Program

 

 

 

 

October 24  10 a.m. – 5.30 p.m.
Haus der Kunst

 

October 25  10.30 a.m. – 6 p.m.
Haus der Kunst

 

October 26.  10 a.m. – 1 p.m.
Muffatwerk



 

 

 

The multi-part project SHOW ME THE WORLD analyses and discusses for the first time in the theater field in a fundamental and international manner curating and organizing events in a world of global networks. It poses questions regarding, among other topics, traditional exoticisms in the practice of curating, the establishment of global ethics for organizing events, hegemonic or horizontal relationships in the presentation of art, and ethnocentrism or eurocentrism in the operation of festivals in our times.

Following previous meetings and encounters on four continents and an initial round of discussions open to the general public in April 2015 of this year in Mülheim an der Ruhr, Germany, a subsequent symposium with notable international experts and an intensive program of lectures, discussions, and workshops took place from October 24 – 26, 2015 at the SPIELART theater festival in Munich. Well-known international curators had accepted invitations to attend, including Rolf Abderhalden (Bogotá), Jelili Atiku (Lagos), Anja Dirks (Fribourg), Ahmed El Attar (Cairo), Judy Hussie-Taylor (New York), and Ong Keng Sen (Singapore); in so-called "area studies" they will gave presentations on curating and organizing events in their respective regions and they will participated in discussions with notable colleagues, for instance, Andrè Lepecki, Adrian Heathfield, Jay Pather, and Suely Rolnik. Two workshop sessions will delved into individual aspects and were devoted to specific, individual questions from the Munich visitors to the symposium.

SHOW ME THE WORLD is a project of SPIELART festival and the Goethe Insitutes in Bogota, Cairo, Lagos, Munich, New York, São Paulo and Singapore as well as the NRW KULTURsekretariat, the Impulse Theater Festival, the Theaterwissenschaft München, the  Ringlokschuppen Ruhr and the Kulturreferat der Landeshauptstadt München.


VIDEO-DOCUMENTATION

Under each program items you will find the recordings of the lectures and discussions.
For the documentation of SHOW ME THE WORLD in Mülheim please scroll down.

SHOW ME THE WORLD
MUNICH | Oct 24 + Oct 25 2015
Haus der Kunst

Saturday, 24.10.
Haus der Kunst | München
10.00 am – 10.30 am
Tilmann Broszat | Johannes Ebert | Sigrid Gareis (Munich | Berlin)
WELCOME
 

 

Biography
Tilmann Broszat (Munich)
is the artistic and managing director of the biannual festival SPIELART in Munich, which he founded in 1995. In this function he initiated several transnational network projects like for example theatre/festivals in transition. He also is the managing director and producer of two festivals of the City of Munich: The MÜNCHENER BIENNALE - Festival for Contemporary Music Theatre (since 1988) and the international Festival DANCE (since 1998). He was the managing director of the Festival THEATER DER WELT in Munich in 1993 and worked as producer and co-owner of ART BUREAU Munich from 1986 to 1993 in international theatre productions and co-productions. He studied sociology (diploma), social psychology and philosophy in Munich and Aix-en-Provence.

Johannes Ebert
(Munich)
has been Secretary General of the Goethe-Institut since 2012. He read Islamic Studies and Political Science in Freiburg and Damaskus and thereafter worked as a journalist. After periods as an instructor at the Goethe-Institut in Prien, as a language course consultant at the Goethe-Institut in Riga and as deputy head of the Public Relations division in the Munich head office, he was director of the Goethe-Institut Kiev from 1997 to 2002. From 2002 to 2007 he was director of the Goethe-Institut in Cairo and regional director for North Africa and the Middle East. Subsequently he served as director of the Goethe-Institut in Moscow and regional director for Eastern Europe and Central Asia from 2007 to 2012.

Sigrid Gareis (Berlin)
After studying Anthropology, Sigrid Gareis built up the departments of performing arts and international cultural work at Siemens Arts Program in Munich. She was co-founder of dance and theater festivals in Moscow, Munich, Nuremberg and Greifswald. From 2000 to 2009 she was founding director of Tanzquartier Wien, from 2005 to 2007 founding president of the European Dance House Network (EDN) and from 2011 to 2014 founding director of the Academy of the Art of the World in Cologne. She is teaching and lecturing on curating contemporary dance and theatre at universities and art schools in Vienna, Munich, Salzburg, Gießen, and Leipzig and was reviewer for the Academy of Fine Arts in Vienna and the Amsterdam School of the Arts. She is curator of various projects and events and member of numerous juries. Various book publications.


 

10.30 am – 11.30 am
Lecture
André Lepecki (New York | Rio de Janeiro)
DECOLONIZING CURATORIAL IMAGINATION: CURATING THE WILD-THING.
Moderation: Florian Malzacher (Berlin)
 
ABSTRACT
In this talk, I will engage in a double critique of curatorial imagination, particularly in the con text of curating performance: First, that curatorial imagination is always expressive of chrono-political constructions of self and other; and second, that these constructions perform and reify subtle aesthetics of representation. Drawing from post-colonial theory, particularly from Spivak and from Bhabha, and from critical black studies, particularly from‘ Fred Moten, Kodwo Eshun, and Michelle Wright, I will discuss the reception and politics of display of several works in experimental choreography, visual arts, and performance art, in order to consider how their inclusion in festivals, exhibitions, and artistic events reproduce and secure a practice of the exclusion of their political-aesthetic potentiality. Provocatively, I will call this potentiality, this decolonizing, troubling and highly aesthetic force, wild thing.

 

Biography
André Lepecki (New York | Rio de Janeiro)
is Associate Professor at the New York University and Guest Professor at DOCH - Stockholm University of the Arts. He is a writer, independent curator, and dramaturg. He was 2008 and 2009 chief curator of the festival IN TRANSIT at Haus der Kulturen der Welt/Berlin; he was co-curator of the archive Dance and Visual Arts since 1960s for the exhibition MOVE:choreographing you, Hayward Gallery (2010). AICA Award for Best Performance for co-curating and directing the re-doing of Allan Kaprow’s 18 Happenings in 6 Parts (2006). He curated the lecture series Points of Convergence: performance and visual arts and the series Off-Hinge / Of Center: alternative histories for performance for MoMA-W (2014 and 2015). He is the editor of the anthologies Dance (2012), Planes of Composition: dance, theory and the global (2009 with Jenn Joy), The Senses in Performance (2007 with Sally Banes), Of the Presence of the Body (2004). His book Exhausting Dance: performance and the politics of movement (2006) is translated in 10 languages.

Florian Malzacher (Berlin)
is curator and artistic director of Impulse Festival

 

11.30 am – 12.15 pm
Rolf Abderhalden | Ong Keng Sen (Bogotá | Singapore)
CURATORS IN DIALOGUE
 

 

Biography
Rolf Abderhalden (Bogotá)
is a Swiss-Colombian trans-disciplinary artist and Arts professor at the National University of Colombia. He studied Art-Therapy in the Ecole de Hautes Études en Sciences Sociales et Pédagogiques in Lausanne and Theatre in the International Theatre School of Jacques Lecoq in Paris. Master of Visual Arts of the National University of Colombia. PhD in Aesthetics, Sciences and Technologies of the Arts, University of Paris 8. He has founded the Interdisciplinary Master of Theatre and Live Arts of the National University of Colombia in Bogotá. Co-founder and co-director, along with Heidi Abderhalden, of Mapa Teatro-Lab of artists where both are curating the Project »Experimenta/sur«, a transdisciplinary platform for expanded dramaturgies and Live arts in Latin America. His work moves across theatre, performance, and visual arts, and is concerned with collective memory and performative practices in social contexts as experiments on ›living archives‹.

Ong Keng Sen
(Singapore)
is the festival director of the new Singapore International Festival of Arts. He is a performance director who has actively contributed to the evolution and the subsequent transglobalization of the Asian aesthetic in contemporary arts. He completed his postgraduate studies at Tisch School of the Arts, New York University, and he also holds a law degree. His artworks have been presented throughout the world. Ong was artistic director of TheatreWorks, where he created the renowned Flying Circus Project. He mentors emerging artists and founded the Arts Network Asia. A Fulbright scholar, Ong is the first Singaporean artist to have received both the Young Artist Award (1992) and the Cultural Medallion Award (2003). He directed the In-Transit Festival in Berlin from 2001-2003. He has been serving on the Prince Claus Foundation Jury for the last three years. He was awarded the prestigious Fukuoka Asian Arts and Culture Prize 2010.

 

12.30 pm – 1.30 pm
Lecture
Elvira Dyangani Ose (London)
ABOUT BEING-TOGETHER
Moderation: Gero Tögl
 


ABSTRACT
There is a recurring portrayal by artists and projects featured in the current edition of Göteborg International Biennial tor Contemporary Art (GIBCA) of the crowd — or individuals within it — as a visual representation of the new social imaginary emerging from specific historical junctures. In those particular cases, the crowd the people — embodies the promised sense of togetherness anticipated by leaders and followers of the most significant 2Oth Century revolutionary movements. A sense of togetherness that, as Boris Buden points out always implies the quality of being a refuge or shelter, of pro viding protection from some sort of danger. This presentation draws from some of the ideas and works display at GIBCA 2015 that aim to scrutinize the grammar of various sociopolitical junctures, bringing unknown subjectivities and politics to light; highlighting aspects of an international comradeship: and seeking to open up and expand the readings of contemporary history.

