ACTS OF VOICING: Performances, Workshops, Lectures
Nancy Adajania, Daniel García Andújar, Nathalie Boseul Shin, deufert + plischke, Yvonne P. Doderer, Mladen Dolar, Iris Dressler, Tim Etchells, Ramón Grosfoguel, Anette Hoffmann, Ranjit Hoskoté, Janez Janša, Janez Janša, Bojana Kunst, Xavier Le Roy, Minouk Lim, Neto Machado, Manuel Pelmus, David Riff / Dmitry Gutov, Marcus Steinweg, Imogen Stidworthy, Fadi Toufiq, Christophe Wavelet, Ingrid Wildi Merino / Decolonial Group Berlin
Friday, January 11, 2013, 7 p.m.
With: Ines Doujak and Markus Wörgötter, Neto Machado
Ines Doujak and Markus Wörgötter,
Performance for One Mountain and One Indian-Investigator-Machine, 2012
Ca. 20 minutes
During the longterm and ongoing artistic research into Andean textiles and their connection to the world - Lommshuttles, Warpaths - the figure of the investigator was created, to explore and subvert conceptions of the researcher in the ethnographic and artistic world in the course of the centuries, which started with medieval phantasies. In a reversal of roles, made hypervisible by a costume that plays with notions of the alien gaze, the phantasm returned from Europe to South America, in an attempt to reformulate the image archives that have, and still define highly asymmetrical, iconographical relationships. In February 2011, a workshop around the concept of masquerade was held by the investigator in La Paz with a group of masked shoe shiners. A song was composed and a performance developed that was presented at the Museo de Etnografía y Folklore in La Paz. Starting from the museum, the researcher then travelled through Bolivia, the journey being documented on film.
In Vienna the investigator appeared with part of her perverse community: the wandering and murmuring K2 mountain and an Indian automat, carried on her back. This appendix puppet whines, sings, screams, nags, complains, insults, theorizes and laughes while halluzinating a crossing of the Andes. In the face of the investigator´s silence its monologue will encompass notions of travel, strange encounters, monsters, the history of the conquered, différance, the ´contact zone` and states of emergency.
The appearance is enabled by Markus Wörgötter, inventor and builder of the automat; the voice and acting of John Barker; sound engineering by Blickpunkten / Blickpunktfilm, Michael Jellasitz; sound equipment for the automat by Peter Kulev; Sandra Sekanina who produced the investigators outfit and as always, Helga Weber. The choreography was made by Markus Wörgötter and Ines Doujak. Translation from Spanish into English of José Maria Arguedas by Rosa Nogues. John Barker was proofreading the text, which was written by Ines Doujak, who also designed the figure of the investigator and is project leader of Lommshuttles, Warpaths, a research supported by the FWF Austrian Science Fund, AR 19-G21.
Neto Machado, Agora
Ca. 20 minutes
In January 2013 the young Brazilian choreographer and dancer Neto Machado will start his fellowship at Akademie Schloss Solitude. At the very beginning of his fellowship he will present his performance Agora at the Württembergischer Kunstverein. Involving widely the audience, this performance deals with the representation of the body and the question of how to perform one’s history and personality.
Friday, December 14, 2012, 7 p.m.
Ramón Grosfoguel, The Historical Formation of the Coloniality of Knowledge and its Implications for the Modern/Colonial World
This presentation will be focused on the historical formation of racism in the modern world and its implications for knowledge production. "Western" hegemonic notions of Universalism and its fallacies led the West to questionable relations with the Rest. The correlation between coloniality of power and epistemic coloniality let to the practical correlation between genocide and epistemicide. The consequences of this history to the present structures of the global system we inhabit will be addressed in detail. One of the global structures of power that will be addressed is the Westernized University with its epistemic foundation on epistemic racism/sexism.
Saturday, December 8, 2012, 6:30 p.m.
Bojana Kunst, The Paradox of Voiced Silence
In her lecture, Bojana Kunst will concentrate on some challenging tensions between voice and silence of the body in contemporary performance by showing some problematic political aspects of the silence of the body on one side and equally questionable consumption of its voice on the other. Her aim will be to think about how these tensions are related to the contemporary cultural and economical conditions of precariousness of the body.
