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.
The performances of Ann Liv young often rely on irritation and direct confrontation. There is no shelter, especially for the audience. She pushes the limits, psychologically and sometimes physically. In her lascivious, exalted, and merciless shows Ann Liv Young comes close, too close, psychologically and physically. Trash and depth, naked flesh and gender awareness, flagellation and redemption, chaos and order – her works deconstruct pop-cultural stereotypes, interpret fairy tales very idiosyncratically or retell the biographies of historical personalities. Not infrequently, to land on the ground of desolate reality, Ann Liv Young unsettles her audience by provoking and embarrassing them, transcending the boundaries of intimacy.
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.
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.
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.