 

Biography
Elvira Dyangani Ose (London)
is a lecturer in Visual Cultures at Goldsmiths and curator of the current edition of the Göteborg International Biennial for Contemporary Art. She is also member of the Thought Council at the Fondazione Prada. Dyangani Ose has worked as a curator at Tate Modern, the Centro Atlántico de Arte Moderno, and the Centro Andaluz de Arte Contemporáneo. She has served as Artistic Director of Rencontres Picha, Lubumbashi Biennial (2013) and Guest Curator of the triennial SUD, Salon Urbain de Douala (2010). Main curatorial projects include: IBRAHIM EL-SALAHI: A VISIONARY MODERNIST (2013), ACROSS THE BOARD (2012–2014), CARRIE MAE WEEMS: SOCIAL STUDIES (2010), ARTE INVISIBLE (2009, 2010), and OLVIDA QUIEN SOY/ERASE ME FROM WHO I AM (2006). Dyangani Ose is completing her PhD at Cornell University, New York.

Gero Tögl (Munich)
is member of the scientific staff at the Institute for Theatre Studies at LMU

 

1.30 pm – 2.15 pm
Discussion
Alhena Katsof | Akira Takayama | Ana Zirner (New York | Tokyo | Munich)
TO PERFORM OR TO BE PERFORMED IN A GLOBAL WORLD
Moderation: Katja Schneider
 
 

 

Biography
Alhena Katsof (New York)
Alhena Katsof, curator and author in New York, has been the director of strategy and protocol for Public Movement since 2011. Her book (as co-author) SOLUTION 263: DOUBLE AGENT was published as part of the Solution Series by Sternberg Press. Together with Dana Yahalomi, the director of Public Movement, Katsof produced the performances DEBRIEFING SESSION I and DEBRIEFING SESSION II. She performed at the Freie Universität Berlin; IASPIS in Stockholm; and SITAC XI in Mexico City. Katsof organized exhibitions and performances in New York with White Columns; Andrew Kreps Gallery; Regina Rex; Leo Koenig Inc.; and Lucie Fontaine. In 2014 she curated »Towards the Unknown«, a traveling exhibition with drawings by the musician and painter Yusef Lateef. Alhena Katsof teaches at the Center for Curatorial Studies at Bard College (CCS Bard) at Annandale-on-Hudson, and she gives lectures at the Center for Experimental Lectures.

Akira Takayama (Tokyo)
Born in 1969, Akira Takayama founded Port B in 2002. Takayama develops projects that take theatre outside its existing frameworks and connects collaboratively with other media. He works to update the »architecture of theatre« by expanding the conventions of theatre and the audience in society and the urban space. His audience-centered work is an attempt to create a theatre beyond the physical theatre space as a new social platform and function. In recent years he has been interacting with a wide range of fields, including tourism, urban planning, art, literature and photography, using theatrical ideas to cultivate new possibilities across a variety of media and genre.

Ana Zirner (Munich)
is a Munich based theatre- and film director and cultural manager. In 2012 she co-founded the performing arts collective satellit produktion to create dance- and theatre projects based on documented material on political and social topics. The project SPRING AND HOPE received the Folkwang Award of Performing Arts in 2012, and the production FREI WILLIG ARBEITEN (»free will working«) received the Kurt Meisel Award at Residenztheater in 2015. The new project "HIATUS - A PROJECT ON BEGGARS AND PASSERS-BY will premiere at SPIELART Festival 2015. As a cultural manager Ana Zirner has worked at the artistic direction of Münchner Kammerspiele in 2014 and she was part of the artistic direction at the independent theatre PATHOS in Munich in 2013. She is an active member of various international networks and an alumni of the EFA Atelier for Young Festival Managers 2015 in Beirut. Both as an artist and a cultural manager, international exchange and cooperation is a main focus in Ana Zirner's work.

Katja Schneider (Munich)
is member of the scientific staff and MA study coordinator at the Institute for Theatre Studies at LMU

 

3.15 pm – 5.30 pm
Rolf Abderhalden | Jelili Atiku | Anja Dirks | Ahmed El Attar | Judy Hussie-Taylor | Ong Keng Sen (Bogotá | Lagos | Fribourg | Cairo | New York | Singapore)
WORKING GROUPS
 
Rolf Abderhalden (Bogotá):
Artists and curators: a dialogue between cooks and chefs

Today, it seems that no artist can access or participate to the various platforms of the art world (increasingly global) without passing through the mediation of an external agent, called “curator,“ to legitimize his presence, his form of appearance, and modes of production of his work. I refer to the traditional figure of the cook to reflect upon the work of the artist that, in contemporary practices, has to negotiate with a “curatorial“ figure, almost always at the service of a prestigious corporate brand: the chef. From the concrete - ethics, aesthetics, and politics - observation of different ways of preparation, cooking, and presentation of an artistic work and the relationship with external agents that affect its future, we will try to discern and problematize different tactics of dialogue, negotiation, and joint resistance between these two figures, inseparable from the artistic event of our times.

Jelili Atiku
(Lagos):
Colonization: post-/anti-/de-colonization

Between 1901 and 1936, Petrovich Pavlov, the Russian Physiologist conducted far-reaching conditioning experiments that fired curiosity of scientific world on conditioning behaviors. Numerous festival across the world such as Adelaide Festival, BIIEF, Dublin Theatre Festival or Miami Performance Festival have succinctly signals and aged existence of conditioned / colonized methods of presenting, organizing and doing performances and its related events in the field of performance. As also discovered and proved by Pavlov, behavioral conditions and habits or response as well methodology of doing and presenting can be unlearned and de-colonized or extinguished, but the question is HOW? In dealing with this question, the statement by Frantz Fanon in A Dying Colonialism (1959) sur faces. Fanon says, “There is not occupation of territory on the one hand and independence of persons on the other. It is the country as a whole, its history, its daily pulsation that are contested, disfigured, in the hope of a final destruction. Under these conditions, the individuals breathing is an observed, an occupied breathing. It is a combat breathing“.

Anja Dirks
(Fribourg):
Developing criteria and set-ups for intercontinental curating

How to surpass eurocentrism when curating on an intercontinental level? By what criteria beyond “new“ and “exotic“ can programs be developed? Which set-ups and contextualization are necessary, and which ones are harmful? What does relevance mean in a highly decentralized, diversified and globalized world? Which representations of “international“ are to be staged in societies marked by migration? The workshop attempts through discussion to find some answers to these questions.

Ahmed El Attar
(Cairo):
Curatorial questions of nationality and the role of the national culture institutes

10 navigate around, within, and beyond conventions, identities, politics, and economics are the essence of the curatorial challenge. An ever changing environment where the only constants are one‘s own intuition, analysis, and vision - not only of art but of all the elements - that shape the artistic process and production.

Judy Hussie-Taylor
(New York):
Curating value in local and global context

The act of curating establishes a value system. What or who is it we are valuing tor devaluing) in performance curation and in what context(s)? How can curatorial praxis be an inquiry, or multiple inquiries, tuned into real conditions and relationships? We will consider two case studies: Eiko Otake‘s A BODY IN FUKUSHIMA and Ralph Lemon‘s MoMA series ON VALUE. In the second part of the laboratory we will collectively generate lines of inquiry relevant to our current situations. How can lines of inquiry open up new curatorial possibilities in relationship to specific peoples, places, politics, spaces, and states of mind?

Ong Keng Sen (Singapur):
Processing the festival How can curators elaborate on the ideas and themes of the festival to build ownership by audiences? What are the strategies that we can employ? How can we design processes to engage diverse audiences with the broad ideas and the specific concepts in the festival? Overall, how are we communicating with audiences in the “white noise“ of social media in this globalized era? Can this be built into the content of the festival rather than just be a publicity mechanism?

 

Biography
Rolf Abderhalden (Bogotá)
is a Swiss-Colombian trans-disciplinary artist and Arts professor at the National University of Colombia. He studied Art-Therapy in the Ecole de Hautes Études en Sciences Sociales et Pédagogiques in Lausanne and Theatre in the International Theatre School of Jacques Lecoq in Paris. Master of Visual Arts of the National University of Colombia. PhD in Aesthetics, Sciences and Technologies of the Arts, University of Paris 8. He has founded the Interdisciplinary Master of Theatre and Live Arts of the National University of Colombia in Bogotá. Co-founder and co-director, along with Heidi Abderhalden, of Mapa Teatro-Lab of artists where both are curating the Project EXPERIMENTA/SUR, a transdisciplinary platform for expanded dramaturgies and Live arts in Latin America. His work moves across theatre, performance, and visual arts, and is concerned with collective memory and performative practices in social contexts as experiments on ›living archives‹.

Jelili Atiku (Lagos)
Born in 1968 in Ejigbo, Nigeria, Jelili Atiku is a Nigerian multimedia artist with political concerns for human rights and justice. His artistic work deals with the psychosocial and emotional effects of traumatic events such as violence, war, poverty, corruption, and climate change. He was trained at Ahmadu Bello University, Zaria, and the University of Lagos, where he was awarded a Bachelor of Arts (fine arts) degree and a Master of Arts (visual arts) degree. He is the project leader of ArtAfrica Nigeria, the chief coordinator of Advocate for Human Rights Through Art (AHRA), and the artistic director of AFiRIperFOMA – a collective of performance artists in Africa. Jelili is participating in numerous performances/exhibitions/talks in Africa, Asia and Europe. He is presently teaching sculpture at the department of art and industrial design at Lagos State Polytechnic.

