After Russia’s attack on all of Ukraine on February 24th, 2022, again and again the talk was of the first war in Europe since 1945. What? Didn’t we forget something? Our friends and colleagues from the former Yugoslavia rubbed their eyes in disbelief, and those of us who can, and want to, remember still have the names Osijek, Vukovar, Srebrenica, Sarajevo and Omarska ringing in our ears, just as we cannot get the names Bucha, Irpin, Cherson, Bakhmut und Mariupol out of our heads today. But isn’t that view again too Eurocentric? Aren’t much more global questions at play right now? What to do? How to face all the crises at home and around the world? These questions for the 6. Berliner Herbstsalon were already in the air during the prologue in spring: GEZİ – TEN YEARS AFTER. Now, in the second part, LOST – YOU GO SLAVIA, we take a look at what the bloody dissolution of Yugoslavia has to do with our present. Empires and state structures don’t just simply fall apart. That is what we saw 30 years ago, what we saw in Georgia in 2008, 2011 in Sudan and what we have seen in Ukraine since 2014. And what do our politics, our history, our ignorance have to do with all of that?
↪ www.gorki.de/en/uprooted: The Russian war of aggression in Ukraine has had horrific consequences for many children. As a particularly vulnerable group, they are especially affected – suffering from violence, traumatization, fleeing and displacement. Families, entire childhoods, are destroyed. According to the 2023 OSCE report and human rights organisations, thus far some hundreds of thousands of children have been abducted and taken to Russia.
What does the war mean for the children of Ukraine? How can universal children’s rights be upheld in the midst of a war? How can civil society in Europe support affected children? What legal consequences must be faced by those responsible?
Conversation in English with simultaneous translation into German.
Die Veranstaltung ist Teil der Diskussionsreihe EVZ Conversations! In Kooperation mit der Stiftung Erinnerung, Verantwortung und Zukunft
With
Marieluise Beck, Anna Lenchovska
And
Dr. Andrea Despot, Dr. Elīna Šteinerte
Moderation
Mattia Nelles
#30 • [21. June 2023] “‘Gezi – Ten Years After’ – Trans X Istanbul – Screening + Talk”
↪ www.gorki.de/de/trans-x-istanbul: How does hate murder develop? The film accompanies Ebru, a trans woman from Istanbul who fights against the displacement and murder of her companions. She has experienced exclusion from state, society and family in her own life. She wants to change Turkish society with humor, self-irony and political acumen. She meets Margarethe, a 85-year-old German retired nurse and establishes with her a retirement home for trans people. The film shows how hate speech develops to hate murder in a structure with many different components. Urban transformation of Istanbul and the protests around the Gezi Park in 2013 resonate throughout the film.
DEU, 2014, 109 min | Regie Maria Binder
#29 • [23. June 2023] “‘Gezi – Ten Years After’ – Köcek – Screening + Talk”
↪ www.gorki.de/en/kocek: The film stars Müjde Ar as the intersex character Caniko. Caniko plays ball with the men in the neighborhood and makes music in the streets with the all-male mobs. One evening, while drinking and having fun in a tavern, Acenta Rıza’s men kidnap Caniko. When they attempt to rape them, they realize they have a penis and stab them. Caniko is hospitalized and is made a woman through forced surgery without their consent. Starting a new life, Caniko takes the name Raziye and starts working as a dancer at Naciye’s, who runs a brothel. Having difficulty adjusting to womanhood, Raziye meets Adnan, a football player she knew from her old life.
TUR, 1975, 82 min | Regie Nejat Saydam
Q & A with Yunus Ersoy & Anthony Hüseyin
Moderation Sinem Deniz
#28 • [25. June 2023] “‘Gezi – Ten Years After’ – Benim Cocuğum – Screening + Talk”
↪ www.gorki.de/en/benim-cocugum: What happens when your child comes out? My Child is a feature documentary about parents of lesbian, gay, bisexual, trans individuals in Turkey, intimately recounting their personal experiences. In the documentary, which takes the viewer to five homes in Istanbul, families of LGBT individuals talk about their own parenting experiences, their children’s periods of growing up and coming out, the difficult paths they went through in coping with this process, how they shared this situation with their own families, and the processes in which they relearned what it takes to be a parent. Their experiences share common themes of denial, trauma, helplessness, fear, shame, acceptance and rebirth. They talk about how they had nothing to prepare them for this experience. Neither any of the parenting manuals, nor what was passed down to them from their elders, nor the education they received in schools addressed what it might be like to be the parent of an LGBT child.
TUR, 2013, 82 min | Regie Can Candan
Moderation Sinem Deniz
#27 • [25. June 2023] “‘Gezi – Ten Years After’ – Annemin Kaburgasi – Reading + Talk”
↪ www.gorki.de/en/annemin-kaburgasi: Was there really an essence that made me who I was? Had my body, my voice, my tongue, the place I called home changed, had I become a different person? However, I had gradually brought out the person I was, despite everything and everyone who tried to destroy it.
My Mother’s Rib is the story of those who are proud of their identity, those who live love freely, those who know the language of immigration best, those who challenge the social domination over sexuality, those who are tired of stereotypical values and uniform lifestyles.
Burçin Tetik responds to the divisive discourses and the language of anger that surrounds our lives with all the colors of the rainbow. Original, sensitive, brave… As in that famous song, somewhere above the rainbow, all the way up…
#26 • [27. May 2023] “‘Gezi – Ten Years After’ – Medz Bazar – Concert”
↪ www.gorki.de/en/konzert-collectif-medz-bazar-0: The band Collectif Medz Bazar was founded in Paris in 2012. In their stage shows, Armenian, Kurdish, Turkish, Arabic and Persian song traditions meet explosive rhythms and pop elements. The group combines traditional repertoire with original compositions full of musical and textual creativity. On stage, Collectif Medz Bazar offers a successful balance between tempered instruments and music from the modal traditions, Middle-Eastern percussions and Parisian voices of various origins.
Collectif Medz Bazar: Ezgi Sevgi Can, Shushan Kerovpyan, Vahan Kerovpyan, Elâ Nuroğlu, Marius Pibarot, Nicolas Vercambre
#25 • [3. June 2023] “‘Gezi – Ten Years After’ – Mengene – Concert”
↪ www.gorki.de/en/konzert-mengene: The rock band Mengene combines ethnic music styles with alternative and modern rock. Mengene will delight audiences with their »Deyiş«, Alevi musical narratives, compositions and new interpretation of Turkish folk songs.
With Onur Akova, İrfan Akpınar, Barış Atay, Mehmet Kartal, Mişel Kocamahhul, Nihat Mugil
#24 • [26. May 2023] “‘Gezi – Ten Years After’ – Aylin Aslim & Doğan Duru – Concert”
↪ www.gorki.de/en/konzert-aylin-aslim-und-dogan-duru: Since her 2000 debut album Gelgit, Aylin Aslım has been writing and singing original songs and has released four solo albums and many singles to date. In her songs, Aslım touches on social issues such as women’s rights and and has, among other things, contributed her music to the soundtrack of the film Gegen die Wand. She has been performing for more than 25 years. Doğan Duru is a founding member of the rock band Redd. As a tenor, he also worked in opera houses in Italy and Turkey.
