A system of sublime art interventions, a semantic game of messages, information, notions, ideas of belonging and identity and references to concepts of positive conspiracies, developed in an esclab during the weeks before the exhibition.

What is needed to develop potential strategies of resistance against this process of emptying out the meaning of words and concepts - to refill and recharge them with real content – is the designation of dystopian and utopian perceptions of the present, followed by their transformation into tangible, spatial art installations. A term developed by Donna Haraway together with other researchers can be used to define this practice of research and action: “response-ability”, interpreted as one of the capacities of collective action: potential strategies of resistance are revealed, the positive energy of human power of imagination supports authentic content and keeps the practice of Response-ability grounded. Response-ability is a term coined by Donna Haraway in 2013, with which she outlines a general capacity for reaction, the ability to respond in living systems and contexts in which we are constantly with others. She understands Response-ability as an intrinsically collective and continuously re-created reality. It can also be used to describe a strengthening of subjectified perception towards a universally acknowledged objectivity. This is also about the search for complicities and alliances, for the emergence of new groups and collectives, for collaborations, that evolve to foster participation and impact to reclaim personal souveranity. However, this is not just about the function of philosophical scientific critique in demarcating the boundaries between the claims of knowledge and objectivity.

Through an analysis of their own life situations, the Daily Rhythms Collective DRC employs art methodologies in order to formulate models of inclusive space. This is reflected both in a literal and figurative sense through urban space that is open and open-minded. To do this the artists use a wide range of formats including interventions in public space, workshops, talks and round tables, historical research and publications. In SUBLIM, regular esclabs play a vital role: in continuous exchange, the collective works out various hypotheses and so develops their joint installation SUBLIM. This process of collective development in itself thematises the utopian qualities in our society. In a continuous exchange, the DRC collective worked out various hypotheses and in this way developed their joint installation SUBLIM. This collective development thematises in itself utopian qualities of a possible future society, by creating and testing soft resistance systems against hierarchical structures, and moreover against the concept of the individual productivity paradigm. The spatial interventions are in part echoes of actions in public space that have taken place in the lead-up to SUBLIM; they are also new works that were jointly developed during escLabs, and produced here. All of the works are embedded in a wider consideration of utopia and dystopia.

The exhibition shows a compendium of machines. In this installation, machines mean firstly concrete objects, but they are also a way of thinking about abstract construction of context, as described by Sol Le Witt in his text “Paragraphs on Conceptual Art”: "The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless".1 These machines are not the product or property of one mind, but rather collective constellations of diverse considerations. Machines, which have at least one unusual gear, a particular, resistant and queer mechanism to go against the norm.

The Daily Rhythms Collective DRC with Marie Aimetti, Daniela Brasil, Nayari Castillo, Veza Fernandez, Sara González Novi, Severin Hirsch, Kate Howlett-Jones, Maryam Mohammadi, Meri-Pauliina Sundén, Tuuli Sundén-Uusimäki, Daphna Weinstein, Inka Ylikotila