Handling Images and Relational Meaning
By Irmgard Emmelhainz

25 April 22

Image: Oraib Toukan, Via Dolorosa, 2021. Image study in a single-channel video (colour, sound). Courtesy the artist.

KW Institute for Contemporary Art invited artist and scholar Oraib Toukan (b. 1977, USA) to present two new films stemming from her long-standing research on “Cruel Images”. Her research-practice has been committed to exploring the line between looking at and looking away from mediated images of violence. The films are on view at KW until 1 May 22 as part of the exhibition Oraib Toukan: What Then.

 

Read an in-depth discussion of Toukan’s practice by Mexico City-based translator, theorist and scholar Irmgard Emmelhainz here.

 

– Léon Kruijswijk, co-curator of Oraib Toukan: What Then

Book launch:
F.R.DAVID “Take, Eat”:
Talk by Andrea di Serego Alighieri
The Source is Rock, the Tongue is Severed: Word Spacing and the Alphabetisation of Silence

1–30 April 22

The 21st issue of F.R.DAVID, “Take, Eat” is edited by Will Holder, with Andrea di Serego Alighieri. Andrea’s image-heavy talk runs all the way through, on the right-hand pages: the opposite pages contain responses from Will. The issue almost stifles the triangulated space of image, context and commentary; and speaks to the moment between words, things, people, images, perception, past, present and future, between Andrea’s pages and Will’s, as where meaning might breathe.

For KW’s launch-broadcast, Will and Andrea have emulated the editorial of “Take, Eat” playing Andrea’s voice in the right channel, responded to by Will’s addition of RADIANT, by Black Spirituals, in the left channel. (You might want to adjust your settings).

 

More Information

Reports about

Hackathon

Black Swan: The Communes

23 February 2022

Image: Black Swan. The Communes

In August 2021, KW Institute for Contemporary Art invited Black Swan to run a 36-hour hackathon, as part of the public program of Disproof Does Not Equal Disbelief by Michael Stevenson. In the exhibition, Stevenson painstakingly addressed the juncture of economy, technology, education, religion, architecture and media, and the entanglement of these institutions, by reflecting on significant micro-narratives. A live-TV marathon charity fundraising event a.k.a. a telethon appeared as a key reference to stress the questionable relationship between the individual and larger overarching bodies, as well as the kayfabe (or: staged) logic of our lived reality. If something is constructed, it means it can be deconstructed, reconsidered, remodeled and redistributed too.

 

To put these thoughts into further practice, the Berlin-based collective Black Swan tested the emotional sustainability of different economic models and organizational forms, and directly redistribute institutional infrastructural resources to cultural practitioners. The role-playing activity of Black Swans: The Communes invited 40 participants to join one of four Communes each based around different modes of exchange, decision-making process, and organizational structure: the Clan, the Guild, the Cult and the Venture. Participants were recruited through a public open-call and assigned to one of the communes. You can read here an account of Stanton Taylor, one of the Hackathon participants, as well as here an introspective essay by Black Swan.

 

– Léon Kruijswijk, Assistant Curator at KW, Curator of Black Swan: The Communes

A Year with… BLESS N°72 BLESSlet – Interview Deutschlandfunk Kultur

26 January 2022

 

The situation designers Desiree Heiss and Ines Kaag talk more about their work in this interview. Listen to the entire interview “25 Jahre BLESS – Alltagsdesign aus Berlin” here or via this link.

In 2022, BLESS will celebrate her 25th anniversary, which KW will take as an opportunity to put the focus on Desiree Heiss and Ines Kaag’s visionary products and endeavors. A Year with BLESS will renegotiate many of the key issues that lie at the heart of her collaboration, creating an innovative format that seeks to connect life, work, leisure, and exercise. The duo will rethink existing processes and workflows and test them out artistically in different public areas. The one-year collaboration will unfold across three key projects: BLESS N° 72BLESSlet at KW; the Adretta-Reuter-intervention in the Ernst-Reuter-Siedlung, where the duo has her Berlin-based studio, and the release of the third book of her own publication series, BLESS III.