#23 • [6. June 2023] “‘Gezi – Ten Years After’ – Avzer – Performance”
↪ www.gorki.de/en/avzer: Avzer… 2013… A child who lives on the streets… One morning he wakes up and experiences a day that nobody can imagine. He doesn’t really understand what’s going on. But he never really tries to understand it either.The play tells the story of the Gezi resistance from the perspective of Avzer, a street child. Avzer/Mustafa is a child who was left by his mother in the orphanage at the age of three. As he grew older, he ran away and started living on the streets. He slept in the then-under-construction Sakarya Ankara City Hall. One night he goes to sleep and when he wakes up, he encounters a completely different Kızılay. He is swept away by the crowd, the enthusiasm, and the atmosphere of brotherhood.
With Ahmet İlker Ergin Technical Director Ahmet özer Dramaturge Egemen Kalyon Music Ömer Sarigedik Project Assistant Sezer Gündüz
#22 • [7. June 2023] “‘Gezi – Ten Years After’ – Üftade – Performance”
↪ www.gorki.de/en/uftade: Üftade means, in its literal sense, someone who is addicted and dependent on the help of others. It also means someone who longs for past days after experiencing disasters. At the same time, »Üftade« is the name of the street where a theater was located, only 100 meters away from Gezi Park… In the 2010s, many small theaters were opened in Istanbul. Founded particularly by young people, these theaters completely changed the system and revolutionized the understanding of »new« theater. These theaters in Beyoğlu played an important role during the Gezi resistance in 2013. They tried to bring their revolution onto the stage because there could not be a better stage than Gezi for these theaters that had something to say about the world, life, and the country. Üftade is the story of a small theater that was located right next to Gezi Park at that time. It is the story of a theater that was transformed into a hospital by the resistors, where the injured found refuge and doctors could work. During the Gezi resistance, this theater did what it did best: heal wounds, heal people, and give them some breathing room.
With Ahmet Özer, Sandra Ruffin, Ufuk Tan Altunkaya Music Coşkun Akmeriç Project Assistant Sezer Gündüz Dramaturg Egemen Kalyon
#20-21 • [26. + 27. May 2023] “‘Gezi – Ten Years After’ – Eviction – Public Action by Omer Krieger”
↪ www.gorki.de/en/eviction-public-action-by-omer-krieger: Every year millions of people all around the world are evicted from their homes by forces of state and capital. At the same time confl icts about public space are intensifying. People stand up for their human right for housing. Moving on a spectrum between the aesthetic and the political, the spectacular and the useful, the documentary and the forthcoming, this action serves as a space to learn and exchange practices of togetherness and collective resistance.
Eviction is a project by Omer Krieger, produced by the Curatorial Collective for Public Art, and presented at the Maxim Gorki Theater. The Berlin edition is supported by the National Performance Network, and its mediation programme by the Federal Agency for Civic Education. It premiered at the Israel Festival, Jerusalem in September 2022.
by Omer Krieger project management: Lianne Mol & Yael Sherill, Curatorial Collective for Public Art performers: Laure Fleitz, Katherine Maria Gorsuch, Yulia Mezhetskaya, Marcos Zoe Nacar, Rima Nasereddin, Victor Manuel Gonzalez Reyes, Luana Rossetti, Melodi Yüce movement choir: Cochon de Cauchemar, Kate Manias, TL Morrison, Alina Koval, Nyemba M’membe, Ivy Fleur, Anna Blume, Louis-César Brunhy, Fei Kaldrach, Heli, Annika Utzelmann, Mahalia Horvath, Amanita Zinaida Vulvina, Käthe Lange, Juliane Harbst, Gelsomino dramaturgy: Yael Sherill additional choreography & rehearsal management: Tomer Zirkilevich set design: Franz Thöricht & Jascha Kretschmann costume design: Anna Mirkin sound design: Binya Reches production management: Uwe & Silke Buhrdorf, die wellenmaschine assistant director: Filip Rutkowski dramaturgy assistance: Clemens Zoller stunt coordination: Florian Hotz project administration: Lianne Mol video: Rebellab
Note: Depiction of police violence. Physical contact with the performers may occur.
#15-18 • [03./10./17./24. June 2023] “‘Gezi – Ten Years After’ – The Yurt. Resilience in Practice – Workshops”
↪ www.gorki.de/en/the-yurt: Raising your voice, opposing injustice, countering disinformation. All of these things are required for social change and humanitarian work. But the results can barely be detected, the battles aren’t going to be over tomorrow. How can we make our activism and engagement sustainable? To keep the »spirit of Gezi« alive in Berlin, the Yurt serves as a place to fill yourself up with new energy, have creative discussions, and practice both self-care and care for the community with workshops and conversations all around Peter Steudtner’s »hammock of solidarity«.
(C) Egbert Trogemann
#14 • [26. May 2023] “‘Gezi – Ten Years After’ – Painting the Decade – Exhibition”
↪ www.gorki.de/en/painting-the-decade: The wall installation of Berlin-based painter Timur Çelik brings together decisive moments of oppression and hope that have shaped the collective memory of Turkish society and portraits of the main protagonists in the political struggle against the authoritarian regime in the recent past.
(C) Egbert Trogemann
#13 • [26. May 2023] “‘Gezi – Ten Years After’ – Silivri. Prison of Thought | Silivri Müzesi – Exhibition”
↪ www.gorki.de/en/silivri-prison-of-thought-silivri-muzesi: Silivri, the high-security prison for men outside Istanbul, is more than a prison. It is a symbol, not only for the precarious situation of critical thinkers in authoritarian systems, but also for their fighting spirit which is nearly impossible to break. Because thinking continues behind walls as well. Numerous journalists, intellectuals and human rights activists are held in Silivri, which is known as the »largest journalist prison«. »What you see is not merely a prison cell, it is much more a miniature of Turkey, the largest journalist prison in the world« (Can Dündar).
Silivri Müzesi (2023) takes its title from the utopian hope back in 2021 that, in the 100th year of the Republic of Turkey, Silivri prison will have turned into a museum. In virtual reality, however, the museum is already open and allows visitors to enter various places, such as an individual prison cell or the room from which prisoners must all too often participate in their trials merely through video.
(C) Egbert Trogemann
#12 • [26. May 2023] “‘Gezi – Ten Years After’ – The Gezi Trial + the Gezi Seven – Exhibition”
↪ www.gorki.de/en/the-gezi-trial-the-gezi-seven: The Gezi trial is the embodiment of hostile criminal law. Within the scope of this case, actions which, in an average democratic country, would amount to gathering and marching in demonstration, have been criminalized due to certain »political motives« at the highest level of the state. Due to the gaps, irrational inconsistencies, and arbitrary specifications they contain, the indictments have done irreparable damage to Turkey’s justice system. Eight people who are alleged to have organized the demonstrations were sentenced to 18 years in prison under TCK 312/1, one of the most severe charges in the Turkish Criminal Code (»attempting to overthrow the government of the Republic of Turkey or prevent it from performing its duties by use of force and violence«), with one sentenced to aggravated life imprisonment. There is an ongoing threat of prosecution, or – more accurately – punishment, for nine individuals for whom an arrest warrant has been issued. Despite ten years having passed since the events, dozens of people who took part in the investigation led by specially authorized prosecutors have yet to appear before the court and are said to be in the »second chamber«, and are still facing the same threat of punishment.
(C) Egbert Trogemann
#11 • [26. May 2023] “‘Gezi – Ten Years After’ – Biz Zalime Güleriz Bizim Orada – Exhibition”
↪ www.gorki.de/en/biz-zalime-gueleriz-bizim-orada: For decades the language of the protests at Taksim Square were shaped by determinism and heroism. But when the masses took the full control of the square in June 2013, a completely different voice emerged: through the chants of the ultras groups, jokes borrowed from the long humour-magazine tradition, queer slang, pop-songs, and meme-culture, the events took a truly carnivalesque character. With a selection of caricatures and magazines from the period, KAHVEHANE will pay tribute to the joyful, lively and gay side of the whole »Gezi adventure«.
