DADA POST
Dada Post is an artist-run organization, founded in January 2008, by Howard McCalebb, a sculptor and active figure on the international art scene. It is an autonomous space for the production, display and discussion of current art. Foremost, we contemplate artistic expression from the standpoint of pure inspiration emanating from the source – the artist. We are keenly interested in the effects of Globalization on art practice, and the notion of a Berlin centric practice.





Brunno Silva
I hope this is an opportunity to connect Berlin-based artists from an array of practices. I believe it is important that all participants come truly ready to be changed and reconfigured by the experience of being together with others in a post-pandemic condition. How we befriend, collaborate and perceive other bodies is always changing, but now we are being forced into change as never before. It will be up to us to make sense of it all in new ways to engage and create artworks, events, texts and togetherness.
I also believe it is important to accept the shortfalls of a format such as the “open call”, for example the language of choice, location and simply time availability as well, that participants are asked to have. Hopefully we will also have the opportunity to rethink what this group of artists can be, how it will take form and how we create long lasting positive influence in the art community.

Oozing Gloop
Oozing Gloop is the worlds premier autistic, green drag queen who is performing research on actualising COMMUCRACY NOW! A new economy of governance set around revitalising a conceptual praxis of both democracy and communisn; designed to be the ultimate shutdown to any problematic uncle/devils advocate who would ask “how would you run the world?” It is an institutional choreography of egalitarian sentiment. It is a re-appropriation of elaborate political jargon in the service of we, the people, instead of self serving bureaucracy. It is a guiding light, a northern star, a new coordinate of the sensible designed to take care of the ultimate destination. So that we can really be present, here in the now, to create systems of equity with less friction given our pre-existing synchronicities. A crucial part of actualising this is too “SEIZE THE MEANS OF SIGNIFICATION.” Rather the social rituals that give our lives shared meaning we must take and democratise. Weddings, Christenings, Birthdays, Funerals all have a political agenda of normalising a certain way of life. If we wish to have another way of living, we must first live it, if even for moment. The workshop relies on a fractal form in which each and every member participates at each and every moment with structured separation. To ensure individual autonomy within collectivised living. To do this, Oozing Gloop has researched a series of emancipatory actions designed to unlock the personal potentials of each individual so that we may have a political jouissance. Outside of outdated paradigms of political party lines or a post-modernism as dated as the 80’s. (Although we do love a political party line on weekends at an 80’s themed disco) To effectively do this, they need space, time and PARTICIPANTS! The idea is to also within this produce a commucratic vanguard. To imbricate other artists into this supplementary thought so that later people may ask the critical question “how could I commucratise this?” Of their own work; or to express the limits/their own limits in line with the B.L.A (Basic Level of Alienation that is the conditions of commucratic life!)
COMMUCRACY NOW!
The Revolution is Buffering! THE INKUBATOR COLLECTIVE
Reprogramming the exhibition into a workspace for young artists, Dada Post hosted the INKUBATOR residency from March to October 2019, inviting a fluid group of young international artists and non-artists to occupy the space with an informal studio practice.
We hope we can create transformative collectives and excited co-productions, considering the process of cognition and production to be the paramount connector between us and the world. B O D Y O C C U P A T I O N

BODY AS HYPEROBJECTS > LOOKING AT BODY AS HYPERCOMPLEX SYSTEMS OF GOVERNMENT AND CONTROL: TOO COMPLEX TO BE UNDERSTOOD AS A WHOLE ONE, YET USELESS IF UNDERSTOOD ONLY BY PARTS!


CONCEPT
With Body Occupation, INKUBATOR launches a 2-months artistic research project of experimental forms of collaboration, networked participation of art production and the body1 . The main ideas guiding our project – and the goals we propose us to develop in its course are the following: TO RETHINK THE ART OBJECT Tendency of the last years has been an increasing interest of the process of production of the art object; the object itself becomes kind of obsolete leftover of the artistic production. This tendency probably has its root in a posthuman tendency to devalue the object as traditional human production; the object in itself has a quality of isolation from what we perceive as a natural continuum (system), i n which the human element should not have a hierarchical superiority. On the contrary, the distinction “artistic production/art product” reveals a very classical distinction between spirit and matter. Therefore; there is an aesthetic tendency toward an art that is more and more “evanescent”, subtle (not invasive with its objectivity and corporality).
The metonymic belief that the less focus we artist put i n the final product, the more near we are to an open system of thoughts and nature (system described as: a territory, an environment in which anthropic and natural elements define and influence each other), bring us to the most traditional, even platonic dichotomy. But the art object i s a monad complex and not divisible between mind and body. It is a trans-identity intersected with its producers identity and the identity of those who perceive it. Where and when does an artwork start and ends?