As part of the participatory installation BLESSlet, BLESS will take over KW’s Residency Apartment #11 and reimagine the way it is used, both as a place for living and as an experimental workplace. BLESSlet will form a habitat equipped with objects, furniture, and everyday objects that BLESS has designed, which will showcase the broad spectrum of the duo’s practice and offer unexpected opportunities for everyday activities, for leisure, and for tending to bread-and-butter office tasks. The apartment is meant to be actively used by staff as well as by visitors and visiting artists.

 
– Anna Gritz, curator A Year with BLESS

Renée Green: Inevitable Distances

Artist Talk with Renée Green and Karim Aïnouz

20 January 2022

As filmmakers and friends, Karim Aïnouz and Renée Green have moved through overlapping social spaces and places together. For this public dialogue, the pair meet to reflect on shared times and individual works, and present excerpts of their moving image work—including Aïnouz film Seams, which used Green’s installation Sites of Genealogy (currently restaged at KW) as a film set; and Green’s film Come Closer featuring Aïnouz—as context of how their ongoing interests continue to inform their work in intimate and open ways.

 

– Mason Leaver-Yap, KW Associate Curator

KW Digital: Open Secret
16 July – 31 December 21

15 January 2022

opensecret.kw-berlin.de

Open Secret was a six-month long online program exploring the role of the hidden in our apparently “open” society. Information technologies are supposed to increase our access to knowledge, making the world more legible, while undermining ignorance and superstition. But sometimes the feeling prevails that we have entered a new dark age of black boxes, projections, and paranoia. Techno-culture is obsessed with the unseen, the inaccessible, the known-unknown. Open Secret pursued things that are obscured–through artistic commissions, a suite of essays by leading thinkers, and an intensive public program dedicated to critical reappraisal of the digital infrastructures that organize civic life. Throughout the duration of the exhibition new contributions were released on a monthly basis on the Open Secret website which brought together art, technology, politics, and new patterns of exchange.

 

– Nadim Samman, curator digital sphere, in collaboration with Katja Zeidler, head of education & mediation

Audio fragments from Understudies: I, Myself Will Exhibit Nothing

6 January 22

In Understudies: I, Myself Will Exhibit Nothing you can listen to the audiobook of the English translation of Otared (2016) by Mohammad Rabie. It is produced by KW in the framework of this exhibition, which runs until January 9, 2022. Here you can listen to the prologue and its first chapter to get a glimpse of the audiobook beyond the exhibition space.  

Mohammad Rabie

Otared

Translated from the Arabic by Robin Moger

Translation published in 2016

Hoopoe / American University in Cairo Press, Cairo

 

Commissioned audio book, 2021

Narrator: Sedky Sahkr

Post-production: Nadel Eins Studio, Berlin

Duration online fragments:

Duration full audiobook: 09:43:53

Courtesy the writer; the narrator; Hoopoe / American University in Cairo Press, Cairo; KW Institute for Contemporary Art, Berlin

 

Audio fragments of Awraq Shakhsia by Latifa al-Zayyat

 

In Understudies: I, Myself Will Exhibit Nothing you can listen to the audiobook of Awraq Shakhsia (1992) by Latifa al-Zayyat. It is produced by KW in the framework of this exhibition, which runs until January 9, 2022. Here you can listen to the three chapters 1967; Tagrebaty fy al-Ketabah; and Min Riwayyat La Taktamel B-Ism ar-Rihlah, to get a glimpse of the audiobook beyond the exhibition space.