Anja Dirks (Fribourg)
Born in 1970, Anja Dirks is the director of Belluard Festival in Fribourg (CH). From 2009 to 2014 she was the artistic director of Festival Theaterformen in Braunschweig and Hanover. At Wiener Festwochen she curated the program section forum festwochen in 2008. She was Matthias Lilienthal`s assistant for the 2002 edition of Theater der Welt and then worked as a programmer, first at FFT Düsseldorf and from 2004 to 2007 at Theaterhaus Gessnerallee in Zurich. Between 1989 and 1999 she worked in Berlin, amongst others as an assistant at Schiller Theater, Volksbühne and in the independent scene. Anja Dirks studied directing at the Hochschule für Schauspielkunst »Ernst Busch«.

Ahmed El Attar (Cairo)
is an Egyptian independent theatre director, translator, playwright and cultural manager. He is founder and General Manager of Studio Emad Eddin Foundation a unique project, offering rehearsals and training spaces to independent artists. El Attar is also the founder and the artistic director of Orient Productions, the Temple Independent Theatre Company and the D-CAF (Downtown Contemporary Arts Festival). He is also the artistic director of the Falaki theatre in Cairo. His theatre work has been performed in Egypt, Lebanon, Jordan, Sweden, Portugal, Germany, Belgium, Holland, France, Switzerland, Italy, Croatia, Montenegro, the United Kingdom and the UAE. El Attar has been chosen by the Arabic edition of Newsweek (26/4/2005) as one of 42 personalities who influence change in the Arab world. Among other awards El Attar has received the pioneers of Egypt award in November 2013 from Synergos Foundation (USA).

Judy Hussie-Taylor (New York)
is curator and Executive Director of Danspace Project (NYC) and co-founder, advisor and faculty of the Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University. She is the former Director of the Colorado Dance Festival (CDF), she has also served as Artistic Director for Performance Programs at the Boulder Museum of Contemporary Art and Deputy Director of the Museum of Contemporary Art/Denver. From 2000 – 2004 she taught in the Department of Art & Art History at the University of Colorado-Boulder and served as faculty, committee member and interim director of the Department’s Visiting Artist Program. She was the curator of the acclaimed PLATFORM 2012: JUDSON NOW celebrating the 50th anniversary of Judson Dance Theater. In 2013 she was featured as one of New York’s »Movers and Shapers« by the New York Times (2013). Iin 2014 she was conferred with a Chevalier de L’Ordre des Arts et des Lettres.

O
ng Keng Sen
(Singapore)
is the festival director of the new Singapore International Festival of Arts. He is a performance director who has actively contributed to the evolution and the subsequent transglobalization of the Asian aesthetic in contemporary arts. He completed his postgraduate studies at Tisch School of the Arts, New York University, and he also holds a law degree. His artworks have been presented throughout the world. Ong was artistic director of TheatreWorks, where he created the renowned Flying Circus Project. He mentors emerging artists and founded the Arts Network Asia. A Fulbright scholar, Ong is the first Singaporean artist to have received both the Young Artist Award (1992) and the Cultural Medallion Award (2003). He directed the In-Transit Festival in Berlin from 2001-2003. He has been serving on the Prince Claus Foundation Jury for the last three years. He was awarded the prestigious Fukuoka Asian Arts and Culture Prize 2010.

 

Sunday, 25.10.
Haus der Kunst | München
10.30 am – 11.30 am
Lecture
Suely Rolnik (São Paulo)
THE KNOWING BODY COMPASS IN CURATORIAL PRACTICES
Moderation: Thomas Sellar
 
 

ABSTRACT
The figure of the curator, in its current form, emerged in the context of financial capitalism, which came to dominate world economy in the mid-1970s. The new regime has as one of its main energy resources the force of creation, which especially affects the field of art. As a con sequence, this terrain experiences a constant negotiation between the interests of art and those of capital. The curator has become mediator between those interests, and has assumed an important role in the negotiation. From this results an intensified confrontation of divergent perspectives that materialize in different curatorial actions and the effects that each one produces. These perspectives can be distinguished by the degree of the curators vulnerability to art and the kind of value he or she attributes to it, which will define where the border between the negotiable and the non-negotiable is set. Through the notion of the “knowing-body,“ we will seek to describe two types of curator that would occupy the opposed extremes in the wide range of forces at play in this field, and the kind of compass that guides each in their own practices. This is obviously an artifice, as such types don‘t exist in pure form. They are fictional characters to be used as a tool to problematize the current state of things in the field.

 

Biography
Suely Rolnik (São Paulo)
Brazilian, is an analyst of the politics of desire, through art and cultural critic, curatorship, writing and psychoanalytical practices. She is Full Professor at the Catholic University of São Paulo and had been guest Professor at MacBa (Barcelona, 2008-2015). She graduated in Sociology and Philosophy (Université de Paris 8), and in Clinical Human Sciences (Université de Paris 7). She obtained master and doctoral degrees in Clinical Human Sciences (Université de Paris 7) and a PHD in Social Psychology (PUC-SP). Among her books: GEOPOLITICS OF PIMPING. FOUR ESSAYS ON THE PATHOLOGY OF THE PRESENT (2015), ANTHROPOPHAGIE ZOMBIE (2012); ARCHIVE MANIA SERIE 100 NOTES – 100 THOUGHTS NO. 022 (Documenta 13, 2011) and with Félix Guattari, MICROPOLÍTICA. CARTOGRAFIAS DO DESEJO (1986), published in eight countries. She created the ARCHIVE FOR A WORK-EVENT. ACTIVATING THE BODY MEMORY OF LYGIA CLARK'S ARTISTIC PROPOSITIONS (65 film interviews and a booklet), 2011.

Thomas Sellar (New Haven | Brooklyn)
is Professor Adjunct at the Yale University & Editor of the magazine THEATER

 

11.30 am – 12.15 pm
Rolf Abderhalden | Jelili Atiku | Anja Dirks | Ahmed El Attar | Judy Hussie-Taylor | Ong Keng Sen (Bogotá | Lagos | Fribourg | Cairo | New York | Singapore)
REPORTS OF THE WORKING GROUPS
 

 

12.30 pm – 1.30 pm
Lecture
Jay Pather (Cape Town)
NEGOTIATING THE POSTCOLONIAL BODY AS SITE OF PARADOX: BETWEEN VISIBILITY AND ERASURE; APPROPRIATION AND EMASCULATION; RACIALLY INSCRIBED AND AS A BEACON FOR THE POST RACIAL FANTASY
Moderation: Evelyn Annuß
 


ABSTRACT
Race in performance is a dense and rich marker o a range of phenomena: of crisis, dissert, dis ease, the deconstruction and reimagining of the human. Treading a fine line between visibility and invisibility the body is also fiercely symptomatic of a range of desires: of ahistoricism, post-racism, and neutrality. Contemporary political history provides further counter currents. In South Africa the pervasive racialization of poverty and unemployment in the post-apartheid, rainbow fantasy epitomized by the recent indiscriminate killing of black miners in Marikana; the vulnerabilities of the black (in particular male) body in contemporary America and the vulnerabilities of African migrants in Europe provide contexts that can‘t be ignored. In performance the furor over the South African white artist Brett Bailey‘s staging of Exhibit B, amongst other examples, epitomizes a clear infiltration and an entrenched presence of notions of race in the distribution and curation of performance. The paradox of acknowledging presence of race as well as desiring neutrality creates its own tensions. But as cultural theorist Achille Mbembe writes, “What irks many is that the black body is still a profane body. It still does not enjoy the kind of immunity accorded to properly human bodies.“ The paper probes some key moments both in performance and in contemporary history where the performance of race or racism or race denial proffers leading questions as points of debate in the contextualizing, curation and reading of performance by diverse publics.

 

Biography
Jay Pather (Cape Town)
is an associate professor at the University of Cape Town, director of the Gordon Institute for Performing and Creative Arts (GIPCA), and artistic director of Siwela Sonke Dance. Recent publications include articles in New Territories: Theatre, Drama, and Performance in Post-apartheid South Africa, edited by Marc Meaufort; CHANGING METROPOLIS II, edited by Marie Polli; ROGUE URBANISM, edited by Edgar Pieterse and Abdul Malik Simone; and PERFORMING CITIES, edited by Nicholas Whybrow. Jay is a curator of the Infecting the City Public Art Festivals, and The GIPCA Live Art Festivals, and he serves as a juror for the International Award for Public Art and on the board of the National Arts Festival of South Africa. Recent art works include: BODY OF EVIDENCE in Johannesburg, Cape Town, and Den Haag; BLIND SPOT for the Metropolis Biennale, Copenhagen; QAPHELA CAESAR; and RITE, a re-imagining of Stravinsky's LE SACRE DU PRINTEMPS.