(C) Egbert Trogemann
#10 • [26. May 2023] “‘Gezi – Ten Years After’ – Museum of small things – Exhibition”
↪ www.gorki.de/en/museum-of-small-things-and-more-programm: Over the last decade, the authoritarian regime in Turkey has imprisoned hundreds of critical journalists, academicians, activists and opposition politicians. The documentary exhibits that are presented in the lightsalon and adjoined rooms give an insight into the repression that marked Turkey’s recent history. Whereas Can Dündar’s Prison of Thought, a replica of a prison cell at the high-security Silivri prison, illustrates the claustrophobic reality of confinement, the video installation Museum of Small Things, conceived by Dündar and Hakan Savaş Mican, trace the prisoners’ striving to defy intimidation. To support the ridiculous narrative that the Gezi Revolt was not a genuine protest by the masses but an external conspiracy against the government, the judicial system, tightly controlled by Erdoğan, also punished a group of public figures with trumped-up charges. Courtroom sketches, expert reports, folders with court documents and a video documentary describing the crucial aspects of the Gezi trial are part of the material that exposes the ruthless revanchism of the regime.
(C) Egbert Trogemann
#08+09 • [31. Mar & 1. Apr 2023] “Archivo Madre – Lecture Performances”
↪ www.gorki.de/en/archivo-madre: Archivo Madre is a lecture-performance program where migrant artists from different countries in Latinoamérica investigate their own archives around motherhood. During six months, six women from Argentina, México, Chile, and Colombia (among others) have created their lecture-performance as a result of this collective workshop process.
Curated by Lola Arias
Dramaturgy and Production Lola Arias Company: Laura Cecilia Nicolás
Production Karne Kunst: Marcela Villanueva, Belén Marinato
Lecture-Perfromances by and with Jasmine Bakalarz, Laura Jimenez, Anna Marsical, Nicol Rivera Aro und Laura Santos
Archivo Madre ist ein Projekt des Sorora e. V. in Zusammenarbeit mit der Lola Arias Company und Karne Kunst, gefördert durch die Prozessförderung des Fonds Darstellende Künste.
#07 • [08. Mar 2023] “Eren – Screening + Panel”
↪ www.gorki.de/en/eren: Eren portrays a woman who has been fighting for fundamental rights and peace in Turkey for more than 30 years. As a lawyer and human rights defender, Eren Keskin is one of the main actors and plaintiffs for women’s, LGBTQIA+ and minority rights, opposing torture and sexualized violence. Her strong sense of justice knows no taboos, shaking even the foundations of the Turkish state. Now she has been designated an enemy of the state and has to defend herself. She faces a life sentence in more than a hundred criminal cases. How much time she has left in freedom, she doesn’t know. At any moment she could disappear behind bars forever.
Documentary by Maria Binder D, 2023, 95min, Turk. OV with german and english subtitles. Followed by film discussion with Dr. Hilal Alkan, Maria Binder Moderation Birgit Michaelis. In Kooperation mit Amnesty International, Kotti e.V., Film Five und Cornix Film.
#05-06 • [02. + 03. Mar 2023] “The Last Word – Stage Performance”
↪ www.gorki.de/en/the-last-word: The performance is based on last words of women accused of political crimes in Russian courts. Their outspoken message in a court room becomes the only matter of free speech one can imagine in contemporary Russia. The performance gathered »last words« of defendants such as Maria Alyokhina, Nadezhda Tolokonnikova, Alla Gutnikova, Sasha Skochilenko, Zarifa Sautieva and others to shine light on their courage and to paint a picture of Russia’s current regime.
By: Anna Narinskaya
An idea by: Alisa Khazanova
Directed by: Maxim Didenko
With their Songs of Gastarbeiter compilations, AYKU documented their parents’ music, which was part of the daily lives of millions of people in this country but remained completely unknown to the broader German public. They are an important part of the social and economic achievements of this generation whose work is still underrated. Pioneers who used their music to address their living and working conditions and were shrewd observers of German society and politics.
#03 • [16. Feb 2023] “AŞK, MARK VE ÖLÜM (LIEBE, D-MARK UND TOD) – Screening + Panel”
At the beginning of the 60s, people from Turkey brought not only their manpower to Germany but also their language, culture and music. A lively music scene emerged which had its roots in Anatolia, but its heyday was in Germany. It’s still onmipresent today. Cem Kaya’s gripping documentary was awarded the Panorama Audience Award at the 72nd Berlin International Film Festival. – Talk with Cem Kaya after the screening.
Documentary, D, 2022, 96 min
#02 • [05. Feb 2023] “Zekamerone – Panel + Reading”
Maxim Znak, a brilliant lawyer and prominent member of the Belarusian opposition, was arrested in autumn 2020 and sentenced to ten years in prison in September 2021. In his Zecameron (from »zek«, the Russian acronym for prisoner), written in the first year of his imprisonment, he recounts his new daily routine in a way that’s pithy, ironic and surprisingly funny. His stories bear witness to resistance and self-empowerment, to the processes, both quiet and loud, of going mad.
In Cooperation with Suhrkamp Verlag and the publication OSTEUROPA
Kurt Tucholsky, master of mockery and writer, was born on January 9th, Tucholskystraße is right around the corner and our theatre columnist Mely Kiyak is the current Tucholsky prize laureate – that’s already three reasons for the Gorki to remember, together with the Kurt Tucholsky Society, one of the most astute and critical writers of the Weimar Republic, and talk about what it means to use world affairs as material. Incorporating politics and contemporary history into satire, film, live comedy and columns has been a fixed part of Germany’s artistic tradition ever since Tucholsky, at the very latest. Mely, Fatih and Max are all part of this tradition, but hopefully they’ll disagree anyway. About when political thought in art turns into silly kitsch or when it hits at the core of art, namely its aspiration to tell stories of people and life.
In Cooperation with the Kurt Tucholsky-Gesellschaft
With: Mely Kiyak, Fatih Akin And Mehmet Yılmaz
Moderation: Max Uthoff
>>> 2022 <<<
#33-34 • [30. + 31. Dec 2022] “The Last Word – Stage Performance”
↪ www.gorki.de/en/the-last-word: The performance is based on last words of women accused of political crimes in Russian courts. Their outspoken message in a court room becomes the only matter of free speech one can imagine in contemporary Russia. The performance gathered »last words« of defendants such as Maria Alyokhina, Nadezhda Tolokonnikova, Alla Gutnikova, Sasha Skochilenko, Zarifa Sautieva and others to shine light on their courage and to paint a picture of Russia’s current regime.
By: Anna Narinskaya
An idea by: Alisa Khazanova
Directed by: Maxim Didenko
#32 • [02. Dec 2022] “Maryam Zaree ‘Born in Evin’ – Screening & Panel”
↪ www.gorki.de/en/born-in-evin: In her directorial debut Born in Evin (2019), director and actress Maryam Zaree, born in 1983, searches for answers to the history of the violent circumstances surrounding her birth in one of the most infamous political prisons in the world: Evin in Teheran. Attempting to break the silence in her family around the imprisonment, she observes this place, where the participants in the recent protests have been jailed and not that long ago, in October 2022, several political prisoners died in a major fire. Her film was honoured with the Compass Perspective Award at the 2019 Berlinale and received the German Film Award for Best Documentary in 2020.
