Dear Betty: Run Fast, Bite Hard, GAMeC, Bergamo. In 2017 she co-founded The School of the End of Time with Ambra Pittoni and Paul-Flavien Enriquez-Sarano. Her writing has appeared in contemporary art and culture magazines such as Not (Nero on Theory), Flash Art, L'Officiel Art, KABUL Magazine.

Alongside her studies and independent curating, she worked as artistic advisor for Artissima, Torino; assistant curator for Tutttovero by Francesco Bonami, Castello di Rivoli and GAM, Torino; Shit and Die by Maurizio Cattelan, Myriam Ben Salah and Marta Papini; TOILETPAPER Magazine and Le Dictateur, Milano.
Curators
Ambra Pittoni, Paul-Flavien Enriquez-Sarano
Ambra Pittoni and Paul-Flavien Enriquez-Sarano are a couple of artists collaborating since 2009, based in Turin and Paris. Their works involve performances and installations, in which the first includes the propensity to invent new disciplines, reality as fiction shared and proposed through collective experiences. Most of their projects span long periods, even years. Among other art centers, galleries, indipendent and non-profit art spaces, they showed and performed their works at De Appel (Amsterdam), Museo del Novecento (Milan), CCA Zamek Ujazdowski (Warsaw), Ashkal Alwan (Beirut), PAV (Turin), Spazio Barriera (Turin), Rinomina (Paris), Sophiensaele (Berlin), Art-o-Rama (Marseille), Clog (Turin), Roberta (Frankfurt), Museo Apparente (Naple). They hold workshops in different institutions as well as indipendent art spaces with NABA (Nuova Accademia di Belle Arti, MIlano), Performing Knowledge (MSH Paris Nord /Centre Pompidou / Theatre Nanterre-Amandiers, Paris) CARS artist run space (Omegna).
Program
Esther Elisha
Name of the program: The school of the End of Time

Interludes to The School of the End of Time / Performances (short monologues in between interventions)

Duration: 5 minutes each
Following the theatrical nature of the School of the End of Time, actress Esther Elisha will perform as a narrator between the interventions, reciting extracts from the poetic manifesto written by Ambra Pittoni and Paul-Flavien Enriquez-Sarano.
4 pm
Polina Akhmetzyanova
Name of the program: Abracadabra

The Incorruptible / Performance

Location: Dancefloor
Duration: 1 h
According to contemporary reports, eccentric poet and dancer Valentin Parnakh's 'lying down dance' caused a sensation in 1922. The only recording made of the dance has gone missing from the Moscow archives. Polina Akhmetzyanova examines the link between the lost footage of the artist's work and how the post-revolutionary context favoured its disappearance through a reading/performance that explores the relation between the 'lying down dance' and the practice of human mummification: "What would a centenary dance be like? The disappearance fascinated me, as does the aura of mummies that have been preserved for centuries, lying on their backs and uncomfortably dry. One of a particular sort still being exposed in the very center of Red Square".
5 pm
Lou Masduraud – Antoine Bellini
Name of the program: The School of the End of Time

Active Substances Bar / Installation – Performance

Location: Bar Corner
Duration: until closing time
Active Substances Bar is an installation thought as a collective space, blurring the boundaries between the exhibition space, the living space and social places. Active Substances Bar is a counter around which people gather to listen to a talk, look at performances or to talk to each other, sharing social moments. But what seems at first glance to be an ordinary counter, turns out to be a critical scenographic setting, raising questions about our contemporary lifestyles, our collective habits, our beliefs. Active Substance Bar delivers only few natural substances with specific effects on human physiology; St. John's wart – a natural anti-depressant, ginseng extracts – an energizing roots, glasses of red wine – popular disinhibitor. All substances help one's body to respond the demands of capitalism (efficiency, rapidity, sociability). Active Substances Bar provides substances to temporary transform one's physiology, and experience how economy affects our bodies.
There is something in the air.
We all breathe it without care.
5.30 pm
Feiko Beckers
Name of the program: Abracadabra

You might actually learn something: A disappointment you can rely on / Performance – Workshop

