In 2019 Sibylle Peters devised a project called Animals of Manchester (including humanz) for which she tried to install a zone of interspecies equality in a park. Live artists, animal rights activists, researchers, kids and a number of species present in Manchester worked together to imagine and rehearse an alternative version of the city: How would it look like, if all species – including humanz – had the same rights?
The Schandwache (Vigil of Disgrace) took place in October 2020 at the monument to the former mayor of Vienna Karl Lueger. Lueger is considered one of the most pronounced anti-Semites of the 20th century. His memorial is disputed. The aim of the action was to protect graffiti from removal by the authorities. It that had been placed on the monument by unknown persons in the summer of 2020 to mark it as a “Schande (Disgrace)”. The “Schandwache” took place in cooperation with 16 civil society, cultural and political organisations in the week before the elections in Vienna. Before the opening, two of the “Schande” inscriptions were replicated as gold reliefs and applied to the monument. The installation was destroyed the same day by right-wing extremists. In the course of the following public debate, representatives of the Vienna city government spoke out in favour of a redesign of the monument.
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.
Savitri D explores some of the intersections between Assembly and Song through her work as Director of the Stop Shopping Choir, using mostly casual video and audio recordings she relates the experience of song and singing to the formation of Assemblies and Movement Building.
Choir is also a gathering of different interests that approach each other over a period of time, negotiating their differences, experiences and understandings.
Sharing, articulating. not always with words, but with actions in a physical articulation in space, space- grasping.
A connection to others, previously unfamiliar, is created.
Society and play at the same time.
they do not always have to be themselves, but can explore and invent themselves- as an empowerment of their own imagination and by creating, disturbing, challenging communal situations.
The gathering as a chorus, as an SUSPEND or EXPOSITION of oneself with others.
An encounter in a mindful, productive and temporary dependence, as a commitment to one another. The condition for this SUSPEND or EXPOSITION is making one’s own body recognisable.
In this EXAMINATION, attention to different bodies and experiences is part of the practice. A making porous of bodies, listening, breathing, and intimacy with others, who in this case are mostly human.
Ithbat. Ithbat can be translated as ‘stand still’, ‘steady’ and ‘unshaken’. It was one of the newer chants that were infused into us on the 25th of January 2011 – every time the police launched an offensive, and people started to run, someone would shout “Ithabt” as he or she stopped moving, and then several would shout it, and then tens and hundreds, until thousands would stop. I would close my ears and squeeze my eyes shut and let the thousands of voices shake through me, shake out the fear, and stabilise my resolve. Although the 25th of January revolution was an explosion, it continued to be leaderful without a single leader, and the chants became the way the thousands that met on the squares in Egypt’s cities and villages, could quickly decide what to do and where to go next. A chant would be shouted by one person, and its message would either capture the imagination of thousands, and drive them, or it would not and it would flop. “The people demand the full of the regime” was the flame that came to us from Tunisia, setting the country on fire; the many chants that called on ‘our families’ to join us for our freedom and theirs inspired tens of thousands to join protests without a second thought for the first time in their lives. A chant can move and mobilise like poetry, it can capture your heart like a song, and it can weave a future before you like a vision. For a chant to garner consensus it had to be as promising as it was beautiful, it was the idea around which people assembled and not the person who chanted it.
In this talk, i will trace some of the chants that made the anatomy of the revolution, and the ideas that drove it forward.
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.
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?
Assemblies provide a crucial platform for direct decision-making in any attempt to make societies more inclusive and democratic, more just and less hierarchical than those existing today. For a long time now, assemblies have also played a central role in Oliver Ressler’s films and video installations. Together with Dario Azzellini, he produced a cycle of films on factories under workers’ control in Europe. Before that he filmed the Square and Occupy movements in Athens, Madrid and New York. His latest film shows a four-hour assembly in Madrid in October 2019, where delegates from various environmental groups gathered to prepare an act of civil disobedience to foster climate rebellion.