A discussion with Maryam Zaree and journalist Gilda Sahebi will follow the screening
#31 • [22. Nov 2022] “Prosa der Verhältnisse #25 – Mohamed Mbougar Sarr “Menschen, Erinnerungen, Geheimnisse.” – Book presentation”
↪ www.gorki.de/en/prosa-der-verhaltnisse-25: Mohamed Mbougar Sarr was born in Dakar in 1990 and grew up in Senegal before studying literature and philosophy in France. He has already published three novels, for which he has been awarded the Prix Stéphane Hessel and the Grand Prix du Roman Métis, among other honours.
In a conversation on the Studio stage, two authors, Mohamed Mbougar Sarr and Deniz Utlu, will reflect on the writing of contemporary literature. They will focus on the creation of literature in exile, texts by African authors in the diaspora, and the search for truth. Selected passages will be read from Sarr’s Prix Goncourt-winning novel, The Most Secret Memory of Men, before it celebrates its Germanlanguage release at the Literary Colloquium Berlin on 24/November 2022.
In this, his latest book, Sarr tells the story of a young Senegalese writer in Paris, whose life and views on literature are completely changed after he comes across a text by the forgotten »Black Rimbaud,« T. C. Elimane.
With Mohamed Mbougar Sarr
Curated and presented by Denİz Utlu
Text samples read by Abak Safaei-Rad
The series Prosa der Verhältnisse is organized in cooperation with the Friedrich-Ebert-Stiftung.
#30 • [22. Nov 2022] “AZADÎ in Progress – Panel Discussion”
↪ www.gorki.de/en/azadi-in-progress: Ever since 22-year-old Jina Mahsa Amini was murdered on September 16th, Iranians have been taking to the streets. Even though people are imprisoned, tortured and killed every day, the protests continue and have grown into a revolution: people of all ages and educational backgrounds, in rural areas and cities, calling for an overthrow of the regime.
The rights of LGBTQIA+ people are also at stake. In September lesbian activists Zahra Sedighi (Sareh) und Elham Choubdar were sentenced to death for “corruption on earth by promoting homosexuality.”
Our discussion asks: What role is Germany playing? What could solidarity look like in light of the censorship, internet shutdowns – and sanctions? What needs to happen for AZADI to become a reality?
Panel with Shadi Amin, Bijan Djir-Sarai, Nargess Eskandari-Grünberg, Julia Franck and Hengameh Yaghoobifarah.
Moderation: Ronya Othmann
This event is produced in cooperation with PEN Berlin and 6Rang (Iranian Lesbian and Transgender Network).
#29 • [18. Nov 2022] “Prosa der Verhältnisse #24 – Aslı Erdoğan “Requiem für eine verlorene Stadt” – Book presentation”
↪ www.gorki.de/en/prosa-der-verhaltnisse-24: Aslı Erdoğan is a writer, human rights activist, particle physicist and former political prisoner. Her novel Requiem für eine verlorene Stadt (Requiem for a Lost City), now newly published in German, is a poetic and melancholic love letter to the city of Istanbul. It follows a nameless heroine as she goes into exile from her Turkish homeland, giving some insight into how the protagonist thinks and feels about politics, feminism and culture.
Aslı Erdoğan is an artist in residence at the Maxim Gorki Theater for the 2022/23 season.
By and with Aslı Erdoğan
Curated and presented by Denİz Utlu
Text samples read by Lea Draeger
The series Prosa der Verhältnisse is organized in cooperation with the Friedrich-Ebert-Stiftung.
#28 • [27. Oct – 6. Nov 2022] “Silivri” & “Museum of small Things” on Tour at Festival “Nachbarschaften” at Thalia, Hamburg
↪ www.gorki.de/en/silivri-prison-of-thought: Silivri, the high-security prison for men outside Istanbul, is more than a prison. It is a symbol, not only for the precarious situation of critical thinkers in authoritarian systems, but also for their fighting spirit which is nearly impossible to break. Because thinking continues behind walls as well. Numerous journalists, intellectuals and human rights activists are held in Silivri, which is known as the »largest journalist prison«. The renowned journalist Can Dündar, former editor-in-chief of the Cumhuriyet newspaper, also served time there.
Living in exile in Berlin, Dündar curates an abstracted, nearly true-to-scale reproduction of a cell – a room 3.94 meters long by 3.71 meters wide, cramped and hostile to life. The cell, designed by Shahrzad Rahmani as a free-standing, transparent object, references more than the individual fate of the occupant. In addition to well-known prisoners such as Ahman Altan, Osman Kavala, Peter Steudtner and Deniz Yücel, countless other intellectuals were, and are, held in cells of this kind. SİLİVRİ. prison of thought confronts visitors with a political reality in which journalists, artists and human rights activists are imprisoned for their work, their art, their words, their thoughts.
»What you see is not merely a prison cell, it is much more a miniature of Turkey, the largest journalist prison in the world« (Can Dündar).
(C) Lutz Knospe
↪ www.gorki.de/en/museum-of-small-things: The museum of small things by Can Dündar and Hakan Savaş Mican tells the stories of political prisoners in Turkey with everyday objects – most of these objects come from the »world’s largest prison for journalists«, Silivri prison, where Can Dündar was imprisoned as well. The seemingly little things from the daily lives of 12 prisoners – a song hummed over the telephone, a letter in a bottle, or an undershirt used as a screen – serve as the starting point for actors Sesede Terziyan and Taner Şahintürk to invoke something much larger: Thoughts cannot be locked away. Or as Ahmet Altan wrote: »They can walk through walls, effortlessly.« The journalist Can Dündar collected the stories of Osman Kavala, Selahattin Demirtaş or Deniz Yücel and many more, who were or are currently in prison in Turkey, writing them down in order to underline their creativity and strength in situations that appear hopeless. By telling their stories he alludes to the situation of all political prisoners in Turkey who have been and will be imprisoned unjustly.
»You will all see, once again, that no ban, no repression, no isolation will ever be capable of limiting a thinking mind.« (Can Dündar)
The stories were written down and curated by journalist Can Dündar, the video-installation museum of small things was directed by Hakan Savaş Mican.
(C) Ute Langkafel
The 5. Berliner Herbstsalon 2021 – 2022 presents stronger still. exhibition – installation – talks, a project encompassing the prison no. 5 exhibition with works by Zehra Doğan, the SİLİVRİ. prison of thought and museum of small things installations, both curated by Can Dündar, and the witness exhibition with works by Timur Çelik.
stronger still was conceived on the occasion of Re:Writing the Future by Allianz Kulturstiftung.
In the series of 5. Berliner Herbstsalon 2021 – 2022.
Funded by the State of Berlin, Hauptstadtkulturfonds within the framework of Re:Writing the Future.
↪ www.gorki.de/en/bertolt-brecht-fluchtlingsgesprache: Anyone can become a refugee. More than eighty years ago, hundreds of thousands of people were forced to flee Germany at the risk of their lives. The German poet and theater maker Bertolt Brecht was one of them. From France to Denmark, Sweden, Finland, once across the Soviet Union to the USA: Along the individual stages of escape, renowned theater makers and authors such as Can Dündar, Jürgen Kuttner, Shermin Langhoff, Éric Ruf and Katharina Thalbach pursue the question of the extent to which Brecht sought to use the experience of foreign countries and exile for himself as an artist. A moving journey through time that leads directly to our own present. Film screening and discussion with film director Hedwig Schmutte, Can Dündar and Katharina Thalbach.