Duration: 10 minutes
You might actually learn something consists of three different performances. But maybe they're not really performances. At least that's not what I call them. Instead, I like to refer to them as workshops. Because a performance you can like or dislike. You can encourage your friends to see it, but you can also discourage them. And although that can still happen with these performances, there's a reason why I call them workshops instead. Because I'm convinced that no matter what will happen and what your experience will be, at the end of the day you will have actually learned something.
7 pm
Alice Chauchat
Name of the program: The School of the End of Time

Togethering, a group solo / Performance

Location: Dancefloor
Duration: 1 h
Togethering, a group solo embraces dance as an expression, a social activity and a collective process. Presenting us with a series of proposals in which dance is both a means and an end to togetherness, it includes a lecture on speech and agreement within groups, a telepathic dance and a poetry reading. Alice Chauchat shares some aspects of the collective imagination she practiced over the past 15 years in the field of dance and choreography. These are stories about co-existing and about sharing. While remaining in their formal territories (spectators watching, dancer dancing), performer and audience share roles: assistant, companion, collaborator or host, as protagonists of the theatrical event. Considering our shared time/space both as a reality and as a projection space for other occasions of coming-together, it is an invitation to address those occasions as experiments that are each time re-formulated and that we invent together.
8.10 pm
Feiko Beckers
Name of the program: Abracadabra

You might actually learn something: Good with Girlfriends / Performance – Workshop

Duration: 10 minutes
You might actually learn something consists of three different performances. But maybe they're not really performances. At least that's not what I call them. Instead, I like to refer to them as workshops. Because a performance you can like or dislike. You can encourage your friends to see it, but you can also discourage them. And although that can still happen with these performances, there's a reason why I call them workshops instead. Because I'm convinced that no matter what will happen and what your experience will be, at the end of the day you will have actually learned something.
8.30 pm
Alexandra Anikina
Name of the program: Abracadabra

Tiger Bones / Lecture – Performance

Location: Dancefloor
Duration: 1 h
The lecture-performance Tiger Bones is an inquiry into the image ecology in the times of Anthropocene. Starting from the understanding of images as living things, the lecture will investigate how the 'life' - or non-life - of images impacts the media environment that we inhabit. The lecture enters in a dialogue with an image of a tiger - a ghostly emissary that is both an agent of animation and a harbinger of species extinction. As a border agent, the tiger's image facilitates the encounter with the humankind, with technology and other (non-human) animals. The illegal production of tiger bone wine, the 'paper tiger' of Mao Zedong and the benevolent Tigers in the post-apocalyptic narrative of Richard Brautigan – in these moments the tiger finds itself in the middle of metaphorical and literal rifts in the idea of "life" within the capitalist system of value production. In the spirit of techno-animist research undertaken by the artist, the lecture will imagine the life of images on their own terms: their lifespans, their ability for figuration, their particular temporality and even such an unlikely event as the total extinction of all images.
Esther Elisha
Name of the program: The school of the End of Time

Interludes to The School of the End of Time / Performances (short monologues in between interventions)

Duration: 5 minutes each
Following the theatrical nature of the School of the End of Time, actress Esther Elisha will perform as a narrator between the interventions, reciting extracts from the poetic manifesto written by Ambra Pittoni and Paul-Flavien Enriquez-Sarano.
11 am
Alice Chauchat
Name of the program: The School of the End of Time

The dance of companionship / Workshop

Location: Dancefloor
Duration: 1 h
[closed to 30 px]
The dance of companionship is a practice I've been developing, dancing and guiding people through since 2014. It is an improvisational practice, framed by simple propositions for companionship and poetic images that inform possible qualities of relationship (such as that between a nurse in night watch and a sleeping patient, between toddlers engaged in parallel play, or between silent hikers). Named after the ancient employment of lady's companions, the dance is an exercise in attending an improvised dance, without identifying with it. It is an activity of peripheral togetherness that anyone can join with their own body, present conditions and physical capacities. It involves listening to oneself, to the others, to the dance in the room and it also involves the writing of poetry.

