SoDA summer 2018 LECTURES | In English

 

MAY 16, 2018 _ 18 h
Ana Vujanović | Performances that matter: From politics to creative labor and back

 

Critical writing in arts and culture today cannot avoid the issue of politicality of contemporary arts. However, it is an ambivalent topic: politics is one of the key issues of critical arts today, in the neoliberal capitalist context, where the politics as a specific social practice disappears and where the post-Fordist production firmly tie praxis and poieses on a macro-social scale.
During the lecture and the seminar I would like to examine this dialectic phenomenon. To start off, I would explain that the politics is here seen as an intervention of art practice or work into the public sphere, tending to re-distribution or contestation of its existing configuration and partitions.
The lecture will discuss how performing arts are political today. A significant obscurity lies in the new relation between politics and production in the society which is not only democratic but also neoliberal capitalist.
When speaking about the political dimension (politicality) of performance as a live public gathering of people in symbolic interaction today, we mustn’t neglect that virtual interactions by digital technologies are ever more dominating, while the political scene is configured by the system of representative democracy. Therefore, physical public space and live performance are not current social paradigms. On the other hand, in today's neoliberal society, politics has been immersed in capitalist production, which is post-Fordist and post-industrial. Therefore, we can say that performance today functions rather as a model of production. It does not mean that it is because of that apolitical, but that its politicality is now indirect and dubious, operating as 'the political unconscious' (Jameson).  

Ana Vujanović (Berlin / Belgrade) is a freelance cultural worker – researcher, writer, dramaturge, activist – in the fields of contemporary performing arts and culture. She holds Ph.D. in Humanities, Theatre Studies. She was a member of the editorial collective of TkH [Walking Theory], a Belgrade-based theoretical-artistic platform, and editor-in-chief of the TkH Journal for Performing Arts Theory (2000-2017). A particular commitment of hers has been to empower independent scenes in Belgrade and former Yugoslavia. She has lectured at various universities and educational programs throughout Europe, was a visiting professor at the Performance Studies Dpt. of the University Hamburg, and since 2016 she is a team member and mentor of fourth year students at SNDO – School for New Dance Development in Amsterdam. She participates in art projects in the fields of performance, theatre, dance, and video/film, as a dramaturge and co-author. She has published a number of articles in journals and collections and authored four books, most recently Public Sphere by Performance, with B. Cvejić (Berlin: b_books, (2012) 2015). Currently she is working on a research project Performing the Self in the 21st Century, with B. Cvejic and M. Popivoda, edited collection Live Gathering: Performance and Politics, with L. A. Piazza, and documentary film Freedom Lanscapes, with M. Popivoda. www.anavujanovic.net


MAY 23, 2018 _18h
Lina Majdalanie | I can find soemthing shorter if necessary

 

In 2009 Lina Majdalanie was asked to present a lecture performance on the role of the performer in the future. Since a number of years, and today more than ever, this question seems to deeply concern the artistic milieu – with the 'slight' difference that the question is now posed in terms of the urgency of 'today' instead of the future, given the disturbing changes that are taking place on the political, economic, social, climatic, … in fact, on all levels.
I don’t remember anymore, which artist retorted once that »artists don’t have to clean up the shit that politicians do«.

 

 

Lina Majdalanie, born in Beirut (Libanon), is an actress, director, and author.She has conceptualized numerous productions, including Do I Know you? (2017), A Drop of Sweat (2015), 33 rpm and a few seconds (2012), Photo- Romance (2009), Lina Saneh Body-P-Arts Project (a website project, 2007 and installation, 2009), Someone Must Have Been Telling Lies About Me (vidéo-installation, 2008), Appendice (2007), I Had A Dream, Mom (vidéo, 2006), Biokhraphia (2002), Extrait d’Etat Civil (2000) and others. Majdalanie was a member of the Curriculum Committee for the Home Workspace Program Ashkal Alwan (2010-2014). She has taught at Haute Ecole d’Art et de Design (Geneva, 2008-2013), DasArts (Amsterdam, 2012), and Goethe University (Frankfurt, 2016). She was fellow at the International Research Center “Interweaving Performance Cultures” at Freie Universität Berlin 2013/2014. She curated the programs Relatively Universal (HAU Hebbel am Ufer, Berlin 2017), Beyond Beirut (Mousonturm, Frankfurt a.M. 2016), Vues (Kunsthalle, Mulhouse 2015), and Motion-Less (Tanzquartier Wien, Vienna 2009).

