Celestína Minichová (2001) engages in artistic research focused on performativity, site-specific approaches, and various aspects of the poetics of language. She views her work as a diagonal exploration that embraces the possibility of failure and a return to enduring concerns. She constantly strives to decode these and discover other accessible approaches to creating relationality. The focus of her interest lies in emerging scenographies and the creation of narratives that emerge in the context of contemporary countries facing climate crises. She completed her bachelor’s degree at the Department of Intermedia, vvv studio, at the Academy of Fine Arts and Design in Bratislava. She is currently pursuing an MA in Scenographic Research at the HKU University of the Arts in Utrecht.

Martin Kosorín (1986) focuses his artistic practice on creating music and interactive scenography for contemporary dance and improvisation performances. He is interested in exploring the possibilities of using modern technologies in art with the aim of expanding the capabilities of musical instruments and creating an interactive connection between sound, the physical world, and movement. He is currently studying at the Institute of Sonology at the Royal Conservatory in The Hague.

How does the climate catastrophe, rooted in extractivist and anthropocentric logics, dull the human capacity to care for and feel the environment? The deepening climate catastrophe leaves behind a physically experienced climate grief that is, however, often denied or suppressed. This state, together with established ways of perceiving, naming, and narrating, isolates us from the more-than-human world and reinforces disconnection, thereby perpetuating climate injustice. We find ourselves in a state of detachment rather than connection.

In a temporary installation and performance created for the úúú series in Trenčín, the artists ask how inherited perceptual structures block climate justice and hinder equitable, caring relationships between the human and non-human environments – so that they may seek alternatives.

The project explores micro-practices of perception and mindfulness toward the materials that surround us through work with other forms of soundscaping, using odd instruments, contact microphones, and micro-sound translation.

2026
without a language barrier