Comfortable clothes are suggested.
12 pm
Stefanie Knoebel
Name of the program: The School of the End of Time

Weaving bodies - a breathing technology fiction / Workshop

Location: Postural Landscape
Duration: 4 h
[closed to 30 px]
The workshop connects discursive inputs of Stefanie Knobel's recent research on cotton to a deeply physical breathing practice. Weaving, breathing and cotton find a common ground in the coal-fueled Industrial Revolution. The workshop takes up the myth of the loom in the body and translates it into a choreography of five breathing techniques: As in the 19th century, Ada Lovelace invented the computing technique and set the basics for the contemporary cyberspace – and thus for a technology that subsequently became widely militarized, Ada took the abstract work of the loom as orientation. At the same time, weavers protested against the mechanization of weaving and set newly built factories on fire. Alongside selected historical incidences of weaver protests all over the world, the workshop examines the virtual potential of breathing.
Registration required.
Everybody is welcome, no physical skills required.
Casual and warm clothes are suggested as within the breathing practices the body loses temperature.
The workshop can be at the same time a warm up for a manifestation for the quasi-public, immediately after the workshop.
4 pm
Stefanie Knoebel
Name of the program: The School of the End of Time

a manifestation for the quasi-public / Performance following the workshop

Location: Postural Landscape
Duration: 2 h
The energy gathered in the breathing workshops, will be brought forward to the streets of Moscow. A manifesto lasered on cotton will correlate with a loose choreography of breathing patterns. How it is for us to see ourselves from the perspectives of our lungs? Bodies repetitively will stand up and resist on the floor, demonstrating an active participation in the planetary carbon cycle. The manifestation performs a reminder to the breathing in order to open up and listen to the ghosts of multispecies.

The manifestation follows the workshop.
The participation is open to everybody who wants to join the manifestation by breathing.
Approx. length of the performative manifestation: 2 hours.

Total length of workshop and manifestation: 6 hours
3 pm
Sofia Caesar
Name of the program: Abracadabra

I am Welton Santos / Performative-reading

Location: Dancefloor
Duration: 40 minutes
[closed to 30 px]
For the performance "I am Welton Santos", Sofia Caesar developed a technique for the reenactment of interviews conducted with Welton Santos in Brasil. The interviews are about Santos's practice, that combines architecture and rhabdomancy, using a rod to divine the direction and location of underground rivers and other energetic fields. Caesar's proposition comes in the shape of a script-book based on transcripts of the interviews, that she invites volunteers to read out loud and interpret together with no rehearsal around an interview set. The reading engages more than 2 readers, and, because of that, the 2 characters (interviewed and interviewer) are broken apart and shared by all readers. The dialogue, then, becomes a polyphony of improvised actions, interpretations, and sounds, that take Santos' practice of dowsing as a tool for re-inscribing moments of emancipation in the relation between the public, the text, and the surrounding architecture.

As the readers bring to life their interpretation of the dialogue and actions Caesar and Santos recorded on camera, the public experiences Santo's tools for creating singular knowledge of the world, the he calls "Theatre of Energies". While Caesar and Santos question each other's tools to document reality, Santos dowsing rods and Caesar's camera are both questioned for being biased tools for creating knowledge and truth. "I am Welton Santos" proposes a performative state, where, in Santo's words, "everything is acting, each thing with its own role".
3.50 pm
Feiko Beckers
Name of the program: Abracadabra

You might actually learn something: A Thing You Can't, But Also Don't Want to Buy / Performance – Workshop

Duration: 10 minutes
You might actually learn something consists of three different performances. But maybe they're not really performances. At least that's not what I call them. Instead, I like to refer to them as workshops. Because a performance you can like or dislike. You can encourage your friends to see it, but you can also discourage them. And although that can still happen with these performances, there's a reason why I call them workshops instead. Because I'm convinced that no matter what will happen and what your experience will be, at the end of the day you will have actually learned something.
4 pm
Lou Masduraud – Antoine Bellini
Name of the program: The School of the End of Time