Evelyn Annuß (Berlin)
is theatre scholar and curator; currently guest professor at the Institute for Theatre Studies at LMU

 

1.30 pm – 2.15 pm
Jelili Atiku | Judy Hussie-Taylor (Lagos | New York)
CURATORS IN DIALOGUE
 

 

Biography
Jelili Atiku (Lagos)
Born in 1968 in Ejigbo, Nigeria, Jelili Atiku is a Nigerian multimedia artist with political concerns for human rights and justice. His artistic work deals with the psychosocial and emotional effects of traumatic events such as violence, war, poverty, corruption, and climate change. He was trained at Ahmadu Bello University, Zaria, and the University of Lagos, where he was awarded a Bachelor of Arts (fine arts) degree and a Master of Arts (visual arts) degree. He is the project leader of ArtAfrica Nigeria, the chief coordinator of Advocate for Human Rights Through Art (AHRA), and the artistic director of AFiRIperFOMA – a collective of performance artists in Africa. Jelili is participating in numerous performances/exhibitions/talks in Africa, Asia and Europe. He is presently teaching sculpture at the department of art and industrial design at Lagos State Polytechnic.

Judy Hussie-Taylor (New York)
is curator and Executive Director of Danspace Project (NYC) and co-founder, advisor and faculty of the Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University. She is the former Director of the Colorado Dance Festival (CDF), she has also served as Artistic Director for Performance Programs at the Boulder Museum of Contemporary Art and Deputy Director of the Museum of Contemporary Art/Denver. From 2000 – 2004 she taught in the Department of Art & Art History at the University of Colorado-Boulder and served as faculty, committee member and interim director of the Department’s Visiting Artist Program. She was the curator of the acclaimed PLATFORM 2012: JUDSON NOW celebrating the 50th anniversary of Judson Dance Theater. In 2013 she was featured as one of New York’s »Movers and Shapers« by the New York Times (2013). Iin 2014 she was conferred with a Chevalier de L’Ordre des Arts et des Lettres.

 

3.15 pm – 4.15 pm
Lecture
Adrian Heathfield (London)
SPIRITED AFFINITIES - PLANETARY CONSCIOUSNESS
Moderation: Wenzel Bilger
 
ABSTRACT
The talk will draw discursive connections between culturally distinct art practices deploying living durational propositions and tactics of imperceptibility in relation to systems of recognition, evaluation, circulation and institution. 00w might these affinities — crossing historical epochs, cultures and belief systems, coming n and nut of currency and incorporation — be analyzed as infrastructures of feeling-thinking? A materialist understanding of spirit emerges from these speculations. Spirit not as a transcendent or universal force, but as an imminent, inhuman imperative that draws beings out and connects them to elements of planetary consciousness. Curatorial practice is first and foremost the labor of caretaking: spirits, people, things. How might we imagine and practice ways of being with, protecting and regenerating the spirited affinities and immaterial infrastructures of which we are the inheritors and temporary custodians?

 

Biography
Adrian Heathfield (London)
is a writer and curator working across the scenes of live art, performance, and dance. He is the author of OUT OF NOW, a monograph on the artist Tehching Hsieh, and the editor of PERFORM, REPEAT, RECORD AND LIVE: ART AND PERFORMANCE. He co-curated LIVE CULTURE (Tate Modern 2003); PERFORMANCE MATTERS (2009-2014); and numerous durational events in European cities over the last ten years. He is a Marie Curie International Fellow at Columbia University, New York, and a professor of performance and visual culture at the University of Roehampton, London.

Wenzel Bilger
(New York)
is the program director of Goethe Institut New York

 

4.15 pm – 5.00 pm
Anja Dirks | Ahmed El Attar (Fribourg | Cairo)
CURATORS IN DIALOGUE
 

 

Biography
Anja Dirks (Fribourg)
Born in 1970, Anja Dirks is the director of Belluard Festival in Fribourg (CH). From 2009 to 2014 she was the artistic director of Festival Theaterformen in Braunschweig and Hanover. At Wiener Festwochen she curated the program section forum festwochen in 2008. She was Matthias Lilienthal`s assistant for the 2002 edition of Theater der Welt and then worked as a programmer, first at FFT Düsseldorf and from 2004 to 2007 at Theaterhaus Gessnerallee in Zurich. Between 1989 and 1999 she worked in Berlin, amongst others as an assistant at Schiller Theater, Volksbühne and in the independent scene. Anja Dirks studied directing at the Hochschule für Schauspielkunst »Ernst Busch«.

Ahmed El Attar (Cairo)
is an Egyptian independent theatre director, translator, playwright and cultural manager. He is founder and General Manager of Studio Emad Eddin Foundation a unique project, offering rehearsals and training spaces to independent artists. El Attar is also the founder and the artistic director of Orient Productions, the Temple Independent Theatre Company and the D-CAF (Downtown Contemporary Arts Festival). He is also the artistic director of the Falaki theatre in Cairo. His theatre work has been performed in Egypt, Lebanon, Jordan, Sweden, Portugal, Germany, Belgium, Holland, France, Switzerland, Italy, Croatia, Montenegro, the United Kingdom and the UAE. El Attar has been chosen by the Arabic edition of Newsweek (26/4/2005) as one of 42 personalities who influence change in the Arab world. Among other awards El Attar has received the pioneers of Egypt award in November 2013 from Synergos Foundation (USA).

 

5.00 pm – 6.00 pm
FINAL DISCUSSION
Moderation: Tilmann Broszat and Sigrid Gareis
 

 

Monday, 26.10.
Café Muffathalle
10.00 am – 1.00 pm
INDIVIDUAL MEETINGS
 
Opportunity for individual meetings (each session 45 minutes) with:

Rolf Abderhalden (Bogotá), Jelili Atiku (Lagos), Tilmann Broszat (Munich), Anja Dirks (Fribourg), Ahmed El Attar (Cairo), Sigrid Gareis (Berlin), Judy Hussie-Taylor (New York), Ong Keng Sen (Singapore)

 

Biography
Rolf Abderhalden (Bogotá)
is a Swiss-Colombian trans-disciplinary artist and Arts professor at the National University of Colombia. He studied Art-Therapy in the Ecole de Hautes Études en Sciences Sociales et Pédagogiques in Lausanne and Theatre in the International Theatre School of Jacques Lecoq in Paris. Master of Visual Arts of the National University of Colombia. PhD in Aesthetics, Sciences and Technologies of the Arts, University of Paris 8. He has founded the Interdisciplinary Master of Theatre and Live Arts of the National University of Colombia in Bogotá. Co-founder and co-director, along with Heidi Abderhalden, of Mapa Teatro-Lab of artists where both are curating the Project EXPERIMENTA/SUR, a transdisciplinary platform for expanded dramaturgies and Live arts in Latin America. His work moves across theatre, performance, and visual arts, and is concerned with collective memory and performative practices in social contexts as experiments on ›living archives‹.

Jelili Atiku (Lagos)
Born in 1968 in Ejigbo, Nigeria, Jelili Atiku is a Nigerian multimedia artist with political concerns for human rights and justice. His artistic work deals with the psychosocial and emotional effects of traumatic events such as violence, war, poverty, corruption, and climate change. He was trained at Ahmadu Bello University, Zaria, and the University of Lagos, where he was awarded a Bachelor of Arts (fine arts) degree and a Master of Arts (visual arts) degree. He is the project leader of ArtAfrica Nigeria, the chief coordinator of Advocate for Human Rights Through Art (AHRA), and the artistic director of AFiRIperFOMA – a collective of performance artists in Africa. Jelili is participating in numerous performances/exhibitions/talks in Africa, Asia and Europe. He is presently teaching sculpture at the department of art and industrial design at Lagos State Polytechnic.

Anja Dirks (Fribourg)
Born in 1970, Anja Dirks is the director of Belluard Festival in Fribourg (CH). From 2009 to 2014 she was the artistic director of Festival Theaterformen in Braunschweig and Hanover. At Wiener Festwochen she curated the program section forum festwochen in 2008. She was Matthias Lilienthal`s assistant for the 2002 edition of Theater der Welt and then worked as a programmer, first at FFT Düsseldorf and from 2004 to 2007 at Theaterhaus Gessnerallee in Zurich. Between 1989 and 1999 she worked in Berlin, amongst others as an assistant at Schiller Theater, Volksbühne and in the independent scene. Anja Dirks studied directing at the Hochschule für Schauspielkunst »Ernst Busch«.

Ahmed El Attar (Cairo)
is an Egyptian independent theatre director, translator, playwright and cultural manager. He is founder and General Manager of Studio Emad Eddin Foundation a unique project, offering rehearsals and training spaces to independent artists. El Attar is also the founder and the artistic director of Orient Productions, the Temple Independent Theatre Company and the D-CAF (Downtown Contemporary Arts Festival). He is also the artistic director of the Falaki theatre in Cairo. His theatre work has been performed in Egypt, Lebanon, Jordan, Sweden, Portugal, Germany, Belgium, Holland, France, Switzerland, Italy, Croatia, Montenegro, the United Kingdom and the UAE. El Attar has been chosen by the Arabic edition of Newsweek (26/4/2005) as one of 42 personalities who influence change in the Arab world. Among other awards El Attar has received the pioneers of Egypt award in November 2013 from Synergos Foundation (USA).