Intriguingly, the voice in the body only gets heard after dance actually gets divorced from language. Intriguingly It is heard at the moment when language loses the status of the reigning materiality and the moving body refuses to be speech. Therefore, the voice is not something that calms the body down and leads it towards a harmonic discovery of the insides or the Self, but as something that mercilessly places the dancing body into the gap between movement itself and what the movement represents. With the discovery of voice, the dancing body shatters the harmonious relationship between its presence and representation. There is no more harmony between the inside and the outside of the body; the body becomes visible and audible precisely within this gap, when the harmonious relationship between the movement of the body and the spectacle of its subjectivity has broken down.
Bojana Kunst, is a philosopher and performance theoretician, dramaturge and teacher. She works as a professor at The Department of Applied Theater Studies, University of Giessen, where she leads the international master program CUP (Choreography and Performance). Main areas of research: performance theory, contemporary choreography, political theory, dramaturgy, philosophy of art. She is a member of the editorial boards of the journals Maska, Amfiteater, and Performance Research. She published several books, among them Impossible Body (Ljubljana 1999), Dangerous Connections: Body, Philosophy and Relation to the Artificial (Ljubljana, 2004), Processes of Work and Collaboration in Contemporary Performance, Maska / Amfiteater, Ljubljana 2010 (ed. Bojana Kunst), Artist at Work (Proximity of Art and Capitalism), Maska, Ljubljana, 2012
Mladen Dolar, What‘s in a Name, What‘s in a Voice?
DUE TO ILLNESS THE LECTURE OF MLADEN DOLAR UNFORTUNATELY HAD TO BE CANCELLED
Friday, December 7, 2012, 7 p.m.
LECTURE + FILM SCREENING
Janez Jansa and Janez Jansa, NAME Readymade. My name is Janez Jansa
Name Readymade is a project presentation dealing with a wide range of issues related to the “name changing” gesture perpetrated by three Slovenian artists who, in 2007, officially, and with all the papers and stamps required, changed their names and assumed the name of the Slovenian Prime Minister at the time, Janez Janša. Ever since, all their works, their private and public affairs – in a word, their whole life – have been conducted under this new name. In their lecture they talk about the different stages and aspects of the act of name changing and its consequences, including public, relational and intimate ones; it is an investigation of how, in western society, the concept of personal name coincides with (or differs from) the question of personal identity.
Janez Janša is a conceptual artist, performer and producer from Slovenia. His work has a strong social connotation and is characterized by an inter-media approach. He is co-founder and director of Aksioma – Institute for Contemporary Art, Ljubljana and of Aksioma | Project Space.
Thursday, December 6, 2012, 7 p.m.
LECTURE / WORKSHOP INTRODUCTION
Language: German; optional also in English (depending on the group)
deufert&plischke, Connections. Arachnidian practices
Introduction to the workshop exploring "arachnidian practices of reformulation" as a writing and choreographic method.
Wednesday, December 5, 2012, 7 p.m.
Anette Hoffmann, Verbal Riposte: Critique, poliphony and performative representations of history in recordings of „praise poetry)
Saturday, December 1, 2012, 7 p.m.
Xavier Le Roy, Product of Circumstances
"Maybe theory is biography, presenting it is a lecture, and doing a lecture is performing." (Xavier Le Roy)
In his lecture performance the biologist and choreographer Xavier Le Roy illustrates his idea that research and dance are as much the same as holding a lecture or acting on a stage.
Xavier Le Roy, Christophe Wavelet
A conversation about autobiography and dislocation as artistic methods, about Le Roy’s choreographic materials, his understanding of music, and the meaning of the artistic lab
November 22–25, 2012
November 22–25, 2012
Daniel García Andújar, Listen To The People‘s Wrath
In English Language
Based on the „anti-anti-riot-kit“ which Daniel García Andújar produced for the exhibition Acts of Voicing at Württembergischer Kunstverein Stuttgart, this workshop understands itself as an open offer to explore analogue and digital techniques of protest, both in theory and practice. Protest forms that use the street as stage are of main interest here.
The basic tools of the workshop are a conversed ant-riot-gear, stencils, t-shirts, flags etc. The latter carry among other things the slogan “Let’s Democratize Democracy”. Further tools are mechanical movable types, a so called “action camera”, and a digital archive with materials from the fields of riot, anti-riot, and anti-anti-riot.