Latifa al-Zayyat

Awraq Shakhsia

Published in 1992

Al Karma Publishers, Cairo

 

Commissioned audio book, 2021

Narrator: Shahira Issa

Postproduction: Shahira Issa

Duration online fragments: 00:56:16

Duration full audiobook: 04:44:28

Courtesy the narrator; Al Karma Publishers, Cairo; KW Institute for Contemporary Art, Berlin

 

– Léon Kruijswijk, KW assistant curator

 

Krist Gruijthuijsen about Peter Friedl: Four or Five Roses

9 December 21

Book cover: Peter Friedl: Four or Five Roses. Sternberg Press, 2004.

In light of Peter Friedl’s upcoming survey at KW Institute for Contemporary Art, I would like to share a typical but rather overlooked publication by the artist titled Four or Five Roses, which was published by Sternberg Press and Frankfurter Kunstverein back in 2004. As with many works of Friedl, the perspective of a child plays a central role as a way to reflect on how the world is constructed and manipulated. One of Friedl’s famous works is ‘Playgrounds’, which began in 1995 and documents playgrounds around the globe. Although the date and site are indicated in the images, a constant similarity is apparent through the distant perspective favoring aesthetics over functionality.

For Four or Five Roses, however, Friedl turns the gaze towards the perspective of the children themselves. For this, the artist conducted numerous interviews and conversations with them in and around Johannesburg, Cape Town and its surrounding townships. These narratives are transformed into monologues that create a fictionalized construct, given that children don’t normally give speeches that are schooled in the rhetoric of self-representation and self-promotion celebrated by a neoliberal economy.

Read some of the monologues here.

 

– Krist Gruijthuijsen, director KW Institute for Contemporary Art and curator of the upcoming exhibition ‘Peter Friedl: Report 1964 – 2022′

KW Guards and Guides Listen to… Renée Green: Inevitable Distances

6 December 21

The KW Guards and Guides are not only guardians for exhibited artworks (responsible for their ongoing preservation, as well as negotiating their interactions with the public), they are also the most dedicated audience in terms of the time they spend with the works. In Renée Green’s Inevitable Distances—an exhibition that contains well in excess of 30 hours of audio and video material—completionist consumption is not the point. But for the guards, their six weeks of exposure inevitably shifts awareness, concentration and experience of the sonic aspects of Green’s works over time.
            For KW’s inaugural playlist, these attentive listeners have selected their most memorable and favourite tracks drawn from across the exhibition—including selections from Import/Export Funk Office (1992), Übertragen/Transfer (1997), Sites of Genealogy (1990), Secret (1993), and Mise-en-Scène (1991).
            As is indicated by the years in which these works were made, the sonic has been a crucial and continuous part of Green’s practice. “My interest in sound and its effects is a long-term one that grew out of ways developed in childhood of recording, listening, and producing sounds and music,” notes Green. “What reaches us when it isn’t possible to rationalize what occurs? What also revives us amid conditions which might seem unbearable? What can create a sense of relation and momentary interconnectedness? When I thought of these things sound and music seemed to be the most consistent way in which more complex feelings could be touched, even without words. From drones to raves.”

 

— Mason Leaver-Yap, KW Associate Curator

The Berlin Sessions: Conversation between Renée Green, Iman Issa and Mason Leaver-Yap about the exhibitions Renée Green: Inevitable Distances and Understudies: I, Myself Will Exhibit Nothing

15 November 21

Camera and Cut: Frank Sperling

Renée Green

Inevitable Distances

Code: Survey

10 November 21

Renée Green, Code: Survey. Caltrans District VII Headquarters, Los Angeles, 2006. Foto: Joshua White. Courtesy Free Agend Media

Renée Green’s Code: Survey is a work that spans multiple forms and locations: a monumental public art commission by California’s Department of Transportation that continues to be mounted on the cafeteria walls of its headquarters building designed by Thom Mayne/Morphosis in downtown Los Angeles; a series of schematic drawings, photographic prints, and a sculptural prototype comprised of glass, film, and steel, currently mounted in KW’s main exhibition hall in Berlin; and the original website component that has been re-coded and uploaded onto KW’s website and will remain online for the period of exhibition.