Judy Hussie-Taylor (New York)
is curator and Executive Director of Danspace Project (NYC) and co-founder, advisor and faculty of the Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University. She is the former Director of the Colorado Dance Festival (CDF), she has also served as Artistic Director for Performance Programs at the Boulder Museum of Contemporary Art and Deputy Director of the Museum of Contemporary Art/Denver. From 2000 – 2004 she taught in the Department of Art & Art History at the University of Colorado-Boulder and served as faculty, committee member and interim director of the Department’s Visiting Artist Program. She was the curator of the acclaimed PLATFORM 2012: JUDSON NOW celebrating the 50th anniversary of Judson Dance Theater. In 2013 she was featured as one of New York’s »Movers and Shapers« by the New York Times (2013). Iin 2014 she was conferred with a Chevalier de L’Ordre des Arts et des Lettres.

Ong Keng Sen (Singapore)
is the festival director of the new Singapore International Festival of Arts. He is a performance director who has actively contributed to the evolution and the subsequent transglobalization of the Asian aesthetic in contemporary arts. He completed his postgraduate studies at Tisch School of the Arts, New York University, and he also holds a law degree. His artworks have been presented throughout the world. Ong was artistic director of TheatreWorks, where he created the renowned Flying Circus Project. He mentors emerging artists and founded the Arts Network Asia. A Fulbright scholar, Ong is the first Singaporean artist to have received both the Young Artist Award (1992) and the Cultural Medallion Award (2003). He directed the In-Transit Festival in Berlin from 2001-2003. He has been serving on the Prince Claus Foundation Jury for the last three years. He was awarded the prestigious Fukuoka Asian Arts and Culture Prize 2010.

 









SHOW ME THE WORLD
Mülheim | Apr 11Apr 12 2015
Ringlokschuppen  Ruhr

Under each program items you will find the recordings of the lectures and discussions.

Saturday, 11.04.
Ringlokschuppen Ruhr | Mülheim
2.00 pm – 3.30 pm
WELCOME & KEYNOTES
 
Welcome:
Christian Esch (Director NRW KULTURsekretariat) and
Matthias Frense (artistic director Ringlokschuppen)



Keynotes:
Tilmann Broszat (artistic director SPIELART Festival Munich),
Sigrid Gareis (Initiator of the project) and
Florian Malzacher (Impulse Theater Festival)

 

Biography
Tilmann Broszat (Munich)
is the artistic and managing director of the biannual festival SPIELART in Munich, which he founded in 1995. In this function he initiated several transnational network projects like for example theatre/festivals in transition. He also is the managing director and producer of two festivals of the City of Munich: The MÜNCHENER BIENNALE - Festival for Contemporary Music Theatre (since 1988) and the international Festival DANCE (since 1998). He was the managing director of the Festival THEATER DER WELT in Munich in 1993 and worked as producer and co-owner of ART BUREAU Munich from 1986 to 1993 in international theatre productions and co-productions. He studied sociology (diploma), social psychology and philosophy in Munich and Aix-en-Provence.

Christian Esch (Wuppertal)
After studying musicology and receiving a PhD in this field, Esch was awarded a six-month residence at the Deutsches Studienzentrum in Venice and published academic papers, especially on the composers Mozart and Haydn. For many years he was active as a musical dramaturge and dramatic adviser, employed and freelance, in Frankfurt, Innsbruck and Munich, among others. In addition he has published numerous articles and reviews for both newspapers and specialized journals. As a producer and editor he developed and organised state-wide concert series for the Hessischer Rundfunk, programmed theme-based concerts for the RSO Frankfurt and produced numerous radio broadcasts and CD recordings. Esch collaborated for many years with the Goethe Institute's Music Committee and has taught at various academies (Innsbruck, Munich, Cologne). He has been a member of countless juries, including the European Cultural Foundation, and publishes regularly on the subject of culture. He has been director of the NRW KULTURsekretariat since 2004. He was recently awarded the Grimme Online Award for the internet platform nrw-museum.de.

Matthias Frense
(Mülheim)
is artistic and managing director at Ringlokschuppen Ruhr, an aspiring performing arts center in Mülheim an der Ruhr/Germany. He studied Drama at Hull University, England and Theatre Directing at The Academy of Music and Performing Arts in Hamburg as well as Hamburg University. During his first job as an assistant director at Thalia Theater Hamburg he worked with Robert Wilson, George Tabori, Dimiter Gotscheff and Jürgen Flimm among others. Frense was employed as a production manager by Cirque du Soleil. Under the direction of William Forsythe he produced a large scale of theatre and interdisciplinary arts projects at TAT Frankfurt. Initially as a dramaturg he has been developing the theatre programme of Ringlokschuppen Ruhr  since 2006. Moreover he co-devised a number of site-specific projects among others with raumlaborberlin, LIGNA, Invisible Playground and copy & waste.

Sigrid Gareis (Berlin)
After studying Anthropology, Sigrid Gareis built up the departments of performing arts and international cultural work at Siemens Arts Program in Munich. She was co-founder of dance and theater festivals in Moscow, Munich, Nuremberg and Greifswald. From 2000 to 2009 she was founding director of Tanzquartier Wien, from 2005 to 2007 founding president of the European Dance House Network (EDN) and from 2011 to 2014 founding director of the Academy of the Art of the World in Cologne. She is teaching and lecturing on curating contemporary dance and theatre at universities and art schools in Vienna, Munich, Salzburg, Gießen, and Leipzig and was reviewer for the Academy of Fine Arts in Vienna and the Amsterdam School of the Arts. She is curator of various projects and events and member of numerous juries. Various book publications.

Florian Malzacher
(Berlin)
is since 2013 artistic director of the Impulse Theatre Festival. After graduating from Applied Theater Studies in Gießen, he first worked mostly as a theater critic and cultural journalist. He was cocurator of the interdisciplinary arts festival steirischer herbst in Graz, Austria from 2006 to 2012. He has (co-)curated the International Summer Academy at Künstlerhaus Mousonturm (Frankfurt 2002 and 2004), “Performing Lectures” (Frankfurt 2004-06), the “Dictionary of War” (Frankfurt, München, Graz, Berlin 2006/07), as well as the 170-hour marathon “Truth is concrete” on artistic strategies in politics (steirischer herbst/Graz 2012).
As a dramaturge, he has worked at theaters like Burgtheater Vienna or Künstlerhaus Mousonturm in Frankfurt with artists like Rimini Protokoll, Lola Arias, Mariano Pensotti (Buenos Aires), and the Nature Theater of Oklahoma (New York). He is on the advisory boards of DasArts – Master of Theatre, Amsterdam, serves as advisor to the festival Schillertage in Mannheim and is member of the theater commission Zurich (since 2013). He is (co-)editor and author of books on the theater companies Forced Entertainment and Rimini Protokoll, as well as on the curating of performative arts, recently „Truth is concrete. A Handbook for Artistic Strategies in Real Politics”.

 

3.45 pm – 4.15 pm
Lecture
Ahmed El Attar (Cairo)
CURATING IN THE TIME OF A REVOLUTION
 

 

Biography
Ahmed El Attar (Cairo)
is an Egyptian independent theatre director, translator, playwright and cultural manager. He is founder and General Manager of Studio Emad Eddin Foundation a unique project, offering rehearsals and training spaces to independent artists. El Attar is also the founder and the artistic director of Orient Productions, the Temple Independent Theatre Company and the D-CAF (Downtown Contemporary Arts Festival). He is also the artistic director of the Falaki theatre in Cairo. His theatre work has been performed in Egypt, Lebanon, Jordan, Sweden, Portugal, Germany, Belgium, Holland, France, Switzerland, Italy, Croatia, Montenegro, the United Kingdom and the UAE. El Attar has been chosen by the Arabic edition of Newsweek (26/4/2005) as one of 42 personalities who influence change in the Arab world. Among other awards El Attar has received the pioneers of Egypt award in November 2013 from Synergos Foundation (USA).

 

4.15 pm – 5.15 pm
Lecture
Anja Dirks (Fribourg)
TO DO AND NOT TO DO: A LECTURE ON THE PRACTICE AND ETHICS OF ORGANIZING AND PRODUCING AN EVENT UN THE FIELD OF CONTEMPORARY PERFORMING ARTS IN WESTERN EUROPE
 

 

Biography
Anja Dirks (Fribourg)
Born in 1970, Anja Dirks is the director of Belluard Festival in Fribourg (CH). From 2009 to 2014 she was the artistic director of Festival Theaterformen in Braunschweig and Hanover. At Wiener Festwochen she curated the program section forum festwochen in 2008. She was Matthias Lilienthal`s assistant for the 2002 edition of Theater der Welt and then worked as a programmer, first at FFT Düsseldorf and from 2004 to 2007 at Theaterhaus Gessnerallee in Zurich. Between 1989 and 1999 she worked in Berlin, amongst others as an assistant at Schiller Theater, Volksbühne and in the independent scene. Anja Dirks studied directing at the Hochschule für Schauspielkunst »Ernst Busch«.

 

5.15 pm – 6.00 pm
Anja Dirks | Ahmed El Attar (Fribourg | Cairo)
DISCUSSION
Moderation: Kathrin Tiedemann
 

 

Biography
Anja Dirks (Fribourg)
Born in 1970, Anja Dirks is the director of Belluard Festival in Fribourg (CH). From 2009 to 2014 she was the artistic director of Festival Theaterformen in Braunschweig and Hanover. At Wiener Festwochen she curated the program section forum festwochen in 2008. She was Matthias Lilienthal`s assistant for the 2002 edition of Theater der Welt and then worked as a programmer, first at FFT Düsseldorf and from 2004 to 2007 at Theaterhaus Gessnerallee in Zurich. Between 1989 and 1999 she worked in Berlin, amongst others as an assistant at Schiller Theater, Volksbühne and in the independent scene. Anja Dirks studied directing at the Hochschule für Schauspielkunst »Ernst Busch«.