#26 • [30. Sep 2022] Delaine Le Bas: “Beware of Linguistic Engineering” – Closing Event
#19 • [30. May 2022] 11. Amnesty International Human Rights Award – Award Ceremony
↪ www.gorki.de/en/award-ceremony-11-amnesty-international-human-rights-award: The Ethiopian Human Rights Council (EHRCO) is to receive the Human Rights Award 2022 from the German section of Amnesty International. The award will be conferred in recognition of EHRCO’s selfless human rights advocacy in Ethiopia, which it engages in at great personal risk.
PRESENTATION
Aline Abboud
PRESENTER
MARY LAWLOR UN Special Rapporteur on human rights defenders
ARTISTS
Gungun Feat. Feven Yoseph
Baiba Skride
PARTICIPANTS
Dan Yirga
Markus N. Beeko
Befekadu Hailu
Fisseha Tekle
Dr. Martin Moryson
Swetlana Gannuschkina (Tbc)
#18 • [29. May 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Afternoon Tea #3” – Panel
↪ www.gorki.de/en/sunday-afternoon-tea-3: In the series Sunday Afternoon Tea, Delaine Le Bas invites artists, curators and researchers to drink tea in the Gorki Garden and talk about the power of art and language.
#17 • [28. May 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “After Eight Club #3” – Live DJ Set
↪ www.gorki.de/en/after-eight-club: Dance to the tunes of Delaine Le Bas who within the series After Eight Club invites her music-friends from the U.K. to play cross-genre music exploring Delaine´s Playlist of international subculture.
#16 • [27. May 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Performing Friday #3” – Performance
↪ www.gorki.de/en/performing-fridays-3: In a joint performance with Hugo S. Santos and Estera Sara, Delaine Le Bas revives the spirit of St Sara Kali George, a fictive patron saint merging mythical figures revered in three different cultures, St Sara, St Kali and St George. Through an indeterminate sexuality and an unidentifiable geographical origin, and drifting between the cultural codes of Afro-Brazilian tradition, Hindu tales and iconographies of Roma communities across Europe, St Sara Kali George joins in the minoritarian struggle against the oppressions of modern day capitalist world. In costumes created by Le Bas the figure of St Sara Kali George uses its wisdom to break away with binary clichés and to form a future of the many. Due to the pandemic, the work has been shown during the Berlin Biennale 11 without its performative aspect, but now, after two years, St Kali George becomes a »living sculpture« roaming at the Gorki.
#15 • [03. May 2022] Reporter ohne Grenzen: Pressefreiheit in Afghanistan – Book Presentation & Panel
↪ www.gorki.de/en/reporter-ohne-grenzen-pressefreiheit-in-afghanistan: Many still clearly remember the images of the Afghan people hoping to be rescued at the Kabul airport. But today we hear little about what has happened in the country since the Taliban seized power. German photographer Johanna-Maria Fritz has travelled Afghanistan multiple times and contributed her photos to the book Fotos für die Pressefreiheit (Photos for the Freedom of the Press), which will be released on World Press Freedom Day on May 3rd. At the book presentation we’ll discuss the current state of affairs with Fritz, the Afghan journalist and sociologist Shikiba Babori, and the Afghan television reporter Abdulhaq Omeri.
An event by Reporter ohne Grenzen e.V. in cooperation with the Maxim Gorki Theatre
#14 • [01. May 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Afternoon Tea #2” – Panel
↪ www.gorki.de/en/sunday-afternoon-tea-2: In the series Sunday Afternoon Tea, Delaine Le Bas invites artists, curators and researchers to drink tea in the Gorki Garden and talk about the power of art and language.
#13 • [30. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “After Eight Club #2” – Live DJ Set
↪ www.gorki.de/en/after-eight-club: Dance to the tunes of Delaine Le Bas who within the series After Eight Club invites her music-friends from the U.K. to play cross-genre music exploring Delaine´s Playlist of international subculture.
#12 • [29. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Performing Friday #2” – Performance
↪ www.gorki.de/en/performing-fridays-2: In a Co-Performance, Delaine Le Bas and Hugo S. Santos invigorate the exhibition with an eclectic performance, calling the audience up to »Beware of Linguistic Engineering«. Excerpts of media reports mingle with running thoughts on the current political situation are interwoven with a haunting soundscape by Justin Langlands, while the performers tirelessly resist powerlessness through the recreation of art and spirit.
#11 • [08. Apr 2022] Pretty Loud – Concert
↪ www.gorki.de/en/roma-day-concert: How will we be able and willing to practise freedom, love and self-empowerment in the future? PRETTY LOUD’s Roma Rap provides a possible answer to these questions. The feminist Rap-group from Zemun (Serbia) challenges patriarchal structures in art and society in a self-confident and artistically innovative way. An evening for and about a new self-image of the young Roma generation.
#10 • [03. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Afternoon Tea #1” – Panel
↪ www.gorki.de/en/sunday-afternoon-tea-1: In the series Sunday Afternoon Tea, Delaine Le Bas invites artists, curators and researchers to drink tea in the Gorki Garden and talk about the power of art and language. For the opening weekend, artistic director Shermin Langhoff and curatorial advisor of the Gorki, Erden Kosova, will be guests of Delaine Le Bas.
#9 • [02. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “After Eight Club #1” – Live DJ Set
↪ www.gorki.de/en/after-eight-club: Dance to the tunes of Delaine Le Bas who within the series After Eight Club invites her music-friends from the U.K. to play cross-genre music exploring Delaine´s Playlist of international subculture.
#8 • [01. Apr 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – “Performing Friday #1” – Performance
↪ www.gorki.de/en/performing-fridays-1: In a Co-Performance, Delaine Le Bas and Hugo S. Santos invigorate the exhibition with an eclectic performance, calling the audience up to »Beware of Linguistic Engineering«. Excerpts of media reports mingle with running thoughts on the current political situation are interwoven with a haunting soundscape by Justin Langlands, while the performers tirelessly resist powerlessness through the recreation of art and spirit.
#7 • [31. Mar 2022] Delaine Le Bas – “Beware of Linguistic Engineering” – Exhibition
↪ www.gorki.de/en/delaine-le-bas-exhibition: The British artist Delaine Le Bas, who has already participated in previous autumn salons and was featured in the most recent Berlin Biennale, shows a radical change in her practice with her latest works. From Thatcherism to Brexit, Le Bas adopts an intersectional perspective in tracing the way language is constructed by neoliberal politics, while it reproduces existing exclusions and influences collective consciousness. She also invites the cultural sector to a self-critical discourse, because in Europe, it’s only the language about socially and legally disadvantaged minorities, such as the Romani and Sinti peoples, that has changed, while neither the broader society’s view of them nor their socio-economic and legal living conditions have. By sharing her text-based paintings and drawings, her diaries, experiences, thoughts and views on today’s societal unease, Le Bas creates a very personal universe in which critique becomes a matter of collective urgency. Complementary to the show, Le Bas invites co-performers, theoreticians, curators, activists and artists to frame the exhibition in three different recurring formats. 31/March – 26/June/2022
#6 • [17. Feb 2022] “Fokus Hessen – Reading”
↪ www.gorki.de/en/fokus-hessen-0: Theatre-maker Tuğsal Moğul presents the first material from his new play about the murders in Hanau in 2020. His NSU play, Auch Deutsche unter den Opfern (Germans Also Among the Victims, 2015), serves as its foil.