 

In its manifold forms, Code: Survey examines historical and current perceptions of transportation via 168 maps, diagrams, and photographs. Just as the provenance of the images in this tessellated work varies, so too do the views that shaped the rapid growth of California with its utopian dreams, varied consequences and historical conditionings. Allowing remote access to the work’s contents beyond its physical Los Angeles site, Code: Survey provides a thorough, albeit subjective, repository for the images that constitute the physical work, enriched with additional text, audio and video.

Go to Code: Survey, hosted by kw-berlin.de

Read Gloria Sutton’s essay on Code: Survey [PDF via Carpenter Center for the Visual Arts]

 

— Mason Leaver-Yap, KW Associate Curator

Renée Green

Inevitable Distances

5 October 21

“Everyone sees all sorts of things about oneself and one’s own thinking, and connections in one’s work—and patterns behind the patterns¬—which one could not possibly see for oneself. One never will see for oneself. In that sense, one is always—oneself—escaping the attempt to self-knowledge—the attempt to become identical with myself. That is not possible. I can’t become identical with myself. To think is to have that inevitable distance between the subject that is thinking and what is being thought about.”

— Stuart Hall, Through the Prism of an Intellectual Life, 2004

 

Renée Green formulates her exhibition title, Inevitable Distances, from a phrase spoken by the cultural theorist and political activist Stuart Hall (1932-2014), during his 2004 lecture, ‘Through the Prism of an Intellectual Life.’

Hall’s lecture was, in many ways, unplanned. He was invited to the University of the West Indies in Kingston, Jamaica, to give a brief closing response to a conference dedicated to his work and influence. On stage with only two lines of prepared notes, Hall spoke for over an hour in an attempt to encapsulate—both intellectually and intimately—who he was in relation to his work, and publicly map the emergence of his thought against the backdrop of historical and social forces.

 

The poet Brian Meeks, one of the co-organisers of the conference, reflected on Hall’s presence in Kingston as that of a “missing son who had come back and who was telling his tale of travel,” reflecting on what he had accomplished and what he still had left to realize.

 

And, as Green’s exhibition title indicates, the work of reflection, the contexts from which the source of those reflections emerge, and the routes through which those reflections travel, are key inquiries in her project at KW and daadgalerie.

 

— Mason Leaver-Yap, KW Associate Curator

Pogo Bar Podcast:
Phung-Tien Phan
The Podcast City

20 September 21

The Podcast City follows a script which could also be a template for one of Phung-Tien Phan’s films, in which the artist explores contemporary lifestyles, the performativity of daily life and our different roles between labor and leisure time. As her own roles move fluidly between author of the script, artist, and actor, her practice is situated in a close network of relationships and the social and material conditions of her own creative labor, while addressing questions of creativity, social privileges, and neoliberal logics of consumption and self-marketing. More

Evacuation Tapes / Negative reps

20 September 21

Evacuation Tapes (screen grabs of the online publication edited by Ruth Buchanan unfolding around the poetry of J.C. Sturm), poem Off and on by J.C. Sturm; Courtesy Ruth Buchanan

“What kind of muscles are grown, wrinkles are cast, muscle memory is logged,” I ask myself when writing about the paintings of Christina Ramberg, deliberating “(the female) body in traction with its environment, its surface, muscles, and retentions shaped and weathered by everyday exposure.” In 2020 the artist Ruth Buchanan edited the online publication ‘Evacuation Tapes,’ that unfolds around the poetry of J. C. Sturm. Prompted by Sturm’s writing, Buchanan began to look for a different language. “This is what we need access to right now, a language that gives space for the discomfort of life, not to order it, but to hold it, and through holding—pausing—we can allow that discomfort to become that otherwise. Because language does change us,” she writes in her forward. Buchanan invited me to rewrite my essay on Ramberg with Sturm’s writing in mind. For me the question about the building of bodies through the standards that we construct, adopt and reproduce appeared to be the most pressing shared concern. The text was published at www.evacuationtapes.net alongside a group of other contributors.