 

 

JUNE 13, 2018 _ 18h
Giulia Palladini | Modes of distancing

My talk shall explore different modes of thinking and practicing the idea of ‘distancing’ in artistic production. On the one hand, I am interested to address  the idea of distancing as it emerges in Brecht’s thinking on theatre, a dispositive of critical and political transformation, and on the other I want to propose a different politics of use for such ideas outside of a certain exhaustion which has characterized the crystallization of Brecht’s notion of Verfremdungseffekt. I shall address ‘distancing’ as a technology to conjure a particular encounter between producers and consumers, both featuring first and foremost as political subjects, as well as a tactic to claim spaces of autonomy for both artistic labor and political imagination.

Giulia Palladini is Senior Lecturer in Drama, Theatre and Performance at the University of Roehampton (UK). She was an Alexander von Humboldt fellow (2012–2014) at the University of Erfurt, and has taught in various international institutions, such as the Kunsthochschule Berlin-Weißensee, the Universidad Nacional de Colombia in Bogotá and SNDO (School for New Dance Development) in Amsterdam. Her research interests include theatre history and critical theory, performance labour and free time, the archive, and materialist theories of artistic production. Her texts appeared in several international journals, and she has collaborated as theorist in a number of critical and artistic projects. Selected publications: The Scene of Foreplay: Theater, Labor and Leisure in 1960s New York (Evanston: Northwestern University Press 2017), Lexicon for an Affective Archive (Bristol: Intellect, 2017, co-editor with Marco Pustianaz).

 

JUNE 20, 2018 _ 18h
Tanja Ostojić | Crossing Borders and Development of Different Artistic Strategies

 

I recognise the field of art as a fertile ground for the exploration of different methodologies; and in recent years one has been able to observe visual and performance arts, philosophy and political activism, informing each other and adapting concepts, especially with regard to the use of public and social media. The whole concept of tactical media is rooted in a mutual learning process involving different disciplines.
I have often included myself as a character in performances and use diverse media in my artistic research, thereby examining social configurations and relations of power. I have worked predominantly from the migrant woman’s perspective, while political positioning, humour and ethical involvement of the participants and recipients define approaches in my work. My art practice is sometimes collaborative and most often related to human rights, issues of gender, feminism, critical thinking, issues of social and political justice, migration, economy, xenophobia, racisms, marginalization, emancipation and agency.

 

Tanja Ostojić is a Berlin based independent performance and interdisciplinary artist and cultural activist. She includes herself as a character in performances and uses diverse media in her artistic researches, thereby examining social configurations and relations of power. She works predominantly from the migrant woman’s perspective, while political positioning and integration of the recipient define approaches in her work. Since 1994 she presented her work in numerous exhibitions, festivals and venues around the world. She has given talks, lectures, seminars and workshops at academic conferences and at art universities around Europe and in the Americas.

 

 

JUNE 27, 2018 _ 18h
Igor Dobricic | Body of Data of Body

 

I desire to address and examine an apparent contradiction contained in the proposed title. My desire stems from a conviction that, without such an examination, understanding of the embodied artistic practice(s) will indefinitely stay `hostage to a fruitless binary argument that was, during last 30 years repeatedly mobilizing critical capacity against the immediate facts of a visceral experience.
Ultimately, my wish would be to approach a vantage point from which this apparent contradiction between body of data (facts) and data of body (sensations) can be reconciled. I believe that, if such a vantage point can be assumed and cultivated, embodied artistic practice(s) would gain capacity to release itself into the conceptual and experiential realm beyond a binary dead end which still threatens to immobilize it.

 

As history of ideas offers many avenues of approach to the chosen subject, in order to anchor myself in a body of thought that I find resonant with my intellectual interest, in my presentation i will dare to irreverently parasitize on the specific piece of writing by Alain Badiou - Fifteen Theses on Contemporary Art (http://www.lacan.com/issue22).