Active Substances Bar / Installation – Performance

Location: Bar Corner
Duration: until closing time
Active Substances Bar is an installation thought as a collective space, blurring the boundaries between the exhibition space, the living space and social places. Active Substances Bar is a counter around which people gather to listen to a talk, look at performances or to talk to each other, sharing social moments. But what seems at first glance to be an ordinary counter, turns out to be a critical scenographic setting, raising questions about our contemporary lifestyles, our collective habits, our beliefs. Active Substance Bar delivers only few natural substances with specific effects on human physiology; St. John's wart – a natural anti-depressant, ginseng extracts – an energizing roots, glasses of red wine – popular disinhibitor. All substances help one's body to respond the demands of capitalism (efficiency, rapidity, sociability). Active Substances Bar provides substances to temporary transform one's physiology, and experience how economy affects our bodies.
There is something in the air.
We all breathe it without care.
4.30 pm
Johannes Büttner – Peter Helge
Name of the program: Abracadabra

Peak Panic / Workshop – Performance

Location: Dancefloor
Duration: 1 h
[closed to 40 px]
Salvaging, repurposing, commoning: Peak Panik excavates tactics for escaping apparatuses of capture through performative praxeographies of coping with civilisational decay. Peak Panik appropriates fragments from the collective écriture of our moment – manuals, manifestos, inventories, rumours - to draw partial maps for navigating crumbling anthropogenic landscapes precariously held together by a metastasising techno-ecology of identification, security, and control. Peak Panik brings Rodchenko's century-old revolutionary injunction that the things in our hands must be our equals, even comrades, into a dialogue with Anthropocene sensibilities for the agency of nonhuman others, asking how to enter into alliances of solidarity with recalcitrant materials resisting their commodification and control. Peak Panik speculates on relations of comradeship and complicity with our lively surrounds by inviting participants to engage in concrete material practices reconstructing collective forms of life within the eerie ecologies festering beneath the scrap heap of the age of Man.
5.30 pm
Paul-Flavien Enriquez-Sarano
Name of the program: The School of the End of Time

The automatic secretary / Lecture - Workshop

Location: Dancefloor
Duration: 40 minutes
"Let possess and be possessed!", says the hedonistic spirit to the crowd of the living. Why not abandon ourselves to the ludicrous luxury of not being in the driver's seat of the thinking, of the creation, by sharing the subjectivity with another "other"? Why not become the other in turn? What a relief! And what a tool, a perspective, a practice for both art research and creation… to be unintentionally intentioned.

If automatism is well known from the experiments of the 18th and early 19th centuries, the dimension of the automatic creation goes far beyond the sole spiritualist entertainment. It talks about grace, furor, animality, the ontological exuberance of the creator, about language and, surely, about dance.
6.15 pm
Ambra Pittoni – Teresa Noronha Feio
Name of the program: The School of the End of Time

Somatic masters / Performance

Location: Postural Landscape
Duration: 45 minutes
The somatic masters are a series of postural and performative devices that composes the "silent faculty" of The School of the End of Time. They are teachers of the school just like any other teacher. Each master has a specific form and is conceived as a silent and welcoming tutor. They are designed to invite to take a specific posture that implies a generous attention toward the physical relation between one's body and the master itself. Blending concept from physiotherapy and various somatic disciplines with literature and melancholic iconography every single master opens the way to subtle lessons nourishing the invisible sphere of the existence in which what is produced is emotional, erotic, sensible, melancholic and psychic in the very wide sense.
7.30 pm
Alexandra Litvintseva – Beny Wagner
Name of the program: Abracadabra

Lecture – Performance

Location: Dancefloor
Duration: 1 h
Within the posthuman turn there is much speculation on the notion of nonhuman consciousness. The assigning of consciousness to plants, stones, or bacteria - a gesture that decentralizes human consciousness - also betrays an understanding of consciousness as something that is always already there. But was consciousness always present in humans or did it evolve through the historical coevolution of humans, technology and environments? This is the question we explore in our audio visual lecture in which we chart out a series of dispersed spatiotemporal terrains; from the steady beat of agricultural production in early states to the even steadier beat of the rave dance floor on the other side of peak energy. Shifting scales and coordinates we pose a series of questions: How does consciousness link to energy consumption and production? Could one think of consciousness in economic terms: a consciousness surplus or deficit, a consciousness GDP?
8.30 pm
Inger Wold Lund
Name of the program: The School of the End of Time

Cocktail – Performance

Location: Active Substances Bar
Duration: 30 minutes
Inger Wold Lund will serve the classic drink «Pink Lady» while whispering secrets in the ear of the person ordering the drink.