 

Now that the exhibition The Making of Husbands: Christina Ramberg in Dialogue just closed its doors at its last venue, this appeared to be a fitting moment to revisit the text rubbing shoulders with Sturm’s poetic universe. More

 

Anna Gritz, June 15th, 2021

Zeros and Ones: Exhibition Walk-through with Anna Gritz and Kathrin Bentele

26 August 21

Camera: Frank Sperling

Disproof Does Not Equal Disbelief: Exhibition Walk-through with Michael Stevenson and Anna Gritz

26 August 21

Camera: Frank Sperling

Clémentine Deliss
The Metabolic Museum

29 July 21

KW presents an audio serialisation of The Metabolic Museum (2020, Hatje Cantz/KW) written and read by Clémentine Deliss, Associate Curator of KW. Coco Fusco writes in the New York Review of Books, “In ‘The Metabolic Museum’, Deliss outlines her radical curatorial vision and chronicles her attempts to transform the Weltkulturen Museum in Frankfurt am Main from a moribund storehouse of artifacts into a laboratory and educational center for critical engagement with the material cultures of non-European societies.” Regularly, a new chapter will be read by the author and added to the website.

Prologue to The Metabolic Museum

Manifesto for The Post-Ethnographic Museum

Walking Through

Artists and Anthropologists

Pogo Bar Podcast
Taylor Le Melle:
Orion J. Facey’s The Virosexuals

28 July 21

 

A science-fantasy novel set in Manchester, UK in 2080, Orion J. Facey’s The Virosexuals portraits a subculture that shares a desire to escape the broad algorithmization of our lives, bodies, and minds. Experimenting with virosexuality—the sexual attraction to transmitting and receiving STI’s—, the group around the main character Amygdala negotiates their bodies and desires while being faced with a virus sweeping the scene and the dangers and vulnerabilities of going off-grid. More

Pogo Bar Podcast
Nicholas Grafia and Mikołaj Sobczak:
It’s 10PM. Do You know where your children are?

28 July 21

It’s 10pm. Do You know where your children are? narrates the struggles of teenagers dealing with their queerness within varying family dynamics and socio-political realities. The intertwined stories of the two protagonists touch upon memories, expectations and values shared between parents and their offspring with a diasporic background, unveiling the confluence of primary feelings of love, hate, desire and regret. More

Unlearning Archives
Onyeka Igwe and Ariella Aïsha Azoulay in conversation with Mason Leaver-Yap

28 July 21

In conjunction with Onyeka Igwe’s film commission A So-Called Archive, the KW Production Series hosts a discussion with Igwe and historian Ariella Aïsha Azoulay. The conversation interrogates the role of cultural production and its relation to imperial foundations of knowledge: the document, the archive, and the museum.

 

A crucial text that informed Igwe’s own research as she made her new film, Azoulay’s book Potential History: Unlearning Imperialism (Verso, 2019) seeks to expose the violent apparatus of the museum and the archive—institutions that order (and thereby have the power to narrate) time, space, and politics. This event looks to Azoulay’s writing and Igwe’s film as mutually resonant discourses that might inform not only how we look at the past, but how we might rehearse its unlearning.

 

Ariella Aïsha Azoulay teaches political thought and visual culture at Brown University. She is the author of Potential History and the director of Un-documented: Unlearning Imperial Plunder (2019). More

Pogo Bar Podcast
Nour Mobarak:
Memory Talk

13 July 21

Courtesy the artist

In Memory Talk, artist-performer Nour Mobarak continues her ongoing exploration of memory, psychic spaces and the spatialization of language. Based largely on field-recordings from Hollywood Boulevard and other places in Los Angeles where she asked strangers to share their earliest memories, her sound textures delve deep into the invisible architecture of both the individual mind and US therapy culture, often capturing moments of trauma, transgression, and intense feelings. More