#5 • [10. Feb 2022] “Prosa der Verhältnisse #22 – Fatma Aydemir “Dschinns” – Book presentation”
↪ www.gorki.de/en/prosa-der-verhaltnisse-22: In the hope of a different, better life, Hüseyin worked hard in Germany for thirty years to finally fulfil his dream for himself and his family: owning a flat in Istanbul. But then on the day of the move, he has a heart attack and dies without ever being able to begin this other life. His family travels from Germany for his funeral, five fundamentally different people with very disparate ways of life and yet connected through the deep secrets, longings and scars they carry. Sasha Marianna Salzmann in conversation with Fatma Aydemir on her new novel, Dschinns (Jinns), which, full of power, beauty and melancholy, traces the history of a family and, in the process, takes a look deep into the past decades, as well as far into the future.
#4 • [03. Feb 2022] “Prosa der Verhältnisse #21 – Navid Kermani “Jeder soll von da, wo er ist, einen Schritt näher kommen. Fragen nach Gott” – Book presentation”
↪ www.gorki.de/en/prosa-der-verhaltnisse-21: On his father’s death bed, someone makes a promise: namely to pass on his understanding of his Islamic religion to his daughter. After the funeral he talks of God. He takes his daughter’s questions with him into his day and answers them while she’s at school. Night after night they talk about eternity, the black light, the centre of the world and much more.Deniz Utlu in conversation with Navid Kermani on his new book, Jeder soll von da, wo er ist, einen Schritt näher kommen. Fragen nach Gott (Everyone should come, from where they are, a step closer: Questions about
God), which approaches, with amazement, openness and enchantment, the fundamental topics of religion: life and death, impermanence and eternity.
#3 • [23. Jan 2022] “Lea Draeger – Wenn ich euch verraten könnte – Book presentation”
↪ www.gorki.de/en/buchpremiere-wenn-ich-euch-verraten-konnte: In her debut novel, Gorki actor Lea Draeger recounts the history of a family whose roots overshadow the present. Little by little a kaleidoscope emerges of wounds and speechlessness which shape the lives of grandmother, mother and daughter – they are all desperate and cruel, sad and yet strong. The daughter, however, will succeed in overcoming these inherited traumata.
#2 • [19. Jan 2022] “Medz Bazar – Concert”
↪ www.gorki.de/en/konzert-collectif-medz-bazar: The Hrant Dink special will conclude with a concert from the band Collectif Medz Bazar, in which Armenian, Kurdish, Turkish, Arabic and Persian song traditions mingle with pop elements.Collectif Medz Bazar was born through the meeting of eight musicians, who sing and play original arrangements of traditional music from Anatolia, the Caucasus, the Balkans and other regions. While the group’s music is rooted in this traditional repertoire, Collectif Medz Bazar also plays original compositions, which are the fruit of group sessions full of musical creativity and lyric writing. On stage, Collectif Medz Bazar offers a successful balance between tempered instruments and music from the modal traditions, Middle-Eastern percussions and Parisian voices of various origins (Armenian, Turkish, and Franco-American), inspired from Asia Minor’s or Iran’s folk music, as much as it is from Caucasian rabiz, rhythms of Thrace, with touches of Venezuelian music, operette, hip-hop, jazz and bluegrass.
↪ www.gorki.de/en/hrant-dink-gedenken: 12 years ago, on 19 January 2007, Armenian journalist Hrant Dink was shot in Istanbul in front of the building that housed his Agos newspaper. Even though the murderer has been convicted and condemned, the masterminds in the government machinery have yet to be held accountable. And there are reasons why. Hrant Dink always stood for reconciliation between Armenians and Turks, was relentless in making the perpetrators’ responsibility for the genocide a subject of discussion and tirelessly demanded the democratisation of today’s Turkey.
Can Dündar, former editor in chief of »Cumhuriyet«, has compiled a selection of Hrant Dink’s texts, contrasting them with transcriptions of the trial of the murderers.Framing the evening programme are two films, a panel discussion and a concert. The short film Swallow’s Nest (2007) by Bülent Arınlı tells of the Armenian orphanage near Istanbul, which Dink established. Focusing on an Armenian choir in Paris, the film The Choir (1996) gives an impression of life in the diaspora. In a conversation in Studio , two of Dink’s long-term associates – the family lawyer Fethiye Çetin and Karin Karakaşlı, an author at Agos – make reference to the contemporary situation in Turkey and beyond. Following the discussion, Stepan Gantralyan and Meline Popovian present songs of love, suffering and longing in their unique mixture of Armenian poetry.
↪ www.gorki.de/en/fokus-hessen: Theater-maker Tuğsal Moğul provides insight into an emerging play about the racist terrorist attack of February 19, 2020 in Hanau. His NSU play Auch Deutsche unter den Opfern (Germans Also Among the Victims, 2015) serves at its foil. In a following conversation moderated by Heike Kleffner with Niculescu Păun, the father of Vili-Viorel Păun, who was murdered in Hanau, and Ahmed I., who was stabbed in the back near Kassel in 2016, Hessen comes into focus, where both Halit Yozgat, Walter Lübcke were murdered by Nazis and the so-called “NSU 2.0” appears to be located.
↪ www.gorki.de/en/turken-feuer: A house goes up in flames. Five people die, three children and two women. Teenagers from the neighbourhood set the fire. The case is the subject of a flurry of media coverage, suddenly the little city is famous, but then everyone moves on to other stories. For the survivors and those killed by the attack, this night does not fade away. The mother who jumped out of the window and tried to protect the baby with her body keeps talking about when she jumped and the moment of her death. The mother of one of the perpetrators tells of the silence that weighed on their flat, the knowledge that something happened, the doubt about his guilt. The relatives who survived the fire see the flames in front of them every day, feeling the heat, smelling the smoke. Everyone stays imprisoned in their experience, their pain – and yet they seek communication, encounters, the possibility of a conversation.The arson attack in Solingen in 1993 is the starting point for türken, feuer (turks, fire). Reaching beyond the medial logic of attention and exploitation, Dündar searches carefully and precisely for a language for what happened, in which all perspectives are taken into consideration, and through this retains a painful timeliness.
#6 • [14. Nov 2021] “Rap, (post-)migrantisches Leben und Deutschland – Panel”
↪ www.gorki.de/en/inventur-30: In 1975 Yugoslav director Želimir Žilnik created an important work in the migrant culture of remembrance with his film Inventur – Metzstraße 11. The film records Žilnik’s interviews with guest workers from southern Europe, as they report on their lives from a stairwell in Munich. In Inventur 2.0 (2021) Pınar Öğrenci references this work and updates it for today: in a stairwell in Chemnitz, people mainly from the Middle East and Asia tell their stories.In a conversation following the screenings of both films, Pınar Öğrenci reflects on the changes that took place between the two films and what has happened since.
#1-4 • [6. / 7. / 13. / 14. Nov 2021] “Rechte Räume – Kritische Stadtspaziergänge durch die Berliner Mitte – Guided City-Tours”
↪ www.gorki.de/en/rechte-raume: The concept of a city tour that critiques racism and anti-Semitism, which has been continually developed and tested across multiple cities, enters a new phase.Using the Gorki as a starting point, multiple editions explore Berlin’s Mitte district: the programme includes, for example, Berlin’s city palace, the Marx-Engels Forum, and the Berlin state courthouse in Mitte. In addition to examining identitarian architecture of remembrance and vestiges of the colonial and National Socialist eras, these city tours also pursue questions regarding far-right crime scenes in urban spaces.The history, present and future of this district in the city centre will be observed and contextualized together. In the process, a wealth of architectonic-urbanist, city history and academic positions will be referenced. The tours showcase experts, artists and alliances from Berlin who remind us of repressed, forgotten and built-over histories, or make them visible in the first place.