With the participation of Teresa Noronha Feio.
Esther Elisha
Name of the program: The school of the End of Time

Interludes to The School of the End of Time / Performances (short monologues in between interventions)

Duration: 5 minutes each
Following the theatrical nature of the School of the End of Time, actress Esther Elisha will perform as a narrator between the interventions, reciting extracts from the poetic manifesto written by Ambra Pittoni and Paul-Flavien Enriquez-Sarano.
12 pm
Robert Steijn
Name of the program: The School of the End of Time

Asses wide open / Workshop

Location: Dancefloor
Duration: 1 h
A workshop to collectively experience another way of thinking, breaking patriarchal ways of controlling the image of ourselves and our environment. It is a celebration of the sensual and sensorial body by reconnecting the awareness with the reptile brain, by shapeshifting into the energy of the snake. this workshop is part of the school of tender thinking.
4 pm
Lucrezia Calabrò Visconti, Ambra Pittoni and Paul-Flavien Enriquez-Sarano and the audience
Name of the program: Abracadabra и The School of the End of Time

Collective readings of texts from the publication Abracadabra / Collective reading and music listening

Location: Postural Landscape
Duration: 1 h 30 minutes
The publication accompanying the project Abracadabra features an anthology of writings coming from a heterogeneous array of sources (essays, poems, articles, interviews, scripts, letters), that were meaningful for Abracadabra and for The School of the End of Time. This moment of collective reading is conceived by the curators as an occasion to inhabit together the words of the authors who inspired us, expanding the anthology through further readings. The practice of collective reading is proposed as a shared celebration of the indebtedness we feel to others: as Jan Verwoert suggests, we pay tribute to those who have enabled us to practice what we do by inspiring us, in the attempt to move from the fear of influence towards a politics of dedication.
4 pm
Lou Masduraud – Antoine Bellini
Name of the program: The School of the End of Time

Active Substances Bar / Installation – Performance

Location: Bar Corner
Duration: until closing time
Active Substances Bar is an installation thought as a collective space, blurring the boundaries between the exhibition space, the living space and social places. Active Substances Bar is a counter around which people gather to listen to a talk, look at performances or to talk to each other, sharing social moments. But what seems at first glance to be an ordinary counter, turns out to be a critical scenographic setting, raising questions about our contemporary lifestyles, our collective habits, our beliefs. Active Substance Bar delivers only few natural substances with specific effects on human physiology; St. John's wart – a natural anti-depressant, ginseng extracts – an energizing roots, glasses of red wine – popular disinhibitor. All substances help one's body to respond the demands of capitalism (efficiency, rapidity, sociability). Active Substances Bar provides substances to temporary transform one's physiology, and experience how economy affects our bodies.
There is something in the air.
We all breathe it without care.
7 pm
Robert Steijn
Name of the program: The School of the End of Time

Shedding skins: a small solo as a physical prayer / Performance

Location: Dancefloor
Duration: 40 minutes
A physical prayer to break patriarchal thinking, using the healing quality of the snake energy.
7.45 pm
Inger Wold Lund
Name of the program: The School of the End of Time

The easiest way to exit a body is through sweat / Performance

Location: Dancefloor
Duration: 30 minutes
The performance takes its shape as an intimate reading, where words are spoken so softly into a microphone that they enter the ear, thus entering the body, like the whispers of a lover, before sleep. Having in recent years collaborated closely with artists like Claire Tolan, working with ASMR (autonomous sensory meridian response), the physical impact sound has on the body has become as central to Lund in her readings as the impact of the stories she tells. The reading at the The School of the End of Time will go into the haptic sensations of the body.
8 pm
Lucrezia Calabrò Visconti, Ambra Pittoni and Paul-Flavien Enriquez-Sarano and the audience
Name of the program: Abracadabra и The School of the End of Time

The Saintly Hypochondriac – Symposium / Collective reading

Location: Postural Landscape
Duration: 30 minutes
Philosopher Gilles Deleuze once announced that he wanted to give a whole lecture course on hypochondria, joking that it should be reserved to non hypochondriacs, to prevent the lecture hall from being overcrowded. What might this missing seminar have looked like? The audience will be invited to take part in a collective reading in the attempt to find it out.