Call for Web Residencies No 14: Post-Doom

For Akademie Schloss Solitude’s Call for Web Residencies No. 14, we invited artist and musician Johanna Hedva as curator. Moving away from all-encompassing dystopian future scenarios, »Post-Doom« explores how the perception of a lost present is inscribed in and reproduced in our everyday experiential spaces. As a seductive counterpart to this seemingly hopeless approaching terminal state (or standstill), Hedva calls for us to rethink beginnings, new multiple entry points, and experiences that reveal the longing for a whole, unmediated potential of our present and future.

Curated by Johanna Hedva — Okt 20, 2020

Akademie Schloss Solitude - Call for Web Residencies No 14: Post-Doom

graphic by Stephan Thiel & Anne Lippert

I started thinking about doom recently because I was explaining to a friend the difference between death metal and doom metal. »Death is fast, doom is slow,« I said. I realized that when we speak of death, it’s often scaled to the individual, but doom is always scaled hugely, collectively: »We are doomed,« »Earth is doomed,« etc. The twenty-first century is marked by doom – the climate crisis, the promise that this is »late« capitalism (if only!), that liberalism is dead or dying. In 2020 we’ve found ourselves weathering many kinds of doom – disease, fascism – the apocalypse is here. We’ve killed the earth; we keep killing ourselves.

What comes after doom? And what does doom begin? How has it already mutated us? Think of Mark Fisher’s assertion that it’s easier to imagine the end of the world than the end of capitalism. Is this imagining now upon us? Or has it already been here for a while? What happens when we think of doom as a beginning, rather than an end? To start from the position that, of course we are doomed – so, now what? Or, does doom foreclose linearity at all? Is it always ongoing and happening everywhere, and if so, what does such a condition produce as a future, or as a past?

One of the generative threads here is thinking through accessibility, which is particularly relevant in the present transformation COVID-19 has wrought on the world. Under ableism, disability is often called »a fate worse than death.« But for many, disability justice and crip theory are emancipatory politics, a means of abolishing the pernicious ideologies – from racism and colonial-imperialism, to homo- and transphobia – that form the bedrock of patriarchal capitalism, because ableism is at the heart of oppressions that are based on an invented hierarchy of superiority and normativity. This year, I’ve been interested in what I call »the blast radius of disability,« a term that describes the period of time that detonates around illness and disability, when perspectives of our individual selves and capacities mutate, as do our understandings of time and productivity, and our interdependencies with the systems in which we are entangled.

Accessibility is a host for considerations of how we experience and participate in social life: it ranges from disability access (if a building is wheelchair accessible, if a video has subtitles), to concerns of who, and how, people can physically attend an event or place, which is to say, who is allowed and supported to appear in the political space of the public. There is an inherent value with which this presence/absence binary is bound, and accessibility asks after the political consequences of such value. It asks about anywhere, who is not here, and why. Integrating accessibility into work from the beginning, rather than thinking about it at the end, produces new and evocative layers of meaning, multiple entry points and experiences. It pushes against the notion that art is best experienced in person, within a designated space for art, especially germane to consider when applying to a Web Residency.

Applicants should discuss accessibility in their proposals explicitly. For example, if a project contains an online component, applicants should explain how they plan to engage with the WCAG (web content accessibility guidelines). If work is predominantly audio, applicants should explain how they will ensure access for the Deaf and hard-of-hearing community.

We invite artist, healers, astrologers, dancers, musicians, alchemists, writers, and everybody who is willing to explore notions of new beginnings. What if doom is a beginning, rather than an end? And who has access to this new beginning?


We accept text, performance, 3D objects, net sculptures and installations, web archives, apps, and any other experimental mediums. Selected projects should be carried out in open-source formats that are well-documented, shareable, and consider the accessibility of its users, who may range in age, race, gender, economic class, and ability.


Submit your project proposal in the form of:
– a headline
– a concept text in English (1,000–1,500 characters with spaces)
– a header image (high resolution, landscape format)
– a short bio in English (500 characters with spaces)
– a portfolio PDF (images, text, links)


For each call, the curator selects four project proposals, whose creators are rewarded with a four-week residency and 750 euros. All selected Web Residents are nominated for the production prize HASH by Solitude which will be awarded in 2022.


