Bodies are containers for life, they exist in the present yet carry the past within. Attuning to one’s body and senses is attuning to being in relation with one’s environment and with the myriad of other bodies and life forms that exist in countless shapes and sizes. Bodily knowledge or, “knowing in and through the body”, as philosopher Jaana Parvianen puts it, has been long suppressed in the Western epistemological accounts. What happens when we begin to listen to and with our bodies, when we embody what we know, when we form collective bodies that can act beyond the capacities of individual bodies? How does artistic and curatorial work that attunes to diverse bodies and bodily knowledges contribute to the emergence of transformative agencies and collective action?
SCHOOL OF RESISTANCE ° Assembling Political Power
On the weekend of the German federal elections of 2021IIPM, NTGent, Schauspiel Köln and the School of Political Hope hosted together with #LeaveNoOneBehind and numerous organizations from all over the world a School of Resistance for a new politics of humanity and justice. How can the system of dehumanization, illegalization and exploitation of migrants in Europe be overturned? A manifesto signed by over 80 public figures and a joint fundraising campaign which supports human rights lawyers to bring responsible politicians and officials to court, explored new possibilities and potentials for the convergence of art and activism. Is art a future tool for survival for global citizens to become agents of change in times of crisis?
XI: Architectures of Hospitality (Merve Bedir, Benjamin Foerster-Baldenius/raumlabor berlin, Marina Otero Verzier & Florian Malzacher)
Hospitality – with all its seeming generosity – is a complex concept: Who is invited into our societies, our assemblies? What are the relationships between guests and hosts? Is unconditional hospitality possible? The architecture of public space, the infrastructures of coming together, the borders and thresholds around them inform how we come together, what is prevented from happening, what is possible. The 11th edition of The Art of Assembly looks at the physical relations of gatherings, how bodies and objects are organised, how radical concepts of democracy can be represented in space. Architect and researcher Merve Bedir since long researches infrastructures of hospitality and mobility as well of the residue of solidarity in urban and public space. For raumlabor architecture is a tool, in search for a city of possibilities, considering themselves activists, operating within the urban landscape. And for architect and scholar Marina Otero Verzier is concerned with how the work of architects, in coordination with other social and institutional techniques, produces differential spaces that either facilitate or prevent their encounter of bodies.
MERVE BEDIR ° Hospitality and the Politics of the Floor Table
form of the table, who sits at the table, and how to sit at the table, as well as manners of eating, talking, and sharing are all based on a politics of instituting everyday life and public space. “Turning the table” then is a matter of questioning hospitality and its politics around the table. Ulus Baker’s theory of intervals is based on the proximity between two things/subjects (that may or may not seem far from each other), and their participation in the existence of a total being. My talk will then focus what might constitute an architecture of proximities.
V: Versammlung der Vielen (Eduard Freudmann, Gin Müller, Heidrun Primas, Philine Rinnert & Florian Malzacher) in German language
“Die Vielen“ sind ein solidarischer Zusammenschluss zahlreicher Kunst- und Kultureinrichtungen in Österreich und Deutschland. Diese Sonderausgabe wirft einen Blick auf verschiedene künstlerisch-aktivistische Aktionen im öffentlichen Raum Österreichs: Heidrun Primas, Leiterin des Grazer Forum Stadtpark, ist Mitinitiatorin der “Camps für Moria”; die Künstler Eduard Freudmann und Gin Müller protestieren mit der “Schandwache” gegen ein Denkmal des antisemitischen Wiener Bürgermeisters Karl Lueger; die Bühnenbildnerin Philine Rinnert ist eine zentrale Protagonistin „Der Vielen” in Deutschland.
III: Assemblism (Jonas Staal, Jodi Dean & Florian Malzacher)
“Assemblism” is a term used by Dutch artist Jonas Staal to describe the role of art, performance and theater in the performative assembly of mass protests and social movements, which is central to his own artistic work. US-American political theorist Jodi Dean on the other hand emphasizes in her writing that social movements need to be translated into a new communist party if they want to become sustainable. So, what is the potential of art in not only investigating or inventing new forms of assembly but also in contributing to the process of transforming them into sustainable organizational structures? And how do recent political mobilizations – from anti-mask-demonstration up to the storming of Capitol Hill – change an often romanticized view on the assembling of bodies in space?
JONAS STAAL ° Art/Assemblism
Assemblism describes the visual morphologies that emerge from the practice of “performative assembly “in popular mass movements, as termed by Athena Athanasiou and Judith Butler. But to canalize the energies and imaginaries that emerge in assemblies, durational infrastructures are needed to ensure egalitarian forms of social organization, as Jodi Dean has argued in Crowds and Party. What is the role of art in shaping and propagating new life-forms from the squares into a new emancipatory institutionality? This talk will explore the role of alternative parliaments, utopian training camps, experimental biospheres and collective action lawsuits in furthering assemblist imaginary into egalitarian presents and futures.
JODI DEAN ° Which Side is the Freedom Side?
In the United States, the long March of 2020 came to an end on May 26 when protests against the police murder of George Floyd broke out in Minneapolis, Minnesota, quickly spreading all over the country. Also occurring throughout the summer and fall were rallies “defending blue lives,” anti-mask demonstrations, and protests demanding an end to coronavirus shutdowns. On January 6, 2021 a mob stormed the US Capitol, intent on “stopping the steal” of the presidential election from defeated incumbent Donald Trump. In what way does an analysis oriented toward precarity and bodies in space help us understand the politics of the movements? How might emphases on the assembling of bodies in space require a divisive political supplement, an anchoring in history and fidelity to a truth?