PPKK 09.03

In response to the question ‘what remains’, raised by the book - and exhibition project My Last Will, PPKK appropriates high-level nuclear waste (HLW) as toxic land art readymade crap and worships it with a sacred hypnoral dark hole priest club.

Due to its mortiferous toxicity to all life, HLW will be solidified into a glass/ceramic matrix and sealed in permanent deep underground tunnel repositories for 100.000 years. The fundamental message - where these tunnels are located, and that they should never be opened - needs to be channeled across tectonic shifts, collapsing civilisations, languages and lifeforms.

Dreaming tracks, practiced in the Aboriginal cultures of Australia, are some of the longest lasting cultural techniques of information transmission, proven successful for up to 120.000 years of preceding human history. Mapped through song and dance, dreaming tracks are path networks in the sky and land, crossing through sacred sites. The underworld, in Greek mythology, is ruled by Pluto. He guards the souls who are condemned to spend eternity under the Earth. In the ancient Pluto cult, sleep rituals were conducted in a Plutonium, an underground tunnel sanctuary spewing toxic fumes. The presence of Plutonium (Pu) and Uranium (U) on Earth is theoretically due to neutron star collisions in the universe.

PPKK echoes the colliding star theory by smashing the Aboriginal dreaming tracks with the Plutonian sleep ritual, delivering a system of cradle songs (lullabies). The system of cradle songs (lullabies) will be used as the everlasting channel for the fundamental message, lyrically, melodically, rhythmically containing the geolocations of the HLW tunnels and all essential information.

To safeguard the transgenerational relay of the lullabies, PPKK establishes the priest club PuU. The PuU members celebrate, in Plutonian cosmic cycles, hypnoral raves at the entrance to the toxic underworld. These ceremonies biochemically serve as the core community and place attachment process. In sleeping rituals, the PuU members are soothed by the sound of the lullabies via which they transfer, share and update the HLW geolocations and all essential information. From generation to generation, PuU channels the fundamental message through time, and ensures the half-life of PPKK’s work for 100.000 years.

Many people have been of great support to us in this whole hole that we dug ourselves into. We wish to send special thanks to: Adrien Missika, Anna Riegler, Asya Yagmurian, Casino Luxembourg, Emmanuel Crivelli from Dual Room, Dubplates and Mastering, Enrico Centonze, Hugo Schneider, Igor Klaczynski, João Laia, Jaakko Niemelä, Katharina Marquardt from the Institut für Hypnose, Katja and Kai from Starstyling, everyone at Kunstsammlungen Chemnitz, Laure Jaffuel, Maria Teeri and Janne Nabb, M+M, Nathan Gray, Objects Manufacturing, Rebecca Armstrong, Saâdane Afif, Sotirios Kapetanios, Thibaut Carpentier from IRCAM, Thodoris Dimitropoulous from Oddsstudio, Vincent Carpentier, Vincent Schier, Wendelin Kammermeier, Xavier Mazzarol

Mein letzter Wille/ My Last Will

Loukia Alavanou, Lara Almarcegui, Carlos Amorales, Iván Argote, John Bock, Mohamed Bourouissa, Olaf Breuning, Chicks on Speed, Clément Cogitore, Keren Cytter, Marcel Dzama, Hanakam & Schuller, Su Hui-Yu, Mire Lee, Erik van Lieshout, Renzo Martens, MASBEDO, Christodoulos Panayiotou, Cesare Pietroiusti, Agnieszka Polska, PPKK (Schönfeld & Scoufaras), L.A. Raeven, Ricarda Roggan, Santiago Sierra, Shelly Silver, Su-Mei Tse, Raphaela Vogel, Simon Wachsmuth, Clemens von Wedemeyer, Tobias Zielony, Thomas Zipp, Portia Zvavahera.