“It matters that as bodies […] we arrive together in public. As bodies we suffer, we require food and shelter, and as bodies we require one another in dependency and desire. So this is a politics of the public body, the requirements of the body, its movement and its voice. […] We sit and stand and move as the popular will, the one that electoral politics has forgotten and abandoned. But we are here, time and again, persisting, imagining the phrase, ‘we the people’.”
(Judith Butler, Occupy Wall Street, 2011)

The Art of Assembly

Whether in Tunis, Cairo, Madrid, or Lisbon, in Athens, New York, London, or Istanbul, in post-Fukushima Tokyo, in the midst of Niemeyer’s iconic parliamentary architecture in Brasilia, under the umbrellas of Hong Kong, or on the streets of Minneapolis: social and political movements of recent years have often been characterised by their search for alternative forms of gathering, of arguing and making decisions, of negotiating community and society. The potential of these assemblies lies in more than just the demands they put forward; many of them change reality merely by practicing radical models of democracy.

The arts have also shown a renewed interest in concepts of gathering and creating public spheres in which society is not only mirrored but constantly tried out, performed, tested, reimagined, or even reinvented. There are court hearings on artistic freedom, religion, and censorship; tribunals on exploitation and violence; summits on climate change or cultural policy; parliaments allowing those who are usually silenced to speak… Theatre in particular has become a stage for assemblies on the fine line between art and reality, a democratic arena of radical imagination.

But what is the future this concept of gathering has ahead of it after months in a state of emergency that has thrown pretty much all areas of social life out of step? Gesellschaftsspiele: The Art of Assembly brings together protagonists from various fields of art, politics and theory to speculate on the potential of assembly in a time of experiencing that nothing is certain – a time in which every form of physical togetherness has become precarious.

Florian Malzacher

Florian Malzacher is a curator, dramaturg and writer. 2013 – 2017 he was artistic director of Impulse Theater Festival (Cologne, Dusseldorf and Mulheim/Ruhr), and 2006 – 2012 co-programmer of the multidisciplinary arts festival steirischer herbst (Graz). He (co-)curated e.g. the 4th and 5th International Summer Academy (Mousonturm Frankfurt, 2002 and 2004), “Dictionary of War” (2006/07), “Truth is concrete” (Graz, 2012), “Artist Organisations International” (HAU Berlin, 2015), “Appropriations” (Ethnological Museum Berlin, 2014), “Sense of Possibility” on the occasion of the 100th anniversary of the revolution (St. Petersburg, 2017), “Training for the Future” (Ruhrtriennale 2018/19 with Jonas Staal), “After Supervising the Machinery” (2020). As a dramaturge he worked with artists like Rimini Protokoll (DE), Lola Arias (ARG), Mariano Pensotti (ARG), and Nature Theater of Oklahoma (USA). Florian Malzacher has edited and written numerous essays and books on theatre and performance and on the relationship between art and politics. His latest publications include „Gesellschaftsspiele. Politisches Theater heute“ (Alexander Verlag Berlin, 2021).

Florian Malzacher. Gesellschaftsspiele. Politisches Theatre heute.
Berlin: Alexander Verlag, 2020.
Florian Malzacher. Gesellschaftsspiele. Politisches Theatre heute.
Berlin: Alexander Verlag, 2020.