A Day in Life

"The artist lives outside time, driven by a desire for change in the life from which they have withdrawn, hoping to reconcile with it when they return to it."
- paraphrase of Boris Groys' The Loneliness of the Project

The heroism of A Day in Life belongs to existences moving on the edge - beaver preppers preparing for the end of the world and surviving artists. What lies behind them? What ahead? What is the probability that they can pull themselves out of crisis through self-help and still have a chance at a decent life - and if so, how is that even done? Just as beavers gather material to build a fortress that ensures them protection, stable climate, and access to food, the heroism of A Day in Life attempts to secure safe spatial and temporal niches for its creation. But idleness does not pay off: water flows on, fish spawn, and heroism slowly but surely grows into rotting furniture.

The central glacier of Akolektiv Helmut's new project is the phenomenon of crisis - creative crisis unfolding against the backdrop of existential, climate, and housing crises. Dumpster diving, Czech fish republic, and the inside of a bucket as infinite potential. All of this collides in a liminal space somewhere on the border between amateur theatre festival and professional ensemble operation.

A Day in Life is an essay on the creation of art, the work ethic it requires, and the fatal temporality in which the artistic project inevitably becomes the life of art itself.