NOMADISM OF THE ART BODY
The “fluidity” of the artwork must be searched, not in the devaluation of the art product as matter elaborated by a specific human being, but i n i ts constant redefinition, use, change, mutation by other subjects. We don’t call the art product art object anymore, we call it art body. And as a body, its identity consists in a constant voyage of redefinition and transformation by other subjects. Inkubator extends the process of incubation of the artwork. The process of incubation of the art body, the space and time of this voyage of transformation is the art body itself. The nomadism we refer to does not only have use case in expanding the research on the transforming art body: now more than ever art should be able to move between physical and human sciences. Simultaneously being confronted with an exponential lack of integration between physical and human sciences, and assisting a quantum jump in the ontological understandings of the art body, the contemporary art practice becomes urgently about the gaps, cracks and soft in betweens. The necessity for a paraphrased mimesis between opposing fluid forms is apparent. Similar to Judith Butler’s constant re-writing of self, we intend to freely use, abuse, steal and borrow ontological and empirical tools and practices belonging to both sciences i n order to generate and integrate a constant movement and redefinition.

MAPPING THE HYPEROBJECT BODY THROUGH FLUID SPECIFICITIES
There is a pandemic. The complexity of the human body is revealed by its constant definitions, limitations and expansions. It i s implemented by social groups of any possible scale, territories, scientific practices and theories. The pandemic highlights how body is defined by its possible occupation by the virus and how relationships between humans are mutating to new perceptions and meanings, according to a new geography of bodies. New territories and borders are forming as consequence of new perceptions, with effects which will display their magnitude in the next years. Our project aims to create a “cartography” of the body, seen as hyperobject modifying its environment, and being modified by its environment – a dynamic system (maybe a chaos?) i n which what we classically consider the demarcated body disappearing, to be substituted by a net of material: social, psychological, natural and artificial forces occupying us, and at the same time being modelled by us. For such a task we avoid any universalistic perspective; the meta-artistic discourse of Body Occupation starts from the specificities of the artists, and from the specific practices of the scientists and scholars invited to take part to the project. It implements the participants through reciprocal remodeling and testing in a laboratory dynamic in which ideas and art bodies are modified, tested and elaborated by work and other participants’ inputs.

>LABORATORIES > METHOD :
Establishing a laboratory dynamic requires a loose structure: giving the possibility to the participants to interface and build up working relationships and common practices with their own rhythm and timing. The laboratory, because it grows specifically out of its complex context, starts with presentations from the participants - instigating shared conversation on theory, idea, project and work already in the minds of the individual parts. We expect in this way to start a debate that brings participants to form work groups and to start to elaborate together artistic and non artistic ideas i n common projects.
With its deliberate fluidity: life and structure of every working group is ephemeral and subject to radical changes, interruptions and increase of members. Participants may also wish to use the lab to work on an individual project, and are then invited to present and share their progresses and inspirations to the benefit of the holistic research.
INKUBATOR does not set any rule in formation of social and work rules within the productive microcosms of the laboratory. Everything is accepted and serve as experiment on interactions between bodies on the same territory. Groups within the laboratory also decide if and when to consider their project finished or to leave i t for further development to the other and new participants, The work in progress of the labs will be featured periodically with events curated by the participants in Dada Post.

W H O A R E W E ?
We are a fluid artist collective focused on creating contemporary and urgent expression, based at Dada Post on Nordbahnstrasse 10, 13409 Berlin Reinickendorf.

WHAT DO WE DO?
We share studio space and exhibition opportunities to an international group of young artists, focused on performative and object-based experimentation.

