Floating University © Pierre Ardenis

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.

Floating University © Pierre Ardenis

BENJAMIN FOERSTER-BALDENIUS / RAUMLABORBERLIN ° Hospitality as Spacial Practice

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. 

IX. Reassambling Institutions (Ahmed Al-Nawas, Nora Sternfeld, Sarah Waterfeld / Staub zu Glitzer & Florian Malzacher)

Can institutions be driving forces of change? Or are they doomed to be bastions of the status quo, capable of slow reforms at best? Arguments about institutions, instituting and institutionalizing are at the core of many progressive movements. But what would it actually mean to imagine institutions in a radical democratic way? How can we understand museums, theatres, galleries, festivals, biennales as assemblies – not only symbolically but by consequently re-negotiating their organizational structures? Curator Ahmed Al-Nawas, focusing in his work on collaborative, anti-racist and de-colonizing practices, takes a close look at the role of authorship and representation within collectives. Nora Sternfeld, art educator and curator, negotiates the possibilities for a radical-democratic museum, imagining a future that is more than the mere extension of the present. And Sarah Waterfeld, spokesperson of the collective Staub zu Glitzer (Dust to Glitter) that occupied 2017 Volksbühne in Berlin with its transmedia theatre production B6112, demands a fundamental rethinking of the way the iconic ‘people’s theatre’ is run.

AHMED AL-NAWAS ° Parallel economies of thinking together

the necessity to rethink the elitism and whiteness nurtured by the Finnish art field and the need to be independent but still engaged and the need to have spaces where failure is embraced as a counter normative actions. Often this led to the creation of what Okwui Enwezor calls ”parallel economies of artistic productions”, as opposed to “alternative spaces”. In such productions, collective knowledge-based practices are used as a strategy to both challenge and unify the field of art. 

SARAH WATERFELD / STAUB ZU GLITZER ° Art After All

B6112 is an anti-capitalist, queer-feminist, anti-racist, transmedial theatre production by the artist collective Staub zu Glitzer (dust to glitter). It was established on September 22nd 2017 with the occupation of the Volksbühne am Rosa-Luxemburg-Platz in Berlin and is not over yet. With and within this artwork, specific demands are made on theatres as institutions: overcoming bourgeois exclusivity, the radical opening of space for a self-organization process and the collective, participatory development of a new city- or state theatre model. It is not enough to designate a small group of people as collective directorships and to appoint them to managerial positions. In addition to egalitarian wage policies, there has to be a fundamental discussion about who is entitled to a theatre stage and who the final decision maker should be in this respect. Berlin’s free space and project-room culture is dying out and one approach is to demand tax-financed institutions for self-organization, although and precisely because this does not correspond to the self-image of these elitist cultural areas. As a place founded by organized workers, the Volksbühne should play a pioneering role in the discourse of participation, anarchist organization, and anti-fascist engagement.

NORA STERNFELD ° What is a radical-democratic museum?

inking about strategies that are challenging the archive, appropriating museum space, producing alternative knowledge and rethinking education, art educator and curator Nora Sternfeld asks: Can the museum become a space of assembly that allows us to deal with what has happened in the past, to negotiate what this means for the present, and to imagine a future that is more than the mere extension of the present?

Die Vielen

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.

Die Vielen

DIE VIELEN (THE MANY)

DIE VIELEN (THE MANY) organise national actions, demonstrations and various events that oppose hatred and promote coexistence with open borders – both internally and externally. Debates within the theatre and art scene are proving contentious. The association acts as an active network and provides platforms for networking.