Ahmed El Attar
(Cairo)
is an Egyptian independent theatre director, translator, playwright and cultural manager. He is founder and General Manager of Studio Emad Eddin Foundation a unique project, offering rehearsals and training spaces to independent artists. El Attar is also the founder and the artistic director of Orient Productions, the Temple Independent Theatre Company and the D-CAF (Downtown Contemporary Arts Festival). He is also the artistic director of the Falaki theatre in Cairo. His theatre work has been performed in Egypt, Lebanon, Jordan, Sweden, Portugal, Germany, Belgium, Holland, France, Switzerland, Italy, Croatia, Montenegro, the United Kingdom and the UAE. El Attar has been chosen by the Arabic edition of Newsweek (26/4/2005) as one of 42 personalities who influence change in the Arab world. Among other awards El Attar has received the pioneers of Egypt award in November 2013 from Synergos Foundation (USA).

Kathrin Tiedemann (Düsseldorf)
is artistic director of FFT Düsseldorf

 

Sunday, 12.04.
Ringlokschuppen Ruhr | Mülheim
10.00 am – 10.30 am
Stefan Kaegi (Schlingensief-Professorship Bochum)
ARTISTS INPUT
 

 

Biography
Stefan Kaegi (Berlin)
stages in various constellations documentary plays, radio plays and interventions in the urban space which often break down economic complexity to its human components. So Kaegi toured with two Bulgarian truck drivers and an altered truck through the world or staged 10,000 locusts. On State Theater Hanover is currently running his piece "People's Republic of Volkswagen". Together with Helgard Haug and Daniel Wetzel Stefan Kaegi works under the label Rimini Protokoll, which in 2011 was awarded with the Silver Lion for theater at the Venice Biennale. The multi-player video piece "Situation Rooms" was invited to the Berliner Theatertreffen in 2014. On Schauspielhaus Hamburg had recently premiere the simulation of a "World Climate Conference”. From 2006 to 2012 Kaegi also worked with Lola Arias: Last as curators of the transportable festival for urban interventions "Ciudades Paralelas". www.rimini-protokoll.de

 

10.30 am – 11.15 am
Lecture
Jelili Atiku (Lagos)
CURATING PERFORMANCE IN STATE OF EMERGENCY
 

 

Biography
Jelili Atiku (Lagos)
Born in 1968 in Ejigbo/Nigeria, Jelili Atiku is a Nigerian multimedia artist with political concerns for human rights and justice. His artistic work deals with the psychosocial and emotional effects of the traumatic events such as violence, war, poverty, corruption, climate change. He was trained at Ahmadu Bello University, Zaria and University of Lagos where he was awarded Bachelor of Arts (Fine Arts) and Master of Arts (Visual Arts). He is the project leader of ArtAfrica Nigeria, chief coordinator of Advocate for Human Rights Through Art (AHRA) and artistic director of AFiRIperFOMA – a collective of performance artists in Africa. Jelili is participating in numerous performances/exhibitions/talks in Africa, Asia and Europe. He is presently teaching sculpture in Department of Art and Industrial Design, Lagos State Polytechnic.

 

11.15 am – 12.00 pm
Lecture
Ishmael Houston-Jones (New York)
BUILDING PLATFORMS: ALTERNATIVE MODES OF CURATION & PRESENTATION
 

 

Biography
Ishmael Houston-Jones (New York)
(on behalf of Institute for Curatorial Practice in Performance at the Wesleyan University)
Choreographer, author, performer, teacher, and curator Ishmael Houston-Jones is currently a part-time professor at New York University’s Experimental Theater Wing and at University of the Arts, Philadelphia. His improvised dance and text work has been performed across the United States, in Europe, Canada, Australia and Latin America. In 1984 and 2011 he won the prestigious »Bessie Award«. He is the current DraftWork works-in-progress series curator for the Danspace Project. There he also curated »Platform 2012 Parallels« that examined Black dance makers and Postmodernism. Houston-Jones' essays, interviews, and performance texts have been anthologized in numerous books.

 

12.15 pm – 1.00 pm
Jelili Atiku | Ishmael Houston-Jones (Lagos | New York)
DISCUSSION
Moderation: Evelyn Annuß
 

 

Biography
Jelili Atiku (Lagos)
Born in 1968 in Ejigbo/Nigeria, Jelili Atiku is a Nigerian multimedia artist with political concerns for human rights and justice. His artistic work deals with the psychosocial and emotional effects of the traumatic events such as violence, war, poverty, corruption, climate change. He was trained at Ahmadu Bello University, Zaria and University of Lagos where he was awarded Bachelor of Arts (Fine Arts) and Master of Arts (Visual Arts). He is the project leader of ArtAfrica Nigeria, chief coordinator of Advocate for Human Rights Through Art (AHRA) and artistic director of AFiRIperFOMA – a collective of performance artists in Africa. Jelili is participating in numerous performances/exhibitions/talks in Africa, Asia and Europe. He is presently teaching sculpture in Department of Art and Industrial Design, Lagos State Polytechnic.

Ishmael Houston-Jones
(New York)
(on behalf of Institute for Curatorial Practice in Performance at the Wesleyan University)
Choreographer, author, performer, teacher, and curator Ishmael Houston-Jones is currently a part-time professor at New York University’s Experimental Theater Wing and at University of the Arts, Philadelphia. His improvised dance and text work has been performed across the United States, in Europe, Canada, Australia and Latin America. In 1984 and 2011 he won the prestigious »Bessie Award«. He is the current DraftWork works-in-progress series curator for the Danspace Project. There he also curated »Platform 2012 Parallels« that examined Black dance makers and Postmodernism. Houston-Jones' essays, interviews, and performance texts have been anthologized in numerous books.

Evelyn Annuß (Berlin)
is theatre scholar and curator; currently guest professor at the Institute for Theatre Studies at LMU.

 

2.00 pm – 2.30 pm
Christian Esch and Florian Malzacher in dialogue
THE IMPULSE FESTIVAL AS NATIONAL CASE EXAMPLE
 

 

2.30 pm – 3.15 pm
Lecture
Rolf Abderhalden (Bogotá)
CURATING PERFORMANCE: IMPORT/EXPORT OR TRANSPORTING/TRANSFORMING
 

 

Biography
Rolf Abderhalden (Bogotá)
Swiss-colombian trans-disciplinary artist and Arts professor at the National University of Colombia. He studied Art-Therapy in the Ecole de Hautes Études en Sciences Sociales et Pédagogiques in Lausanne, Switzerland, and Theatre in the International Theatre School of Jacques Lecoq in Paris. Master of Visual Arts of the National University of Colombia.PhD in Aesthetics, Sciences and Technologies of the Arts, University of Paris 8. Has founded the Interdisciplinary Master of Theatre and Live Arts of the National University of Colombia in Bogotá. Co-founder and co-director, along with Heidi Abderhalden, of Mapa Teatro-Lab of artists where they are both curating the Project “Experimenta/sur”, a trans-disciplinary platform for expanded dramaturgies and Live arts in Latin America. His work moves across theatre, performance, and visual arts, and is very much concerned with collective memory and practices of performance in social contexts as experiments on 'living archives'.

 

3.15 pm – 4.00 pm
Lecture
Ong Keng Sen (Singapur)
CURATING AS RESISTANCE, INTELLECTUAL AND EMOTIONAL OWNERSHIP, OPENING UP PUBLIC SPACE TO THE INDIVIDUAL
 

 

Biography
Ong Ken Sen (Singapore)
is the Festival Director of the new Singapore International Festival of Arts. He is a performance director who has actively contributed to the evolution of and the subsequent transglobalisation of the Asian aesthetic in contemporary arts. He completed post-graduate studies at Tisch School of the Arts, New York University, and also holds a law degree. His artworks have been presented throughout the world, including Lincoln Center, Edinburgh International Festival, Tanzquartier Vienna, Paris Centre National de la Danse, iDans Festival Istanbul, Festival Panorama Rio de Janeiro, Adelaide Festival, Hong Kong Arts Festival, and Cocoon Theater Tokyo. Ong is presently on leave from being Artistic Director of TheatreWorks, where he created the internationally-renown Flying Circus Project. He actively mentors emerging artists and founded the Arts Network Asia, which awards micro-grants for active collaboration across borders. A Fulbright Scholar, Ong is also the first Singapore artist to have received both the Young Artist Award (1992) and the Cultural Medallion Award (2003). He created and directed the In-Transit Festival in Berlin from 2001-2003. He has been serving on the Prince Claus Foundation Jury, Amsterdam for the last three years. He was awarded the prestigious Fukuoka Asian Arts and Culture Prize 2010 for his work in Asian contemporary performance.

