Biography

Svetlana Silich is a visual artist, scenographer, and performer. Her work combines installation and performance with a unique relationship to visual art. She explores the interrelationships and role reversals between natural objects and digital devices. A co-founder of the PYL collective, it’s work examines the boundaries of anthropocentric perception in dialogue with objects and ironic attempts to understand non-human agency. The group uses DIY methods, recycling, and principles of compilation, creating their own visual language that extends the meaning of scenography far beyond the theater stage. She is currently collaborating with Mexican artist Cristina Maldonado on the immersive work Infinite Game. Svetlana has been involved in creative activities for children and is currently focused on creating performative workshops and cultural events for children and families that introduce contemporary artistic approaches in a playful way.

Yanina Arlova  studies Directing and Dramaturgy for Alternative and Puppet Theatre at DAMU in Prague, where she focuses on postdramatic theatre. Originally from set design, she transitioned to directing and enjoys finding new forms, formats, and relationships with the audience.

Artistic project

Our project explores charging as an exchange of energy between natural and human-made systems. We contrast modern technology with nature’s tactile rituals and reflect on how children’s play mirrors our desire to reclaim time and redefine our connection with the world.

Central to the project are biodegradable charger-shaped objects made from biocomposites like eggshells and algae powder, alongside cork keyboards and the tactile act of massaging screens. These elements symbolise a ritualistic “return to nature” as a literal and metaphorical act of charging. By repurposing waste materials into performing objects and other way round, we introduce the idea of the “ghost charger”—a gesture of surrender to natural cycles, reconnecting us with analog, tactile experiences. Inspired by Mark Fisher’s concept of “shadow,” we examine the tension between analog intimacy and digital detachment. Carrying sand, petting shells, or massaging screens—these small acts reveal how touch can resist the sterility of technology.

We also aiming to discuss the potential of scenography to let go of its own appropriation and teach us to better understand our relationship with our environment, organisms and materialities.

Format: performance

Size of audience: 30 to 40 people

Specific location: some trees or some bush in the city, city park, anywhere you make compost

Timing / duration: long term performance, if needed 40 min variant