Call release: October 20, 2020
Applications: until November 15, 2020 (midnight CET)
Web Residencies launch: January 15, 2021


Johanna Hedva (b. 1984) is a Korean-American writer, artist, musician, and astrologer, who was raised in Los Angeles by a family of witches, and now lives in Los Angeles and Berlin. Hedva’s practice cooks magic, necromancy, and divination together with mystical states of fury and ecstasy. There is always the body – its radical permeability, dependency, and consociation – but the task is how to eclipse it, how to nebulize it, and how to cope when this inevitably fails. Ultimately, Hedva’s work, no matter the genre, is different kinds of writing, whether it’s words on a page, screaming in a room, or dragging a hand through water.

Hedva is the author of the novel On Hell (2018), which was named one of Dennis Cooper’s favorites of 2018. Their new book, Minerva the Miscarriage of the Brain, documents a decade of work in the form of essays, poems, and performances, and was published in September 2020 by Sming Sming and Wolfman Books. Their first solo exhibition, God Is an Asphyxiating Black Sauce, opened in summer 2020 at Klosterruine Berlin. Their work has been shown at The Institute of Contemporary Arts in London, Institute of Cultural Inquiry in Berlin, Performance Space New York, the LA Architecture and Design Museum, and the Museum of Contemporary Art on the Moon.

Hedva has written about the political and mystical capacities of Nine Inch Nails, Sunn O))), and Lightning Bolt; the legacy of Susan Sontag; ancient Greek tragedies; and the revolutionary potential of illness. Their writing has appeared in Triple Canopy, Frieze, The White Review, Art Practical, Ignota, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016 in Mask, has been translated into six languages, and their activism toward accessibility, as outlined in their »Disability Access Rider,« has been influential across a wide range of fields. Hedva received their BA in design from UCLA’s School of Arts and Architecture, and their MFA in art and MA in aesthetics and politics from California Institute of the Arts. They have been a resident at Amplify Berlin, mentored by Pan Daijing, and a fellow with at land’s edge, in Los Angeles, mentored by Fred Moten.

Their EP The Sun and the Moon was released in March 2019; two of its tracks were played on the moon. Their LP, Black Moon Lilith in Pisces in the 4th House, a doom-metal guitar and voice performance influenced by Korean shamanist ritual, will be released in January 2021 on crystalline morphologies and Sming Sming.

Web Residencies

In 2016, Akademie Schloss Solitude launched the Web Residencies to encourage young talents of the international digital scene and artists from all disciplines dealing with web-based practices. ZKM was program partner from 2017–2019. For each call, the curator selects four project proposals whose creators receive a four-week residency and 750 euros.

Artists are invited to experiment with digital technologies and new art forms, and reflect on the topics set by the curators. Web residencies are carried out exclusively online, and the works are presented online.

Artists and students of all disciplines as well as former or current Solitude fellows may apply. There is no age limit.


The deadline is November 15, 2020 (midnight CET).
Please write to digitalsolitude(at) if you have any questions.

How will this web residency impact or sustain your existing project? Please describe how the residency may benefit your work as well as the current artistic, professional, activist, or community-related networks in which you insert this project. (maximum 1200 characters with spaces)

Previous web residency/ activities with Akademie Schloss Solitude

Provide up to three URLs to existing online projects. These submissions should run in any standard browser or Tor. Do not use this to submit attachments such as .zip files, and do not post a link to a resume or curriculum vitae. *Examples include video; screen-capture presentations; .gifs; apps; bots; software programs; open-source file sharing; emoji-based narratives; social media platforms; etc.


Are there any special requirements for any of the above URLs?

Provide an image that represents your practice or proposed project. This can be a sketch or visual idea rather than a finished visual artwork, but it should be original. (maximum 2mb)



Provide a brief biography of yourself or your collective and your relation to the communities you engage in your work, if relevant. (maximum 500 characters with spaces)

Beteiligte Person(en)

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