Igor Dobricic, studied dramaturgy at the Academy of Dramatic Arts in Belgrade, (former) Yugoslavia and attended Master of Theatre at DasArts in Amsterdam, Netherlands.

He is working internationally as a dramaturg and artistic advisor, collaborating with a number of choreographers/makers (Nicole Beutler, Keren Levi, Guillaume Marie, Christina Ciupke, Jeremy Xido, Alma Soderberg, Meg Stuart a/o). In a role of a teacher and a mentor he has a long term engagement with the Amsterdam School for New Dance (SNDO) Amsterdam Master of Choreography (DasDance), Amsterdam Master of Theatre (DasTheatre) and Choreographic Centre Hamburg (K3). From 2010 onwards he is also developing his own performative research project under the title TableTalks. During the last 7 years TableTalks is hosted and presented in Amsterdam, Berlin, Stockholm, Cairo, Sao Paulo and Vienna. His long standing professional interests lie in the practice based exploration of parameters of a live event that exist in-between different fixed contexts (theatre and visual arts, professional and non professional status, individual and group work, aesthetics and ethics).

 

JULY 4, 2018 _ 18h

Hannah Hurtzig | The Milieu of the Dead


What you cannot see, you can talk about. What you cannot know, you should definitely talk about. Narrating, fabulating and hallucinating in all appropriate ambiguity: that’s the way to maintain relationships with things and beings that are not present.

Hannah Hurtzig founded the Mobile Academy Berlin in 1999. The MAB invents assemblies, installations and recording techniques for the voices and speech acts of science and non-knowledge. The conversations of these thematic essays are documented under audio-archiv.com. Since 2009, the life sciences have been the subject of many MAB works, such as the congress THE UNDEAD. Life Science and Pulp Fiction in Hamburg 2011, Last Minute Exercise, New Dehli 2014, The Immobilized or Salle des Pas Perdus, 2017 and the ongoing project The Milieu of the Dead, 2017.

Summer 2018_wednesdays_at HZT_Studio 9_Uferstudios Wedding_Uferstraße 23_13587 Berlin | Free admission


30.4.2018_18:00_Studio 11 | Experimental concert with Alain Franco | Modernity / Contemporaneity and performative thinking: a differential neighborhood

Alain Franco
>Alain Franco

In our usual understanding of history there seems to be a consensus in considering contemporaneity as successive and consequential to modernity. But in doing so we actually assume that contemporaneity would have resulted out of an analytical process. Looking at the proliferation and the diversification of artistic practice at the turn of the 20th century, we do notice a juxtaposition, and not at all a succession between these 2 paradigms. Otherwise we can’t understand properly the "schismatic" legacy  of the 19th century, balancing between nation-bulding and "Ausdruckstanz". And otherwise we can’t neither be precise about the current discussion on composition and conjunction.   


Alain Franco was born in Antwerp. He graduated in piano and music theory in Belgium and Tel-Aviv and obtained as well a post-master degree at the IRCAM-EHESS institute of Paris in 20th -century Musicology. His genuine interest for Contemporary Music and Art (both as pianist and conductor) resulted primarily in collaborations with leading ensembles and musicians in Europe such as: ensemble modern, ictus ensemble, Liège philharmonic orchestra, Lyon opera orchestra, Brussels opera chamber orchestra, Champ d’Action Antwerp, National Orchestra of Belgium. In addition to that – and as an aesthetic and artistic extension of his practice - he progressively developed an original reflection on performance and stage theory. This lead to artistic collaborations with choreographers, theatre directors and performers such as: Anne Teresa De Keersmaeker, Meg Stuart, Thomas Plischke, Kattrin Deufert, Jan Lauwers, Romeo Castellucci, Isabelle Schad, Benjamin Vandewalle, Arkadi Zaides, Daniel Linehan, Karim Bel Kacem. He is currently lecturing at and curating the P.A.R.T.S Research Cycle (Brussels), the Liege Royal Music Conservatory, HZT Inter-University Centre for Dance, Berlin, and works as musician, performer and music dramaturge on several projects. He lives in Brussels and Berlin.

 

Admission free.

 

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen