At least since Joseph Beuys’ legendary “International College for Creativity and Interdisciplinary Research” artistic assemblies are also a playing field for the production and transfer of knowledge. The 17th edition of “The Art of Assembly investigates along concrete artistic practices how tools and experiences from performing arts offer settings and strategies for unexpected communication and transversal education: Choreographer and curator Satu Herrala in her works focusses on embodied knowledges in artistic and curatorial work, creating conditions for art to summon collective and transformative agencies. Artist Ahmet Öğüt – initiator of the Silent University, a solidarity-based knowledge exchange platform by displaced people and forced migrants- often seeks his collaborators outside the art field. Theatre maker Lotte van den Berg, one of the initiators of the ongoing project “Building Conversation”, centers her practice around collective experiences and the relation between performance and social as well as ecological challenges. How can art offer spaces for empowerment and self-development?
The Silent University, initiated by Ahmet Öğüt in 2012, is an autonomous platform for academics who cannot share their knowledge due to their status of residence, because their degrees are not recognized or regaining access to academia is blocked for other reasons. It is a solidary school by refugees, asylum seekers and migrants who contribute to the program as lecturers, consultants, and researchers. The Silent University proposes a new institution outside of the restrictions of existing universities, migration laws and the other bureaucratic or juridical obstacles many migrants face. At the same time it mimics the idea of exiting universities, using their representational logics by developing alternative structures of pedagogy beyond border politics, race/ethnicity and normative education. Current branches of the Silent University include Hamburg, Stockholm and Mülheim/Ruhr. Former branches were located in Amman, Athens, London and Copenhagen.
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?
Tania Bruguera is a Cuban artist and activist whose work often considers totalitarianism, immigration, and human rights. Bruguera, who intended to raise awareness and expand cultural inclusion, defined her work as arte útil (useful art). Her work has been represented in leading collections of MoMA and Tate Modern among other places. In 2015 she founded the Institute of Artivism/Instituto de Artivismo Hannah Arendt (INSTAR) in order to “foster civic literacy and policy change.” In 2021 she agreed to leave Cuba to assume the position of senior lecturer in media and performance at Harvard University in exchange for the release of 25 political prisoners.
of Spectatorship (Verso, 2012). In anticipation of a reprint to mark the book’s tenth anniversary, this talk will gauge the development of participation over the last decade in art and performance (and beyond). It will revisit the book’s blind spots—namely, omissions concerning technology and race–and reflect on how the book’s central aesthetic argument, in favor of antagonism, has lost force in the last decade.
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?
Milo Rau believes in staging and realistic representation in his theatre plays, while for his tribunals and trials or the General Assembly he invented what he calls „symbolic institutions“ – an open, often antagonistic gathering of opinions and conflicting thruths. Recent projects like The Revolt of Dignity or the School of Resistance tries to hack the economic and political systems by means of art, constructing what Milo calls „alternative micro-ecologies. In his talk, Milo will trace his path from theatre plays and trial projects like Orestes in Mosul or The Moscow Trials to symbolic institutions like The Congo Tribunal and General Assembly – the basis for his actual holistic approach in projects like The Revolt of Dignity or A filmschool for Mosul that he develops with various partners from the arts, civil society and politics.
co-design and deploy forms of creative disobedience since 2004. Consensus decision making and assembling is at the heart of this process, which is always entangled with radical movements and yet also has a foot in cultural institutions. Whether it was co-organising the horizontal processes of Climate Camps, transforming theatre stages into meetings to organise disobedience, facilitating the mass talk shops at Occupy London or at the zad of Notre-Dame-des-Landes, coordinating shared life and struggle against an airport and its world – the Labofii has tasted many flavours of assembling. This talk/film explores Labofii’s experience of these different contexts and ask how can artists use assemblies in the art world without becoming extractivist and loosing the powerful potential of reciprocal relationships to activist movements
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.
Hospitality is first and foremost a social practice and can be situated in any place and become manifest in many ways. Hospitality is a design factor for buildings with rapidly decreasing relevance. Security, commercial value and hygienic measures are becoming the ruling flavours of our time. Many buildings that are designated to perform hospitality such as hospitals, airports, welcome centers, border posts, fair grounds, stadiums, governmental institutions or climate summit halls fail completely in this respect. We are surrounded by the multiplication of growing fortresses that strive to protect us from the rest of the world and the rest of the world from us. We can only steer against this trend if we make hospitality a spacial practice.