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.
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.
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.
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.
Architecture, as a biopolitical and normalizing technique, participates in constructing distinctions and categories. The work of architects oozes Cartesianism. It produces differential social spaces that either facilitate or prevent their encounter of bodies and their movement. For the work of architects often involves drawing abstract, assertive lines that define insides, outsides, ups and downs. Lines that support historical forms of exclusion, and discrimination. Yet, these capabilities, I would argue, could also be deployed to dismantle the boundaries that currently define, enclose, and exploit the world and the common interest; the boundaries on compassion; the compartmentalization and instrumentalization of relations. This, in turn, requires imagining other architectures to come. A non-Cartesian architecture that might not be designed to quantify, control, categorize. An architecture difficult to describe under dual categories. An architecture for the encounter and assemblage between animals, humans, plants, machinic and inanimate beings. An architecture of radical hospitality.
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?
The assemblies of the numerous square occupations during the last decade have often been laboratories of radical forms of democracy, experimenting with non-hierarchical structures and consensus models instead of majority voting. While watching these movements with sympathy, political theorist Chantal Mouffe emphasises also the necessity of dissensus, of an agonistic pluralism in which adversaries openly fight for their hegemonic projects. Philosopher and sociologist Didier Eribon reflects on the conditions and the limits of such mobilisations and insists on the unsurpassable plurality of movements like the gilets jaunes in France, or more recently, the massive strikes and protests against the demolition of the public sector, as well as the demonstrations against racism etc. In the 7th edition of “The Art of Assembly” Eribon and Mouffe discuss how much agonism social movements can bare and how the diversity of democratic demands should be addressed.
Didier Eribon is a French sociologist and philosopher. He was professor of sociology in Amiens and visiting professor at the University of California, Berkeley, at the Institute for Advanced Study in Princeton, at the universities of Harvard and Yale, at New York University (NYU) and at Columbia University. His socio-autobiography Return to Reims (2009) in which he reveals the break-up of French society attracted international attention. His work Insult and theMaking of the Gay Self (1999) has become a classic and a founding document of Queer Studies. Among his most recent publications are La société comme verdict(2013) and Principes d’une pensée critique (2016).