Pogo Bar Podcast
Alexander Iezzi:
Heehaw Angel Hunting—Lesson in Companionshit

13 July 21

Meet Hope and Derek Heehaw—two siblings from a country-music-obsessed family in the south of the USA—in this radio show as day trip journal. More

Note from Sarah Rapson

12 July 21

Courtesy Sarah Rapson

Pogo Bar Podcast
Joshua Leon:
Lamentation No.1: A Smuggler’s Guide to Loss

12 July 21

We were having one of our usual phone calls. Talking about life, dealing with the distance the pandemic had enforced upon us. Then there was a suicide that hit your family. Grief overwhelmed us both. I could not reach you. I wanted to cross the border from the UK to the EU, but death is not essential travel. I wanted to smuggle my body across the border. I was not allowed. More

You’re not muted.

8 July 21

Diogo de Moraes, from the series Testes vocais, 2020–2021

Emancipatory art education practices should not only adapt to online scenarios, but also create questions and languages that respond to a radical shift in today’s social, political, and cultural landscapes. How do we – cultural workers, educators, artists, and researchers – actively bring these new tools, meanings and words into our daily practice?

 

The event series You’re not muted. Negotiating new meanings through art and education continues KW’s investigation into new settings in educational and socially engaged practices and opens a path to a collaboration with the DAAD Artists-in Berlin Program, to foster possibilities of broad international exchange in the realm of the educational field in the arts.

Cyberfeminist Index
(~1990s–present)

8 July 21

Lee Lozano, A Boring Drawing, 1963 – 1969; Courtesy The Estate of Lee Lozano and Hauser & Wirth; Photo: Jon Etter

The group exhibition Zeros and Ones at KW Institute for Contemporary Art is inspired by the approach from the book Zeros + Ones: Digital Women and the New Technoculture (1997) by writer and theorist Sadie Plant. The book is a prominent contribution to the cyberfeminist literature. Plant’s publication is part of a scene, which established worldwide since the early 1990s and authors numerous texts, publications, and essays. Cyberfeminist Index list categorizes, and describes publications in an open-source Google Spreadsheet. Any user can edit and contribute to the list and includes publications on topics such as hacking, science fiction, surveillance, glitch, and much more.

Pogo Bar Podcast
Beth Collar:
Scatter Cushion

8 July 21

With a melancholic anticipation of absent bodies permeating her thoughts after a day-trip to the Etruscan site of the Necropolis Banditaccia, she counters the epic fabric of history and ideology-serving, gendered notions of the chronicler or bard with too-personal comment, fragmented memory, incidental noises, alcohol and urine. More

Open Secret

6 July 21

Vladan Joler, Preview from the video work The News Extractivism, 2021

 

Open Secret (16 July – 31 December 21) is a six-month long online program that explores the image of the ‘technological hidden’ in our apparently ‘open’ society. With new contributions released on a monthly basis, the Open Secret website opensecret.kw-berlin.de will bring together art, automation, politics, and new patterns of exchange. The website is designed by Sometimes Always and will be made available from 16 July 2021 onwards.

Web-site-specific Sculpture: Juliana Cerqueira Leite in conversation with Nadim Samman

16 June 21

The Last Museum featured artworks straddling both real and virtual domains. In this talk, participating artist Juliana Cerqueira Leite (Brasil/USA) reflects upon productive blurring between physical original, digital doppelganger, and the stakes of sculpture online. More info

The Last Museum

16 June 21

The Last Museum will tour as a ‘pop-up exhibition’ on the website of Polyeco Contemporary Art Initiative (PCAI), Athens from September 14 to October 16, 2021.

Amelie von Wulffen
Pedigree, 1996/1999

Claymation, in collaboration with Michael Graessner

In Pedigree (1996–1999, co-produced with Michael Graessner) audio fragments from films by Michelangelo Antonioni and Andrei Tarkovsky provide the acoustic bed of politics and love in which a couple’s passionate encounter unfolds against a melodramatic technicolor sky.