 

4.00 pm – 4.45 pm
Rolf Abderhalden | Ong Keng Sen (Bogotá | Singapore)
DISCUSSION
Moderation: Johanna-Yasirra Kluhs
 

 

Biography
Rolf Abderhalden (Bogotá)
Swiss-colombian trans-disciplinary artist and Arts professor at the National University of Colombia. He studied Art-Therapy in the Ecole de Hautes Études en Sciences Sociales et Pédagogiques in Lausanne, Switzerland, and Theatre in the International Theatre School of Jacques Lecoq in Paris. Master of Visual Arts of the National University of Colombia.PhD in Aesthetics, Sciences and Technologies of the Arts, University of Paris 8. Has founded the Interdisciplinary Master of Theatre and Live Arts of the National University of Colombia in Bogotá. Co-founder and co-director, along with Heidi Abderhalden, of Mapa Teatro-Lab of artists where they are both curating the Project “Experimenta/sur”, a trans-disciplinary platform for expanded dramaturgies and Live arts in Latin America. His work moves across theatre, performance, and visual arts, and is very much concerned with collective memory and practices of performance in social contexts as experiments on 'living archives'.

Ong Ken Sen (Singapore)
is the Festival Director of the new Singapore International Festival of Arts. He is a performance director who has actively contributed to the evolution of and the subsequent transglobalisation of the Asian aesthetic in contemporary arts. He completed post-graduate studies at Tisch School of the Arts, New York University, and also holds a law degree. His artworks have been presented throughout the world, including Lincoln Center, Edinburgh International Festival, Tanzquartier Vienna, Paris Centre National de la Danse, iDans Festival Istanbul, Festival Panorama Rio de Janeiro, Adelaide Festival, Hong Kong Arts Festival, and Cocoon Theater Tokyo. Ong is presently on leave from being Artistic Director of TheatreWorks, where he created the internationally-renown Flying Circus Project. He actively mentors emerging artists and founded the Arts Network Asia, which awards micro-grants for active collaboration across borders. A Fulbright Scholar, Ong is also the first Singapore artist to have received both the Young Artist Award (1992) and the Cultural Medallion Award (2003). He created and directed the In-Transit Festival in Berlin from 2001-2003. He has been serving on the Prince Claus Foundation Jury, Amsterdam for the last three years. He was awarded the prestigious Fukuoka Asian Arts and Culture Prize 2010 for his work in Asian contemporary performance.

Johanna-Yasirra Kluhs (Essen)
is freelance festival director and dramaturge.

 

5.00 pm – 6.00 pm
FINAL DISCUSSION
Moderation: Sigrid Gareis and Florian Malzacher




 





 

Credits

partner

                   

 

              









SEMINAR ABOUT TRANSCULTURAL CURATING

On the occasion of the symposium SHOW ME THE WORLD a seminar about transcultural curating took place at the Theatre Studies of the Ludwig Maximilian University of Munich.

Results of the seminar were, among others curators portraits authored by the students of Rolf Abderhalden, Jeili Atiku, Ahmed El Attar and Ong Keng Sen, which are documented here.




Rolf Abderhalden

portrait

download here the portrait as pdf-document

The question mark experience

There are people, who simply attract attention, and people, who trigger or create attention. Such a person is Rolf Abderhalden, swiss-colombian performing artist and curator, and – together with his sister – head of the Mapa Teatro in Bogotá. When it comes to his curatorial and artistic practice, his approach is a questioning one. An approach, which requires interest, curiosity and openness, and leads to interdisciplinary working processes. If we look at Abderhalden's educational background, we can see, that “interdisciplinary” is not only a label, but a logical consequence out of diverse trainings: he studied Art-Therapy in Lausanne, Theatre in Paris, Visual Arts in Bogotá. As a Professor at the National University of Colombia in Bogotá, where he founded the Master programme Theatre and Live Arts, he also considers his teaching as a form of curatorial practice, as he points out: “I am teaching as an artist, not as a teacher.”

During the three days of the Symposium I had the opportunity not only to listen to his talk with Ong Keng Seng, but also to participate in a workshop and to conduct an interview with him. In the tandem talk with Ong Keng Seng, Abderhalden stressed the curator's ethical-aesthetical and political responsibility. He referred to Baudrillard's terms of “carnivalization“ and “cannibalization“ and painted a picture of nowadays' cultural practice by applying and analyzing these categories. But how to overcome these structures? How could Live Arts nowadays look like? They both had the idea of creating a platform for young artists to meet and experiment, instead of reproducing the common production policy of a festival. It should be about activating an “intensity of thought in the place of creation, privileging, above all, the profusion of questions and concerns that cross our practices”. The focus on the process of questioning turned out to be the red thread concerning the perspective on curatorial practice. During the workshop we delved into this approach. The location, where the small group of six people came together, was a primary school and the room set the highly loaded atmosphere between teaching and learning, the diverse layers of knowledge and reflection. We were sitting on children's chairs, following the circle form of a little carpet in the middle of the room. Rolf Abderhalden was moderating without exercising authority, but by asking questions, bottom-up, and sharing the moderation with his curator colleague and friend Suely Rolnik, who has a similar focus on the question mark. Visualized on sheets of paper, it became a strong symbol and metaphor, the seed of all our discussions – and they were lively. They both explained their working process as a question mark experience: there is something happening in social or political life, which raises questions to the curator, which creates an irritation, and – what they call – “urgency”. This urgency forces them to react. But it starts with a question. Abderhalden was painting. Starting from the question mark he drew wild lines which ended up in total chaos. Around this improvisation he put some clear lines on the paper – a house. For him being a curator means building a house from the inside, being part of the process by protecting what is happening. In the end of the workshop I couldn't say what exactly we were talking about, because there was no result or something even close to it. But I can say that I got a feeling for his approach to being an artist and curator. Rolf Abderhalden seems to encounter arts, human beings and the world by listening carefully, observing and analyzing (without judging), with interest and curiosity, sensitivity and intuition, with sensuality, understatement and modesty, style and attitude.

“Putting yourself in that movement”, that's what it's about. In the Interview I wanted to know more about the inner process of the question mark experience. Abderhalden talked about the “knowing body”, a physical experience that creates irritation but should not be confused with emotion as private feelings. It's about getting affected, making the body vulnerable. “Listen to the uncomfortable”, he says. “The next step is to reflect on what is affecting me – even if it is a negative feeling – and if this feeling is just a private one or a broader cultural issue.” So the thought itself becomes action, not just something before action, and the body is the first witness of this artistic experience. As a curator he understands himself as “mediator, driver, vehicle, transmitter, translator or transducer” of these artistic experiences.

After the three days what remains is a question mark, which is not looking for an answer. It doesn't remain as a question, but as an ability to raise questions – as one possibility to encounter curatorial practice and reality.

Carmen Kovacs




Ahmed El Attar

portrait

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Ahmed El Attar – Curating within and beyond conventions, identities and politics in the Arab world


In the following I summarize the contribution of the Egyptian curator Ahmed El Attar to the Symposium “Show Me The World” in Munich and I try to give an idea about his person and about his approach to the practice of curation. Ahmed El Attar is an Egyptian playwright, theatre director, translator, culture manager and curator. He is responsible for a number of projects. To name only a few: He is the founder and artistic director of Temple Independent Theatre Company and of Orient Productions for film and theatre, he is the founder and director of Studio Emad Eddin Foundation, as well as the artistic director of Falaki Theatre. His projects share the idea of stimulating and encouraging contemporary art in Egypt, or offering an infrastructure for cultural production (e.g. rehearsal spaces). Moreover Ahmed El Attar, who also conceives himself as an artist in the first place, is organizing and curating the Downtown Contemporary Arts Festival (shortly called D-CAF) established in 2012. It is the only international performing arts festival in Egypt, taking place every year for three weeks. Ahmed El Attar’s vision for the festival D-CAF is to activate the districts of downtown Cairo, to provoke new discourse and to add to the current discourse. It is a kind of an independent manifestation with the art sections theatre, visual arts, film, music, dance and a category called ‘urban visions’.

D-CAF is a unique project in the Egyptian cultural life. As there is nothing that is completely independent in Ahmed El Attar’s opinion, he prefers the denotation ‘alternative’. In his curatorial work he is battling limited funding and poor infrastructure. There is very little state funding and very little private support for his festival. D-CAF’s main partners are a Real Estate Company, as well as a number of international organizations like the British council and the Danish Embassy. Furthermore there is a lack of professionals in cultural work and limited experiences with contemporary art in general in Egypt. In his work for D-CAF, he puts high value on good organization: Punctuality, for example, is not a matter of course in Egypt and Ahmed El Attar tries to implement it by starting the performances during the festival in time.

Ahmed emphasizes that curating a festival is a process. He regards himself as a spin doctor: he is empowering people and he is making people speak, although not politically. This has so much power in Cairo in his opinion: Conveying to the audience a feeling of freedom can already be understood politically in Egypt. Working as a curator means for Ahmed El Attar to regard the Egyptian context all the time. He is trying to contribute new ideas, different ways of thinking and reflection to it.

For Ahmed curatorial practice is a kind of navigating: He is travelling a lot to different festivals around the world. During his journeys he is building – what he calls – imaginary ‘docks’ out of his impressions which then develop the structure of the festival in his mind. It is obvious that curating for him is a very personal process. His experience, his way of thinking, and his emotions are involved all the time. But still it is important for him not to curate according to his personal taste, but to artistic value.

