BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:2016@backend.prikbord.page SUMMARY:TRYDAY: The Conductive Desert: Absence / Longing / Saturation DTSTAMP:20261023T075418Z DTSTART:20261106T180000Z DTEND:20261106T200000Z DESCRIPTION: 6 November 2026\, 19:00–21:00\n\n V2_Groundfloor\, V2_Lab fo r the Unstable Media\n\n 6 November 2026\, 19:00–21:00\n\n V2_Groundfloo r\, V2_Lab for the Unstable Media\n\nTrydays are one-off public events at V2_ that give artists the opportunity to\ntest new work in front of an aud ience. These evenings function as open moments\nof experimentation\, where installations\, performances\, and research-in-progress\nare shared and e xplored. Trydays create space for dialogue\, feedback\, and\nexchange betw een artists and visitors\n\nFlavia Dzodan [https://v2.nl/people/flavia-dzo dan/] is an Argentine artist\,\nwriter and researcher based in Amsterdam. Her work spans sound\, moving image\,\ncomputational performance\, writing and independent publishing\, and follows the\npolitical life of classific ation: how colonial taxonomies\, institutions and\ncomputational systems o rganise territory\, perception and possible futures. Her\ncurrent research develops questions of affective logistics\, algorithmic\nhaunting\, laten cy and infrastructural violence. She is Professor (Lector) and\nhead of Al gorithmic Cultures at the Gerrit Rietveld Academie and Sandberg\nInstituut .\n\nThe Conductive Desert: Absence / Longing / Saturation is a live audio visual\nperformance by Flavia Dzodan and a continuation of Absence / Longi ng /\nSaturation\, first presented at V2_ in 2025 as part of the exhibitio n The\nIllusion of Thinking [https://v2.nl/events/the-illusion-of-thinking /]. \n\nThe earlier installation traced absence\, longing and saturation t hrough\ntransatlantic latency\, networked transmission and the Argentine l ittoral. During\nits development\, a fourth work\, Affective Asymptote II – Littoral Longings\,\nbegan to push beyond the original trilogy\, followi ng the littoral inland toward\nthe historical infrastructures through whic h territory becomes available for\nextraction. The Conductive Desert devel ops that movement further: from Atlantic\ncables and coastal latency into colonial desertification\, mining\, archival film\,\naerial violence and t he historical production of extractable territory.\n\nFor its expanded V2_ iteration\, the performance brings the 1919 Dutch film Het\nArgentijnsche vleesch into this historical circuit. Made five years before the\nNapalpí massacre of 1924\, the film presents Argentina to a European audience\nth rough cattle\, slaughter\, flesh\, territory and export abundance. Its imp ortance\nto the performance lies precisely in this chronology: before the massacre\noccurs\, a visual regime is already making Argentine territory l egible as\nproductive abundance and exportable resource. What the image ma kes available and\nwhat remains outside its frame become part of the same historical field.\n\nThe performance moves through four interconnected sec tions. Transatlantic Drift\nfollows the route between Amsterdam and the Ar gentine littoral through network\nlatency\, geographic coordinates and tra nsatlantic fiber-optic infrastructure.\nThe Apiri Probe turns toward colon ial Andean mining\, reconstructing the\ninvoluntary “ay\, ay” recorded by Charles Darwin from Indigenous and mestizo\nworkers carrying immense loads through vertical mine shafts. Here the body\nappears as an energetic subs trate: metabolic expenditure transformed into\nmechanical lift. Transatlan tic Conduction brings these systems together at the\nArgentine littoral\, where nineteenth-century telegraph cables and contemporary\nfiber-optic ne tworks intersect with a coastline marked by colonial violence and\nthe dic tatorship’s vuelos de la muerte. Signals cross these territories through\n latency\, packet loss\, routing deviation and degradation rather than fric tionless\nconnection.\n\nThe fourth movement\, Los cuervos no volaban\, tu rns the conductive circuit\nupward. Taking the Napalpí massacre as a histo rical hinge\, it examines the\naerial as a logistical and administrative p osition: a vertical asymmetry from\nwhich territory can be surveyed\, clas sified and acted upon while those below\nremain exposed to its consequence s. The Dutch film enters this movement as part\nof that perceptual archite cture\, producing a landscape of abundance immediately\nbefore the violenc e through which territorial availability would continue to be\nenforced. T he five-year interval between the film and Napalpí becomes part of\nthe wo rk’s temporal structure: an image of the abundance of flesh precedes an\ne vent of mass violence without either being reduced to an illustration of t he\nother.\n\nIn this project\, “desert” does not name an empty geography. It names an\noperation through which inhabited territory is rendered empt y\, delayed\,\ninsufficiently productive or available for another future. The work follows the\ninfrastructures through which bodies\, land\, images and signals are reorganized\nfor circulation\, extraction and command. So und is generated and transformed\nthrough SuperCollider\, network data\, l ivestream-derived signals\, archival traces\nand spoken text. Rather than reconstructing historical events or offering\nnarrative resolution\, the p erformance places incompatible temporalities into\nproximity: colonial lab or\, archival film\, massacre\, telegraphy\, contemporary\nnetworks and th e ordinary circulation of the present.\n\nReturning to V2_\, where the pro ject’s earlier grammar of absence\, longing and\nsaturation was first inst alled\, this expanded iteration asks what happens when\nhistorical violenc e ceases to appear as an event and instead persists as\ninfrastructure: em bedded in the systems through which bodies\, commodities\,\nimages and sig nals continue to move.\n\n  URL:https://backend.prikbord.page/event/tryday-flavia-dzodan LOCATION:V2_Groundfloor\, V2_Lab for the Unstable Media - V2_Groundfloor\, V2_Lab for the Unstable Media STATUS:CONFIRMED CATEGORIES:2026,experiment,tryDay X-ALT-DESC;FMTTYPE=text/html:

6 November 2026, 19:00–21:00


 V2_Groundfloor, V2_Lab for the Unstable Media

6 November 2026, 19:00–21:00


 V2_Groundfloor, V2_ Lab for the Unstable Media

Trydays are one-off public events at V2_ that give artists the opportunity to test new work in front of an audience . These evenings function as open moments of experimentation, where instal lations, performances, and research-in-progress are shared and explored. T rydays create space for dialogue, feedback, and exchange between artists a nd visitors

Flavia Dzodan is an Argentine artist, writer and researcher based i n Amsterdam. Her work spans sound, moving image, computational performance , writing and independent publishing, and follows the political life of cl assification: how colonial taxonomies, institutions and computational syst ems organise territory, perception and possible futures. Her current resea rch develops questions of affective logistics, algorithmic haunting, laten cy and infrastructural violence. She is Professor (Lector) and head of Alg orithmic Cultures at the Gerrit Rietveld Academie and Sandberg Instituut.< /span>

The Conductive Desert: Absence / Longing / Saturation is a live audiovisual performance by Flavia Dzodan and a co ntinuation of Absence / Longing / Saturation, first presented at V2_ in 2025 as part of the exhibition The Illusion of Thinking. 

The earlier ins tallation traced absence, longing and saturation through transatlantic lat ency, networked transmission and the Argentine littoral. During its develo pment, a fourth work, Affective Asymptote II – Littoral Lo ngings, began to push beyond the original trilogy, follow ing the littoral inland toward the historical infrastructures through whic h territory becomes available for extraction. The Conducti ve Desert develops that movement further: from Atlantic c ables and coastal latency into colonial desertification, mining, archival film, aerial violence and the historical production of extractable territo ry.

For its expanded V2_ iteration, the performance bri ngs the 1919 Dutch film Het Argentijnsche vleesch into this historical circuit. Made five years before the Napalpí massacre of 1924, the film presents Argentina to a European audience throu gh cattle, slaughter, flesh, territory and export abundance. Its importanc e to the performance lies precisely in this chronology: before the massacr e occurs, a visual regime is already making Argentine territory legible as productive abundance and exportable resource. What the image makes availa ble and what remains outside its frame become part of the same historical field.

The performance moves through four interconnecte d sections. Transatlantic Drift follows t he route between Amsterdam and the Argentine littoral through network late ncy, geographic coordinates and transatlantic fiber-optic infrastructure. The Apiri Probe turns toward colonial And ean mining, reconstructing the involuntary “ay, ay” recorded by Charles Da rwin from Indigenous and mestizo workers carrying immense loads through ve rtical mine shafts. Here the body appears as an energetic substrate: metab olic expenditure transformed into mechanical lift. Transat lantic Conduction brings these systems together at the Ar gentine littoral, where nineteenth-century telegraph cables and contempora ry fiber-optic networks intersect with a coastline marked by colonial viol ence and the dictatorship’s vuelos de la muerte . Signals cross these territories through latency, packet loss, rout ing deviation and degradation rather than frictionless connection.< /p>

The fourth movement, Los cuervos no volaban, turns the conductive circuit upward. Taking the Napalpí ma ssacre as a historical hinge, it examines the aerial as a logistical and a dministrative position: a vertical asymmetry from which territory can be s urveyed, classified and acted upon while those below remain exposed to its consequences. The Dutch film enters this movement as part of that percept ual architecture, producing a landscape of abundance immediately before th e violence through which territorial availability would continue to be enf orced. The five-year interval between the film and Napalpí becomes part of the work’s temporal structure: an image of the abundance of flesh precede s an event of mass violence without either being reduced to an illustratio n of the other.

In this project, “desert” does not name an empty geography. It names an operation through which inhabited territo ry is rendered empty, delayed, insufficiently productive or available for another future. The work follows the infrastructures through which bodies, land, images and signals are reorganized for circulation, extraction and command. Sound is generated and transformed through SuperCollider, network data, livestream-derived signals, archival traces and spoken text. Rather than reconstructing historical events or offering narrative resolution, t he performance places incompatible temporalities into proximity: colonial labor, archival film, massacre, telegraphy, contemporary networks and the ordinary circulation of the present.

Returning to V2_, where the project’s earlier grammar of absence, longing and saturation was first installed, this expanded iteration asks what happens when historica l violence ceases to appear as an event and instead persists as infrastruc ture: embedded in the systems through which bodies, commodities, images an d signals continue to move.

 

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