Pangardenia

The Pangardenia project is made up of four paths: Parniki (artists at their homes; indoor gardening and other types of “capsuled” life), Abandoned gardens (semi-closed universities and ways for growing knowledge and art in lockdown), Wandering gardens (a site-specific artistic boat trip in collaboration with boat-drones), and Post(non)human gardens (new types of life forms, combining both human and non-human agents). One day for each path (subtheme) and a closing move of Pangardenia.

Pangardenia

Fragility (uncertainty) and self-sufficiency (autonomy) are distinctive features of today’s pandemic life in lockdown. Our lives grow from the middle (Kafka) and we no longer have strong roots in the soil, but we are not immaterial cloud-based creatures either. This is a life between matter and data.

Timothy Morton says that “information dump mode” is a way for us not to relive the experience of (traumatic) data. To relive means to integrate data back into personal experience, and thus integrate it into the “collective experience,” expanding to a planetary scale (J. Lovelock). Pangardenia is an aspiration to relive through data, and an ambition to re-connect the virtual and the real. Pangardenia, a natural chimera, embraces Panic sensibility of the wild and guarded gathering of the garden and gradina, elemental and structural, growing and digital. What can bear fruit in these liminal gardens?

The Pangardenia project is made up of four paths: Parniki (artists at their homes; indoor gardening; autonomous existence and any other types of “capsuled” life), Abandoned gardens (semi-closed universities and ways for growing knowledge and art in lockdown), Wandering gardens (a site-specific artistic boat-trip in collaboration with boat-drones), and Post(non)human gardens (finding new types of life forms, combining both human and non-human agents). Each day we will walk down one of the paths (subtheme) and finalize the festival with a closing movie of Pangardenia.