The big challenge for him is to deal with conventions. In this sense ‘conventions’ do not mean traditional ways of performing that are known from the past. They refer to the present and mean comparable ways of performing becoming apparently at various international festivals. There are similar things to see at festivals all over the world, so the risk to produce copy-like performances is high. According to Ahmed El Attar, by copying, the artistic value is getting lost. For him the only parameter that counts in any work is the artistic value: it has to be somehow inventive and original. Nationality doesn’t matter for him, even though he admits that he has to act with caution in order to not present a western showcase to the Arab world with his festival.

In his artistic work, one can highlight topics like questioning reality, mistrust of language, meditations on power relations in families, as well as on questions of space. All of them relate to the identity or the process of identification. Aesthetical and contextual identification also play a great role in his work as a curator.

Identity, politics and economics are factors within the curation and organization of a festival that are all dynamic and that shape the festival. So, what are factors that constantly exist? Ahmed El Attar’s answer is intuition, analysis and vision.

In the workshop during the Symposium “Show Me The World” in Munich, Ahmed El Attar is giving an idea of his work philosophy. He doesn’t seem to pay much attention to pedagogical principles. He is simply taking everybody very seriously, so the Saturday afternoon that was declared as a ‘workshop’ turns out to be a very interesting talk between theatre makers or festival organizers of different countries. Everybody has to tell a lot about the cultural work in his or her country; an exchange of experiences is what Ahmed puts centre-stage. This gives only an impression of his unconventional way of thinking and working.

Handling within and beyond conventions, identities, politics and economics is the challenge for Ahmed El Attar while curating an international festival of contemporary art in the Arab world. He is working in a transcultural context, constantly reflecting about it and being aware about difficulties and chances through this. However he does explicitly not consider himself as part of any theoretical discourse. Ahmed El Attar takes a pragmatic approach and is successfully programming the unique Downtown Contemporary Art Festival in Egypt.

 

Angelika Endres

 

 




Jelili Atiku

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'Show Me The World' – An encounter with Jelili Atiku

„Show me the world“ is the name for the symposium within the Spielart Festival 2015. It begins on a beautiful bright morning in the munich based museum Haus der Kunst and lets the attendees enter the world of cross-cultural curating with big expectations.

The first time I see Jelili Atiku, is when he channels his way through the rows of chairs in the conference room; his colourful African robe is standing out in between the white walls, he’s smiling and talking to his seatmate. It’s not until later that I get told, that he’s not only a curator, but also a Nigerian multimedia artist and a political activist, who mostly works in the fields of performance art, installations and statuary.

For Jelili Atiku these three fields are highly connected, which comes apparent during the lectures and workshops. He is a curator in order to show his art; but at the same time he is a political activist using the medium of art. Works like „Ewawo - The Nigerian Prisoner, Performance at Visual Arts Section, University of Lagos, Akoka, Lagos, Nigeria, 2004.“ are criticizing the conditions in Nigeria and are trying to create changes in the consciousness of the people. As a cross-cultural curator he tries to help viewers to understand the world and to expand their understanding experience and to activate and renew their lives and environment.

And that’s exactly what the „Kuratoren-Dialog“ is focusing on, which takes place on the second day of the conference: Jelili Atiku and the New York based curator Judy Hussie-Taylor are sitting next to each other on the stage of  Haus der Kunst, each holding a microphone in their hand  and are discussing their work as cross-cultural curators. The question that dictates the whole dialog is: „What is cross-cultural curating?”

For Judy Hussie-Taylor the answer is: „Always ask questions and try to approach the artists‘ ideas in what we wants to show and express“ – For Jelili however cross-cultural curating has another meaning; „curating“ means to activate memories and to design something new: It’s about generating productive energy.
His questions are therefore: „What happens around me? How to reconstruct the stereotypes? How can I reactivate the stereotypes? And how can I decolonize myself?

And these are the questions that the workshop, which takes place in a classroom of the Sankt Anna elementary school, are revolving around; It’s about the term decolonization, which is the center of all of Jelili Atiku’s work – his curating and his artistic and political work. According to Jelili we are all victims of colonial powers– not only in the political sense but also on a social level: We all have always been “colonized” through information, through relations and experiences. That’s why his message to the attendees of the workshop is: „Become naive again and liberate yourself from colonialization!” For Jelili a colonial power is a power, that forces us to „stand apart“.  Decolonization on the other hand means “progress“, creating new categories and to evolve: “shifting” is the key word of his curating process, which is in the course of the conference.

With Jelilis help we are trying to get to the bottom of the term decolonization – through playing together some games; because for Jelili Atiku curating is practice not a method and for us participants this playful, even naive approach to his work was definitely something new!
On the next day I have the chance to speak with Jelili in private. This private conversation at the Muffathalle in munic offers the participants the opportunity to ask him questions that were left unanswered during the symposium:

With a coffee in my hand I sit down next to him and ask him questions about his hometown Lagos, about his political performances, which he does in the streets of his town and about his work as a curator, which brought him to many different places around the world: I do too have the feeling now that I have seen a bit more of the world.

“Show Me The World” has not only fulfilled my expectations but thanks to Jelili I also learned about the practice of cross-cultural curating in a cross-cultural and global world of art. He is one of the few examples, that you can shift something in this capitalistic world without money but with a strong volition. Even if Jelili’s work as an artist, curator and political activist is more than precarious in his home town[1], it is just this power of his performances and artworks, which let him create a cross-cultural network with artists and curators and which brought him all around the world. His concept of decolonialisation himself as an artist, curator and simply as a human being let me think a lot about me and myself in a cross-cultural world and it is important for all of us to find the power of shifting ourself and open our body and mind for all the different experiences of the world.

Gwendolin Lehnerer



[1] Few weeks after the symposium „Show me the world“ Jelili Atiku was arrested over performance in Ejigbo,  Lagos State by a traditional ruler. To everyone’s great relief Jelili Atiku was remanded on bail on the next day. We stay in contact with him and hope that we can help him when he needs our help – this is only one of the things we need to learn from cross-cultural curating in the world of art.




Ong Keng Sen

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Ong Keng Sen – curating potentialities

In getting to know Ong Keng Sen and his approach to curating during SHOW ME THE WORLD in Munich, the thing that stuck to my mind the most were his thoughts on the interferences of art and usefulness. Not only did he challenge putting art to an use that might be commercial or government-friendly, he also called the use of art as an instrument for the production of politically relevant products into question. Doing Ong Keng Sens thoughts justice here is quite complex, as the process he talks about when explaining this concept of curating nothing (in reference to Jean Luc Nancys concept of “Nothing”) is a quite political and subversive one. But – and this is the main point – not political by the means of letting politics colonize the arts. Not by trying to generate products that are to be put to a political use but by the means of the process itself as subversive act.

To expound this while relating to his own working experience, Ong Keng Sen stated a difference  between two kinds of curation. Informal curating, represented by his FLYING CIRCUS PROJECT on the one side, formal curating represented by his work as director of the SINGAPORE FESTIVAL OF ARTS (SIFA) on the other. Existing since 1996 the FLYING CIRCUS PROJECT is a multi-disciplinary long term research project that brings artists together without the main goal of producing concrete results. As Ong Keng Sen later on explained in his working group, the context of this project allows subversive practices as wasting money and deconstructing value by for example spending Singaporean funds in Myanmar without generating any products, any use. These practices of curating potentiality rather than products are, according to Ong Keng Sen a lot harder to establish in the context of formal curating, meaning the context of the SIFA that he has been curating for the second time in 2015. In his work for this festival Ong Keng Sen had and has to face the pressure of curating for an audience as well as for the government, of creating use and products. While elaborating on strategies of curatorial resistance against the arts colonization by productivity, Ong Keng Sen pointed out three main goals of curation: Curating nothing, remaining enchanted (in reference to Jane Bennets concept of The Enchantment of Modern Life) and curating potentiality and latent power (rather than products).

Subsequently in his working group at the symposium we had the chance to further discuss the responsibilities of the curator and the question of how to prepare oneself for these responsibilities. Here Ong Keng Sen emphasized the importance of the transparency of curatorial decisions and the difficulty of neither acting as a figure of authority nor creating dependency when you are still the one “coming with the money” and deciding how it is spent. The central question remained: How can the curator escape neoliberal strategies of efficiency and evaluation? In relation to this we dug deeper into a concept that Ong Keng Sen had only mentioned briefly at the end of his talk: The curator as body and the embodiment of curation. In using this term Ong Keng Sen wanted to address that the curator as a body should not remain save and invisible putting others to the “frontline” but rather make her-/himself visible and vulnerable. Rather than denying the individuality of curatorial decisions and referring to a neoliberal framework of seemingly objective evaluation, she/he should be aware of and transparent with the fact that he is inhibited by all the things she/he has seen and experienced. Rather than pushing this fact away one should embrace these embodied references and in relating to them make curation much more than a series of clever ideas. While at the same time constantly questioning oneself, seeing the own curatorial body as problematic and – most important – not colonizing the artist for the sake of the own curatorial vision.

Taken as a whole, Ong Keng Sens talk as much as the discussion in the working group sensitized me for the many ways in which the arts can be – and often are – colonized: By a neoliberal greed for utility and market-value, by a political claim for relevance, by the audiences wishes of being entertained or educated, by curators seeking to fulfill their visions. So, if there is something like postcolonial curation it would be defined by a constant process of avoiding these pitfalls and temptations of colonizing the arts, of perpetually reminding oneself not to generate products – to whatever use they might be – but to instead curate potentialities.

Tamara Pietsch