The workshop aims to develop horizontal and collective ways of working as well as a productive and at the same time (self)critical analysis of the forms and formats of protest: their performativity, choreographies and role allocations. Present, past as well as upcoming protests and protest movements can serve here as references.
Behind the background of the slogan “Let’s Democratize Democracy” the workshop intends to discuss structures of democracy, participation and social transformation processes. Of main interest here are those conflicts and difficulties which are inherent to democracy: its fragility, its requirements and our expectations.
Thursday, November 22, 2012, 7 p.m.
November 23-24, 2012, 12–6 a.m.
Workshop: Theory and practice
Friday, November 23, 2012, 7 p.m. (optional)
Ventura Pons, Ocaña. Retrato Intermitente (Dazzling portrait), 1978
Sunday, November 25, 2012, 11 a.m. –3 p.m.
Workshop: Theory and practice
Registration at: firstname.lastname@example.org
Max. 20 participants
November 11–18, 2012
Yvonne P. Doderer, Female Voices
Monday, November 12, 2012, 7 p.m.
Dietmar Dath, Der eindimensionale Student?
Ein Gespräch mit Dietmar Dath über Wissensgesellschaft und wissenschaftlichen Sozialismus, Aufklärung und abgeklärte Universitäten, Intellektuelle und akademische Proleten.
Eine Veranstaltung der / An event by Rosa-Luxemburg Stiftung
CONFERENCE + PERFORMANCES, October 13 + 14, 2012
Saturday, October 13, 2012
1 – 3:45 p.m.
Iris Dressler, On the Poetics and Politics of the Voice
Ranjit Hoskoté, Letters to Al-Mu'tasim
Ranjit Hoskoté talks about his research-installation Letters to Al-Mu'tasim developed in the frame work of the exhibition Acts of Voicing
Marcus Steinweg, The Real
Marcus Steinweg talks about the methodological approach of the philosophical-artistic diagram, which he developed for the exhibition.
PRESENTATIONS OF WORKS AND PROJECTS
Daniel García Andújar, Let’s Democratize Democracy
Fadi Toufiq, Stuttgart’s Tabula Rasa
Imogen Stidworthy, (·)
Nathalie Boseul Shin, On Minouk Lim
Tim Etchells, Let Go
Let go. Let it go. Let it. Let Go. Let it. Let Go. Let it go. A text performance, poem, and sound piece in which language is decaying and multiplying at a breaking and repeating point.
Ingrid Wildi Merino / Group Decolonial, Arquitectura de las transferencias. La hibris del punto cero (Architecture of Transitions: The Hybris of the
Zero Point), 2012
This choreography for six voices, in which fragments of Santiago Castro Gómez’s book La Hybris del Punto Cero are recited, deals with the euro-centricality and the coloniality of knowledge and memory.
Sunday, October 14, 2012
11 a.m. – 2 p.m.
Nancy Adajania, The First and Last Freedom: Rehearsals Against Subjection
The spiritual teacher and philosopher J. Krishnamurti (1895-1986) believed that, “truth is a pathless land” and ultimate freedom can only be achieved by releasing ourselves from organised religion, ideological dogmas and approval from external authority by achieving “self-knowledge.” He also emphasised the “art of listening” without the “screen” of prejudice, whether religious, spiritual, psychological or scientific. I would deploy Krishnamurti’s philosophical trope of the art of listening as one of my entry points into a world prominently marked by hardened lines of difference – not to achieve an Ersatz sense of immediate solidarity but to propose a pre-condition to it. Under this rubric, I shall show and analyse the works of Fouad Elkoury (Atlantis’ series, 1982-2012), West Eastern Divan Orchestra (The Ramallah Concert, dir. by Michael Beyer, 2005) and Maha Maamoun (Domestic Tourism II, 2008/09, 2026, production date 2010 and Night Visitor, 2011).
David Riff / Dmitry Gutov, The KMSEL (Karl Marx School Of English Language)
David Riff and Dmitry Gutov discuss the methodology of their project The KMSEL from the perspectives of recent Russian politics and an aesthetic re-reading of Karl Marx.
Manuel Pelmus, preview
Total program (in German language)