6. Berliner Herbstsalon I Ein Prolog im Frühling GEZİ – TEN YEARS AFTER
26.5. – 25.6.2023
According to an investigation conducted by Amnesty International in 156 countries across the globe, protest, in addition to seeking refuge, was the theme that gripped millions of people the most in 2022. In light of the crises and wars of our times, the question of WHAT TO DO? concerns us all. What futures can be rediscovered, and what will motivate us to act? The 6th Berliner Herbstsalon focuses on these questions and will be held in 2023 in two parts: In GEZİ – TEN YEARS AFTER. Ein Prolog im Frühling, we take the 10-year anniversary of the protests as an opportunity to analyse the current political upheavals and hoped-for revolutions. Following the presidential and parliamentary elections in Turkey, we ask: what state do the people, does the republic find itself in at the moment, especially after the catastrophic earthquakes? Gezi was and is a symbol for working together to build up a country worth living in. Together with participants active in Gezi and now living in exile, primarily in Berlin, GEZİ – TEN YEARS AFTER attempts to trace this legacy for the future.
Supported by the Federal Cultural Foundation. Supported by the Commissioner of the Federal Government for Culture and Media.
Curated by Shermin Langhoff Co-Curator Erden Kosova Assistant Curator Nele Lindemann Dramaturgy Simon Meienreis Curatorial Advisory Board Zehra Doğan, Can Dündar, Peter Steudtner, Deniz Yücel, Aslı Erdoğan Co-Curators of Spaces and Projects Serkan Altuniğne, Ezgi Asar, Zehra Doğan, Yeşim Duman, Şirin Fulya Erensoy, Yunus Ersoy, Anthony Hüseyin, Nil Mutluer, Alp Tekin Ocak, Murat Özbank, Necati Sönmez, Peter Steudtner Dramaturgs and Consultants for Spaces and Projects Ivo Dreger, Yunus Ersoy, Oliver Frljić, Valerie Göhring, Johannes Kirsten, Holger Kuhla, Çiğdem Özdemir, Clara Probst, Theresa Welge Assistant Filip Rutkowski Intern Clemens Zoller Scenography GEZİ Pia Grüter Scenography Assistant Alice Faucher, Luise Brinkmann Scenography Studio / Foyer Marco Michelle, Felix Remme Art Direction Esra Rotthoff Graphic Design Jona Dienst Production Management Festival René Dombrowski Production Management Duygu İzdeş, Lucia Leyser, Juliane Prochnow Guest Productions Johanna von Rigal Technical production management Joachim Hering, Laura Krupka
The British artist Delaine Le Bas, who has already participated in previous autumn salons and was featured in the most recent Berlin Biennale, shows a radical change in her practice with her latest works. From Thatcherism to Brexit, Le Bas adopts an intersectional perspective in tracing the way language is constructed by neoliberal politics, while it reproduces existing exclusions and influences collective consciousness. She also invites the cultural sector to a self-critical discourse, because in Europe, it’s only the language about socially and legally disadvantaged minorities, such as the Romani and Sinti peoples, that has changed, while neither the broader society’s view of them nor their socio-economic and legal living conditions have. By sharing her text-based paintings and drawings, her diaries, experiences, thoughts and views on today’s societal unease, Le Bas creates a very personal universe in which critique becomes a matter of collective urgency. Complementary to the show, Le Bas invites co-performers, theoreticians, curators, activists and artists to frame the exhibition in three different recurring formats.
Artistic direction Shermin Langhoff Artistic direction assistance Nele Lindemann based on the exhibition Zigeuner Sauce curated by Christine Eyene in the Yamamoto Keiko Rochaix Gallery in London Installation and scenography Delaine Le Bas & Lincoln Cato Soundinstallation Justin Langlands Co-Performance Hugo Santos Curatorial consultant Gorki Erden Kosova Scenography Gorki Pia Grüter Scenography Assistent Alice Faucher, Inga Aleknaviciute Dramaturgy Gorki Edona Kryeziu Artistic project management Elena Sinanina Production management René Dombrowski Technical direction Joachim Hering
In der Reihe 5. Berliner Herbstsalon gefördert aus Mitteln des Landes Berlin, Senatsverwaltung für Kultur und Europa.
The hard reality of life in Berlin is, at the same time, a wet dream: here the self, lived out freely, constantly encounters alienating labels from the outside, as if being alienated from one’s actual body wasn’t challenging enough. Anyone who, self-confidently estranged from the world, searches for cohesion, will self-evidently be alienated – the never-ending search for security and the question of if it even exists, when escaping from one danger means the next is lying in wait. Alleged and actual safety will be explored in multilingual-speechless and nonverbal ways with performances, dance, parties, theatre, discussions and art exhibitions on queerness in exile and exile in queerness.
Curation Yunus Ersoy Curatorial Collaboration Nele Lindemann Curatorial and Dramaturgy Assistance Ivo Dreger, Louisa Schiedek Production Management René Dombrowski, Lucia Leyser Stage Design Mila Mazić, Marco Michelle Costume Dennis Ennen, Matthijs Holland Technical Stage Design Assistance Katharina Scheicher
In cooperation with Missy Magazin, Siegessäule and Dussmann das KulturKaufhaus. Funded by the State of Berlin, Senate Department for Culture and Europe.
70 events, 14 productions, 1 film, 1 exhibition, 1 installation at 11 venues in Berlin
HAU Hebbel am Ufer (HAU1), Freilichtbühne Weißensee, Gärten der Welt (Arena), Haus der Statistik, KINDL – Zentrum für zeitgenössische Kunst, radialsystem, Lilli-Henoch-Sportplatz, MaHalla, radialsystem, SOPHIENSÆLE, St. Elisabeth-Kirche, Volksbühne am Rosa-Luxemburg-Platz
100+ artists (choreographer, director, dancer, performer) from 20 countries: Argentina, Australia, Austria, Belgium, Brazil, Chile, Finland, France, Germany, Italy, Japan, Mexico, Morocco, Netherlands, Rwanda, Singapore, Sweden, Switzerland, UK
Productions
Ayelen Parolin / RUDA – WEG Radouan Mriziga – Ayur Anne Nguyen / par Terre Dance Company – Underdogs Choy Ka Fai – Postcolonial Spirits James Batchelor and Collaborators – An Evening-length Performance Colette Sadler with Mikko Gaestel – ARK 1 Constanza Macras | DorkyPark – Stages of Crisis Dorothée Munyaneza, Compagnie Kadidi – Mailles Lea Moro – All Our Eyes Believe Thiago Granato – The Sound They Make When No One Listens Milla Koistinen – Breathe Amanda Piña – Frontera | Border – A Living Monument Amanda Piña – Endangered Human Movements Vol. 4, Danza y Frontera Stephanie Thiersch / Brigitta Muntendorf – ARCHIPELAGO – A Spectacle of Blending URBAN FEMINISM – Gotcha! An Evening of 9 short choreographic works Tora Mkandawire Mårtens – Martha & Niki – Film in the frame of URBAN FEMINISM 2021 Choy Ka Fai – CosmicWander: Expedition Chiara Bersani with Ilaria Lemmo – Fionde
Artistic Director Virve Sutinen Executive Producer Festival Stefan Nagel Curator & Producer Andrea Niederbuchner Producer & Assistant to Artistic Director Alina Scheyrer-Lauer Producer& Logistics René Dombrowski Production Monica Ferrari, Florian Greß, Johanna Herrschmann, Mmakgosi Kgabi, Ben Mohai, Charlotte Werner Bibliothek im August & Happy to Listen Ana Letunić (dramaturgical support) Technical Director Festival Ingo Ruggenthaler Technical Producers Annette Becker, Susanne Görres, Sven Nichterlein, Kevin Pahl, Dorothea Spörri, Patrick Tucholski Technical Venue Management Annette Becker, Sven Nichterlein, Kevin Pahl, Max Wegener, Sabine Krien, Rupprecht Lademann PR & Marketing Hendrik von Boxberg / Lilly Schofield (Büro von Boxberg) Online CommunicationLilly Schofield (Büro von Boxberg) Assistance PR & Marketing, Online Communication Vera Fleischer, Vivien Hohnholz Texts Beatrix Joyce Project and Contract Management Natalia Polyzou, Timo Koch Ticketing & Service Christian Haase Management Professionals Alexander Graf Graphic Design Sonja Deffner, Jürgen Fehrmann (Director), Gea Gosse and the team of HAU Hebbel am Ufer
In times of an ecological, political and personal crisis, Brazilian choreographer Thiago Granato explores the act of listening. Three performers delve into conscious listening mechanisms as a way to perceive movements and non-movements, and unravel underlying structures of power and control. In a disorientating spectrum where sound and image sources intermingle, they amplify their sonic and visual sensitivity in order to extend the limits of their own bodies and
the journeys by which they figure themselves together in the world.