WE CREATE ROOM FOR CONTEMPORARY EXPERIMENTATION
The INKUBATOR creates room for expressive experimentation, development and growth, by understanding the art objects, -experiences and the artists, as processes and actions. Through shared studio practice, art production, space and conversation, the residency focuses on immediacy. The urgent art body, that does not wait for later to remain the same, is paramount for the project. It changes and develops and builds ideology, method and strategy.
By inviting for expression, instead of demanding production, the collaborations inevitably become concerned with the immediate art body. Each iteration of an incubated production is a monad complex: pulling into it a networked context, and demanding an intersected understanding of not just the artwork, but also the artist, space and environment itself.

WE SHARE SPACE
There is not enough room for young artists in Berlin. We want to give more real possibilities to artists to show their art. And in doing so: create the possibility for feedback, collaboration and circulation. The artists own work can correlate with projects from other artists, and with this positive feedback-loop between work, artists and context, a new networked realm of possibility can open. The ideological common ground of the incubated artists in 2019 was that the transitory identity of art and artists is developed through meeting, network and sharing knowledge, and continues to be the method of production in 2020.

WE CONNECT WITH BERLIN - AND THE WORLD
Because INKUBATOR trusts in the networked context of the immediate moment as a method of production, experimentation and contemplation, we consider our location at Dada Post unique and exciting. Berlin is where cultures converge- an exciting art world and -industry calls our city its home, and we meet this condition of hyperconnectivity with a critical excitement. We connect our space and its neighbours to an international community of artists.

1) STUDIO PRACTICE
Dada Post was reprogrammed into a grand empty studio space for a working group of young artists needing space. Deliberately non-hierarchical, this meant equal access to experimentation in space. The INKUBATOR is shared access to space and opportunity. It has an organizing body, but extends into its extended network. The networked context of friends, neighbours and collaborators are essential to the fluidity of the concept and collective. Similar to Cabaret Voltaire and Andy Warhols The Factory, the residency promises conversational strategies and engagements, not just with artists, but with practitioners from diverse fields. With diverse practices, ranging from performance, creative coding, gamification and video, to object based sculpture and painting production, each room would be filled with open processes and contemporary urgencies. In the sunny yard, we would meet and discuss our practices, plans and ideas, and have them met with engaged debate and cultivation. Like visiting a satellite; enabling us to look at the world from new perspectives rendering other contexts, spaces and connections simultaneously blurred and possible to understand as a whole.

2) PERFORMANCE EXPERIMENTATION
In the iconic Dada Posts fridge space, the INKUBATOR hosted planned performance experiments: soundartists Francisca Marques(PO) and Svenja Wolff(DE) lead a public session on intuitively built ambient soundscapes, and Johanne Bokgaard and Ingeborg Wie(NO) designed a video playground for performance documentation. With a constant focus on the performance experience of removing oneself from the city and locating a new decentralised experience, spontaneous actions and ideas implemented themselves into regular studio days and vernissages.

3) EXHIBITIONS
The season opened in April with the group show “Nice to meet you”, introducing a working collective of 10 young international artists based in Berlin. In august, the performance show Club Tropicana drew over 150 visitors to Dada Post, for a one-day exhibition with a pool, music and performances. The event, as public community engagement, created meetings between neighbours and the extended network of the exhibiting artists, including guests from Denmark, Norway, UK and France.
The season ended in October, where our last exhibition “Hibernation”, built with a learned aesthetic from all previous shared productions, new winter sentimentality and the collective grief of saying goodbye to each other and the space, produced an intimate performance ritual for what could now be called the family. The winter hibernation, albeit the apparent end of sharing of space, ideas and artistic ways, has meant for some of us taking part i n the residency, a further period of incubation. In the last months we have been consolidating through long talks, work and art communication processes germinated in 2019, and strengthened our artistic and friendship bonds into a collective.

THE INKUBATED ARTISTS
The organising team is Carlos Alvarez(CO), Esben Holk(DK), Francesco Petruccelli(IT), Ingeborg Wie(NO) and Svenja Wolff(DE) . The project has a non-hierarchical fluid nature, which invites for equal collaboration, extended networking and community building and -support. BODY OCCUPATION