OSCILLATION : Mayday Radio Marathon

OSCILLATION : Mayday Radio Marathon
April 30 - May 2, 2020

3 Days of streaming sound from: Jonathan Frigeri, Julia E. Dyck & Diana Duta, Liew Niyomkarn, Inne Eysermans, Planète Concrete, Stijn Demeulenaere, martiensgohome, Kim Laugs, pali meursault, Elisa Ferrari, Olli Aarni, Sacred Realism, Lazara Rosell Albear, XX Files archive, Penates (JD Zazie & Mat Pogo), Anna Raimondo, Edyta Jarząb & Paweł Kreis, Gea Brown, Roberta Miss aka +Nurse+, Marcus Bergner, Eleanor Ivory Weber, DJ Marx&Engels, AFIIP - African International Institute for Peace, Lendl Barcelos, Mika Oki, Juniper Foam, poemproducer aka AGF, BNA/BBOT, Meakusma, Jasmine Guffond & Gloria González Fuster, Laurent Güdel, Giovanni Lami, Joaquin Guitierrez Hadid, Ahti & Ahti, Manfred Werder, Teresa Cos, Stephanie Quirola, Caroline Profanter, Henry Andersen, Julia Eckhardt and many guests.

Online workshops 28/4, 29/4 and 30/4 by:
Julia E Dyck and Jasmine Guffond


The second edition of Oscillation festival will take place as a 3-day radio marathon over the first weekend in May, in resonance with the Internation Day of Workers. In the absence of project funding, the format of radio offered us a possibility to nonetheless continue the festival and to use it as a framework to reflect on the notion of value in art and cultural organisation beyond the monetary. Radio has always been a favourite tool of autonomous, DIY and experimental practice; offering low-cost means of reaching people, diverse forms of expression, and new tools for thinking community, audience, and access. We want this year's festival to be practical experiment in balancing responsible collaboration with an urgency to make space for things to happen.

Under the additional strain of collective lock-down measures, the festival has again adapted and will now take place entirely online. Formats were rethought where necessary as e.g. live streams, concerts-on-tape, focus radio-features, workshops via video-conference, and experiments in synchronised remote performance. In the necessary absence of a live-local audience, attention again folds out to a public dispersed in space. These new conditions created the possibility to draw on friends and contributors from other places, to see a wider spread of autonomous practices in dialogue with those in Brussels. In this way the festival can stay with the initial plan to be an open laboratory for near-continuous broadcast; a reflection on communities of producers and listeners, on making do, doing-it-ourselves, doing-it-with-others, and using what is at hand.