Two Kolxoz's posters as contribution for Sensing Interdependence exhibition, 27.06–10.08.2025, de Appel, Tolstraat 160, Amsterdam
○ Glina – Elementary Conditions, Poster, 210x110cm
EN: Here, Kolxoz uses the word Glina (ground) to describe how objects collide or interact with each other, forcing a change of meaning, context, and abstraction. Focusing on ordinary utilitarian objects, this poster questions the relationships between consumer culture and means of survival.
NL: Hier gebruikt Kolxoz het woord Glina (grond) om te beschrijven hoe objecten met elkaar botsen of op elkaar inwerken, waardoor een verandering van betekenis, context en abstractie wordt afgedwongen. Deze poster richt zich op alledaagse gebruiksvoorwerpen en stelt de relatie tussen consumptiecultuur en middelen om te overleven ter discussie.
○ Liquid Environment, Poster, 210x110cm
EN: Based on the notion that borders are more fluid than we think, and that circulating within the collective is a reality, Kolxoz created an imaginary map of rivers and lakes that reflect the utopian and dystopian hallucinations of post-industrial capitalist drift. Through a shared conceptual mapping process with A4C, and as representatives of post-socialist societies, the collective presents alternative perspectives by tracing perceptions, tapping into Kolxoz consciousness. The reservoirs of this poster are filled with allusions to Soviet placards, traces of the modernist experiments, asymmetric tactics, and subversive methods.
NL: Vanuit het idee dat grenzen vager zijn dan we denken en dat circuleren binnen het collectieve een realiteit is, creëerde Kolxoz een denkbeeldige kaart van rivieren en meren die de utopische en dystopische hallucinaties van de postindustriële kapitalistische drift weerspiegelen. Door middel van een gezamenlijk proces van conceptuele mapping met A4C, en als vertegenwoordigers van postsocialistische samenlevingen, presenteert het collectief alternatieve perspectieven door percepties te traceren. De reservoirs van deze poster zijn gevuld met verwijzingen naar Sovjet-affiches, sporen van modernistische experimenten, asymmetrische tactieken en subversieve methoden.
○ Glina – Elementary Conditions, Poster, 210x110cm
EN: Here, Kolxoz uses the word Glina (ground) to describe how objects collide or interact with each other, forcing a change of meaning, context, and abstraction. Focusing on ordinary utilitarian objects, this poster questions the relationships between consumer culture and means of survival.
NL: Hier gebruikt Kolxoz het woord Glina (grond) om te beschrijven hoe objecten met elkaar botsen of op elkaar inwerken, waardoor een verandering van betekenis, context en abstractie wordt afgedwongen. Deze poster richt zich op alledaagse gebruiksvoorwerpen en stelt de relatie tussen consumptiecultuur en middelen om te overleven ter discussie.
○ Liquid Environment, Poster, 210x110cm
EN: Based on the notion that borders are more fluid than we think, and that circulating within the collective is a reality, Kolxoz created an imaginary map of rivers and lakes that reflect the utopian and dystopian hallucinations of post-industrial capitalist drift. Through a shared conceptual mapping process with A4C, and as representatives of post-socialist societies, the collective presents alternative perspectives by tracing perceptions, tapping into Kolxoz consciousness. The reservoirs of this poster are filled with allusions to Soviet placards, traces of the modernist experiments, asymmetric tactics, and subversive methods.
NL: Vanuit het idee dat grenzen vager zijn dan we denken en dat circuleren binnen het collectieve een realiteit is, creëerde Kolxoz een denkbeeldige kaart van rivieren en meren die de utopische en dystopische hallucinaties van de postindustriële kapitalistische drift weerspiegelen. Door middel van een gezamenlijk proces van conceptuele mapping met A4C, en als vertegenwoordigers van postsocialistische samenlevingen, presenteert het collectief alternatieve perspectieven door percepties te traceren. De reservoirs van deze poster zijn gevuld met verwijzingen naar Sovjet-affiches, sporen van modernistische experimenten, asymmetrische tactieken en subversieve methoden.
5 SIGNALS
FRESH NEWS FROM PAST
Kolxoz,, Kišiněv–Bělehrad, 2025
Most z pohlednic
A postcard is the best answer to the question of how to say Hello. It is a mysterious window. In the window you can see how outside winter dusk meets yellow Tesla (Edison) bulb sparks from inside.
And on the surface of the window glass, these two lights unite and form an ephemeral collage. This is a message in a non–existent language. From a non‒existent country. This is the bridge. Toto je most z pohlednic a lidských pohledů. Most between IPR (Iowa Peo- ple's Republic) and MSSR (Moldavian Soviet Socialist Republic). From one window to another. It's a gentle reminder of something they no longer want to remember. These are vague guesses about something that will never be known for sure. This is not because, this is just. Like in a post industrial wasteland, under the limestone sun, stumble upon a galvanized pyramid. It's like breathing in asbestos dust, when cutting it with an electric saw. These are notes about shorts meetings on the margins, meetings in between. A postcard is the best answer to the question of how to say Goodbye.
