Blog
Contents · 10 dispatches — essays and year-in-review reports from the collective.
- 2026Our YouTube Archive Was DeletedOn June 16, 2026, we were notified of the permanent deletion of the OBJECT:PARADISE YouTube channel. In a single, automated sweep,…

- 2026Introducing O:P:TVWe built our own television — no ads, no algorithm, no gatekeeper. A dispatch from OBJECT:PARADISE — July 15, 2026. Today we’re in…

- 2025Year in Review 20252025: cherishing the moment we share together, because in that moment, that’s all that exists The OBJECT:PARADISE team reflects on…

- 2024Year in Review 20242024: A year of trains, zines, cables, and resistance The OBJECT:PARADISE team recounts some of its most memorable moments from 20…

- 2024Anti-climaxAnti-Climax is a live cinematic performance that aims to question what a film can be by premiering a film while it is being filmed…

- 2021Prague MicrofestivalOctober 8th - 11th 2021 @ Punctum , Prague Czech Republic PRAGUE MICROFESTIVAL (PMF) is an annual festival of the arts, combining …

- 2019Architecture of PoetryFebruary 16 2019 @ Večerní kavárna Souterrain Event Description There are people everywhere doing things and you don’t exactly kno…

- 2018The CollectiveWho we are OBJECT:PARADISE is a performance and poetics collective that was founded in 2018 in Prague, Czech Republic by writers T…

- The O:P ManifestoTHE OBJECT:PARADISE MANIFESTO OBJECT:PARADISE aims to highlight the subjective experience of poetry in an objective, shared moment…

- Performance, Context, and the Underground: Reflections on the MicrofestivalPerformance, Context, and the Underground: Reflections on the Prague Microfestival Exploring the Evolution of Underground Art and …

Everything else on this site is an artifact — a tape, a record, a magazine, a night that already happened. This is where the collective writes in its own words about the rest: what a happening cost, what it meant, and what we got wrong.
Each year closes with a review — 2024 was trains, zines, cables and resistance; 2025 was about cherishing the moment we share, because in that moment it is all there is. In between sit the longer essays: what performance does to context, and who gets to call a scene underground.
The dispatch nobody wanted to write is here too — the account of YouTube deleting eight years of our footage, and what we built in its place.


