The 2007 Pyongyang - Democratic Republic of Timor-Leste Triennial is the first major attempt to illustrate the dialogical kind of exchange that might exist between artists-in-residence who might be held among the many ordinary people arbitrarily detained and tortured in non-peripheral centres for contemporary containment in both states. Facilitated by Alexandr Petrovsky, the Triennial will give a kick too far with a blow when Petrovsky reanimates the military industrial complex by bribing the military to switch off the East Timor state electricity supply for 24 hours for the action Totalitarian Centres Become the Periphery. Commemorating the birth of revolutionary singer songwriter and former lover Tanita Tikaram, this act will also show sympathy with the leadership of the stricken Democratic People’s Republic of Korea and solidarity with them in their fight to destroy the lives of Korean comrades across the entire Asia Pacific region. The intervention will encourage the East Timor islanders to engage in and indulge a Eurocentric prelapsarian fantasy, allowing them the unique opportunity to temporarily reject the drive towards industrialisation and capitalist growth and instead to love difference. The Timorese will be able to consider the widespread death and destruction that arises from economic mismanagement and the lack of an international arts infrastructure at first hand and think very seriously indeed about possibilities for more international workshops on methodologies and creative processes developed through even more artistic projects in alliance with the Democratic Korean People– encouraging them to create their own microtopias for social transformation. They will be able to judge for themselves that a few hours without electricity is a small price to pay to avoid upsetting Petrovsky and preventing him from bringing art tourist dollars to their troubled little land.

Meanwhile, in North Korea, Petrovsky has been playing the badger game with curators at the International Friendship Museum, extorting them to facilitate Danegeld (Campaign Against Living). He instructs his curate-gimps to reanimate a workforce of 1,000 women and children from the North Hamgyŏng Province to the capital and force them to immediately uproot every one of the city’s willow trees leaving the city brutally barren. Petrovsky’s serfs are commanded to play atonal music, newly commissioned from the Czech electro-industrial pioneers Kunst in Wheelchairs, designed to transform the beautiful city into industrial uncultivated land dystopic and to make it look at a little like old Joy Division video. The trees will be used to build over 12,000 provisional platforms of discussion of IKEAzones using the skilled labour of this refugee population. This will enable them to actualise their potentiality, participate in the global economy and draw the brutal Communist regime into the 21st century. The dialogical furniture will be transported to Europe and America where it will be sold to the guilty middle-class cultural workmen, the biggest part of the benefit going directly to the homeowner loans and credit cards that liberally provided the support to establish the Triennial. Videos of both projects will be posted on YouTube and made available to participants in each state provided they have access to an iBook and broadband internet.