Publication consists of 5 chapters from Kolxoz explorations of edge and hidden realities. They are literally “fresh news from the past”, since their form is adapting the best aspects from postcard form. Stories have an image part and on the other side the recipient can read textual narrative. Chapters are: Iowa, MCCP, Umbria, Jadran and Ada.
5 SIGNALS, 146 x 110 mm, 24 pages, Riso print, 3 color print, saddle stitch.
FRESH NEWS FROM PAST
Kolxoz,, Kišiněv–Bělehrad, 2025
Most z pohlednic
A postcard is the best answer to the question of how to say Hello. It is a mysterious window. In the window you can see how outside winter dusk meets yellow Tesla (Edison) bulb sparks from inside.
And on the surface of the window glass, these two lights unite and form an ephemeral collage. This is a message in a non–existent language. From a non‒existent country. This is the bridge. Toto je most z pohlednic a lidských pohledů. Most between IPR (Iowa Peo- ple's Republic) and MSSR (Moldavian Soviet Socialist Republic). From one window to another. It's a gentle reminder of something they no longer want to remember. These are vague guesses about something that will never be known for sure. This is not because, this is just. Like in a post industrial wasteland, under the limestone sun, stumble upon a galvanized pyramid. It's like breathing in asbestos dust, when cutting it with an electric saw. These are notes about shorts meetings on the margins, meetings in between. A postcard is the best answer to the question of how to say Goodbye.
Publication consists of 5 chapters from Kolxoz explorations of edge and hidden realities. They are literally “fresh news from the past”, since their form is adapting the best aspects from postcard form. Stories have an image part and on the other side the recipient can read textual narrative. Chapters are: Iowa, MCCP, Umbria, Jadran and Ada.
5 SIGNALS, 146 x 110 mm, 24 pages, Riso print, 3 color print, saddle stitch.
"...Kolxoz approaches share echoes of counter-institutional spirit we encountered in Texas — where practices emerge in response to institutional and market structures that fail to support them — the practices we encountered in Chisinau exist in the absence of such structures altogether. In fact, the Moldovan state itself is precarious and contested, promoting a necessity to self-sufitient. Faced with collapse, disappearance, and the protracted tug-of-war over state structure, these practices position themselves as vital sociocultural lifeline, assuming roles that extend beyond contemporary art and its audience... " — in such words Gary Farrelly describe context from which Kolxoz appears. Since the first meeting with the O.J.A.I., noticeable amount of inter-collective actions has taken place, and one of it — freshly published investigation-book — chooses the tactics of broader comparative analysis, which allows for observations from a distance and through the perceptions of colleagues.
Set Margins'
Self-Institution/ Terminology Audit - Set Margins'
€22.00 In stock Self-Institution/ Terminology Audit quantity Add to cart Category: Books Description Additional information Description A survey of and reflection on artists using/ hijacking institutional formats. Self-Institution/Terminology Audit is a…
Gary shares the findings of O.J.A.I. investigation in the introduction article "Artistic Practices as Institutions", which opens Terminology Audit: "Kolxoz, too, operates as an epistemic engine — assembling affective and ideological residues from the post-Soviet landscape into frameworks of socio-political grief and speculative infrastructure. Their concepts of KIN-DZA-DZA and MOZAIKA...function as both aesthetic motifs and cognitive instruments, translating collapse into a methodology for sensing discontinuity and historical suspension. What emerges is a self-referential, auto-epistemological mode — institutions that do not simply know, but know how they know."
CHRISTMAS, NEW YEAR, CHRISTMAS, OLD NEW YEAR — Term can be written also as “Christmasnewyearchristmasoldnewyear” stands for a 2 months sequence of celebrations and unity of all approaches to celebrate. Included in the pantheon of post-Soviet unwritten rituals.
1. Gregorian Christmas, 25 December.
2. New Year & Soviet Noviy God, 1 January.
3. Orthodox Rozdestvo, 7 January.
4. Stariy Noviy God (Julian calendar), 14 January.
After this united holiday, biggest dream is to just end the celebration and go to work finally to have a bit of rest.
What can be added from experience since now? Kol: "That Bramborový salat transform to Olivie just by adding “doktorskaya kolbasa” and that Karel Gott sings best in Russian". Xoz: "That we cook Kholodets not only to eat with Khren, but also to print on it polygraphy. And that the old design of the Kvint bottle still feels elegant like modernism compared to Caprom vulgarity of the new one".
1. Gregorian Christmas, 25 December.
2. New Year & Soviet Noviy God, 1 January.
3. Orthodox Rozdestvo, 7 January.
4. Stariy Noviy God (Julian calendar), 14 January.
After this united holiday, biggest dream is to just end the celebration and go to work finally to have a bit of rest.
What can be added from experience since now? Kol: "That Bramborový salat transform to Olivie just by adding “doktorskaya kolbasa” and that Karel Gott sings best in Russian". Xoz: "That we cook Kholodets not only to eat with Khren, but also to print on it polygraphy. And that the old design of the Kvint bottle still feels elegant like modernism compared to Caprom vulgarity of the new one".