A Letter for Leo,
Krist Gruijthuijsen

Dear Leonilson, José, Zé, Leo, As you can see, I am not even sure how to address you. When I began to research your work, talking to your colleagues, friends, and family, I learned that each addressed you differently. The question is, why am I writing to you nearly twenty-seven years after your death? As to that, there are many answers, just as you have many names.

 

From Leonilson: Drawn 1975–1993, KW Institute for Contemporary Art and Hatje Cantz Verlag Berlin, 2020 More Info

Residenz Fahrenbühl
A Reading by Anna Haifisch

„Fahrenbühl is a remote artists’ residence inhabited by two mice. It’s the most beautiful place in the world. Rural life, they say, offers peace and contemplation. And yet, the dreariness of seclusion soon dampens the spirits. Maintaining paradise requires a radical approach. In this respect, a mouse is no different from God.” The latest comic by Anna Haifisch is set in Fahrenbühl – a fictional, remote artists’ residency which becomes an outlet for fundamental questions about artistic production, oscillating between loneliness, ambition, inspiration, and external scrutiny.

Pogo Bar Podcast
Luzie Meyer: The Acquisition of Language & The Language of Acquisition

Image: Courtesy the artist

Artist-poet Luzie Meyer traces the property of language to both confine and liberate, and the verbal means of expression available to us in times of digital media and algorithms. More Info

Beatrice Gibson
What’s Love Got To Do With It?

Courtesy Beatrice Gibson, Design by HIT Studio

Artist Beatrice Gibson pairs six contemporary poets discussing the topic of love: CAConrad and LeAnne Howe, Alice Notley and Precious Okoyomon, and Ariana Reines and Sophie Robinson. This three-part podcast series makes sonic space in which these poets share, listen and respond to one another’s work, and features unique compositions by Crystabel Riley and Seymour Wright. More info

Pogo Bar Podcast
Simnikiwe Buhlungu:
Anecdotal Through-isms

Simnikiwe Buhlungu is interested in the mechanisms that produce and mediate knowledge[s]; how it is produced and by whom, its dissemination and its nuances as a commonplace ecology. She uses her practice to wrestle between these questions and their infinite potential answers. Lately, she enjoys listening to gospel music and has been thinking about apiaries. More info

Pogo Bar Podcast
Nadja Abt:
Mutiny on the Bivalvia –
Interview with a Seafarer

Courtesy the artist

Mutiny on the Bivalvia is a radio play about power and relationships. In an interview, a seafarer and previously successful artist delineates her motives for wanting to become a member of the female crew on board of the „Bivalvia“ and her daily life as a seafarer. The interviewer has but one question on her mind: What has lead the all-women crew to shipwreck and mutiny? More info

Orpheus and the Technocave

Lecture + sonic reply with curator Nadim Samman and techno producer Inland (Ed Davenport). The myth of Orpheus tells the story of a musician and poet who charms his way into the underworld, to recover a love stolen away and imprisoned. At the birth of the modern world, this myth would become the basis of an initiatory cult exalting the status of the artist for their ability to cross thresholds between worlds and (re)capture knowledge. Today’s Orphic journeys foreground the functional texture of searching: The labor of finding one’s direction inside the thing—all the wrong turns, and right ones too—cutting fences; picking locks; crawling through gaps. Diving deeper into the megastructure in order to move beyond it. More info

Pogo Bar Podcast
Thea Reifler and Philipp Bergmann: 
Truth is a Matter of the Imagination

Image: Courtesy the artists; Photo: Rasmus Bell

Thea Reifler and Philipp Bergmann invited Lou Drago, Isabel Lewis, Ann Mbuti and Omsk Social Club for exchanges of thoughts departing from science fiction quotes. They sat down to talk about how the genre has influenced their ways of thinking, relating, creating art and programming institutions. Within the conversations, they discuss how it changed their perceptions of truth and fiction, dreamtime and world-time, structures and processes as well as change and collaboration. More info