Concept, Artistic Direction and Choreography: Thiago Granato Direction Assistance and Co-creation: Sandro Amaral By and with: Arantxa Martinez, Roger Sala Reyner and Thiago Granato Lighting Design: Claes Schwennen Sound Design: David Kiers Sound Design Assistance: Andrea Parolin Dramaturgical Advice: Lisa Stertz Production Management: Sandro Amaral Administration: René Dombrowski Photo: Rafael Medina
Supported by: TanzFabrik Berlin and Teatro Municipal do Porto/ DDD – Festival Dias da Dança.
TANZ is the third part of the trilogy: Recovery, Apollon, TANZ. The trilogy deals with notions of practice through training of different physical disciplines on stage focusing on investigations of how the body is cultivated, shaped and transformed and on the transmission of experience.
TANZ takes early 19th century romantic ballet as a starting point. It uses the frame of a ballet class guided by Beatrice Schoenherr, the first ballerina who danced Le Sacre de Printemps naked (John Neumeier, 1972).
The performers undergo a rigorous training in action ballet, the so called sylphidic studies. Learning how to use their skills in a genre of spectacle that deals with supernatural creatures, they use the articulation of the dancer’s body as a tool to penetrate space in order to gain knowledge about flying.Through techniques of restraint they collectively practice to govern the body and mind. An ephemeral world- provoking an imminent possibility of perfection by transforming the gross into the sublime and making the functional more than functional.
In an operatic set up brutal parodies of established images of excitement found in ballet, comedy and pornography are made in order to be watched from afar and close. This industry of gaze finds its translation in the work of a porn producer who documents the performance from within.With an all-female cast of twenty to eighty years old performers who represent different dance backgrounds, TANZ poses the question what ‘dancing the lineage’ means and how to reconcile with tradition in the territory of the nonverbal and its relationship to beauty.
Credits
Concept/Performance/Choreography Florentina Holzinger Performanceby and with Renée Copraij, Beatrice Cordua, Evelyn Frantti, Lucifire, Annina Machaz, Netti Nüganen, Suzn Pasyon, Laura Stokes, Veronica Thompson, Lydia Darling Video design/Live camera Josefin Arnell Sound design/Live sound Stefan Schneider Light design/Technical director Anne Meeussen Stage design Nikola Knezevic Stage assistant Camilla Smolders Technical assistant Koen Vanneste Dramaturgy Renée Copraij, Sara Ostertag Coaching Ghani Minne, Dave Tusk Music coach Almut Lustig Outside eye Michele Rizzo, Fernando Belfiore Theory and research Anna Leon Costume advisor/tailor Mael Blau Prosthetic and Mask: Students of Wigs, Make-up and Special Make-up Effects for Stage and Screen – Theaterakademie August Everding Munich, Marianne Meinl Stunt support Haeger Stunt & Wireworks Stunt instructors Stunt Cloud GmbH (Leo Plank, Phong Giang, Sandra Barger) Management Something Great (Berlin – DE) & DANSCO (Amsterdam – NL) International distribution Something Great (Berlin – DE) Production Spirit Executive Production Laura Andreß Financial administration Julia Haas/SMART (Vienna – AT)
Co-produced by Tanzquartier Wien (Vienna – AT), Spring Festival (Utrecht – NL), Theatre Rotterdam (Rotterdam – NL), Mousonturm (Frankfurt – DE), Arsenic (Lausanne – CH), Münchner Kammerspiele (Munich – DE), Take Me Somewhere Festival (Glasgow – UK), Beursschouwburg (Brussels, BE) deSingel (Antwerp – BE), Sophiensaele (Berlin – DE), Frascati Productions (Amsterdam -NL), Theater im Pumpenhaus (Muenster – DE), asphalt Festival (Düsseldorf – DE)
Supported by O Espaço do Tempo (PT), Fondation LUMA (FR) and De Châtel Award (NL)
Thanks to CAMPO Gent,ImPulsTanz – Vienna International Dance Festival, Eva Beresin, Stefanie Leitner, Tanz-Archiv MUK Wien, Stimuleringsfonds Creative Industries, Mochi Catering Vienna, Andres Stirn
Funded by the Cultural Department of the City of Vienna, Performing Arts Fund NL
Étude for an Emergency – Composition for Ten Bodies and a Car
A commission by Munich Kammerspiele – World Premiere: 01/03/2020, Münchner Kammerspiele, MUNICH (DE)
With “Étude for an Emergency. Composition for Ten Bodies and a Car”, Florentina Holzinger once again draws attention to the body as a spectacle – and to how it can be trained.
A stunt is an unusual and difficult physical activity that requires special skills and is usually performed for artistic reasons for television, theatre or film. An aria in opera is the equivalent to a stunt in an action film.
With a mixed cast of stuntwomen, opera singers and performers, Holzinger has created a musical study for ten bodies and a car.
The ‘emotional industries’ of both opera and film are dissected with anatomical precision and broken down into their technical aspects alone until nothing remains but the sounds produced by the body.
Florentina Holzinger deliberately pulls and pushes the boundaries between high culture and ‘mere’ entertainment. The result is a brutal parody of sensationalist images that we are familiar with from film, opera, TV and the internet. In a series of joint operatic rituals and orchestrated crash tests, the performers learn to master their bodies and voices and prepare for emergencies.
Credits
Direction Florentina Holzinger with Marie Bloching, Marie Dziomber, Shirin Lilly Eissa, Sibylle Fischer, Maria Helgath, Verena Konietschke, Anni Kumlehn, Annette Paulmann, Julia Rutigliano, Linnea Tullius Stage and Costumes Nikola Knežević Music Stefan Schneider Light Max Kraußmüller Dramaturgy Renée Corpaij, Helena Eckert Stunt Coordination Marc Sieger, Petr Dvorak Music coach Sibylle Fischer Production assistance Friederike Kötter Artistic assistance stage Nicole Marianna Wytyczak Costume assistance Victoria Dietrich A co-production by Spirit ( Vienna – AT), Münchner Kammerspiele (Munich – DE) Management and Distribution Something Great (Berlin – DE)
Recovery
RECOVERY revolves around struggle as a process of healing and the stage as an arena, in which questions of coping with trauma, a fresh start and female support are raised. It all started with Florentina’s accident during a performance of Silk in Norway, when she crashed three meters to the ground. The work Recovery, inspired by this experience and the title of American rapper Eminem’s seventh studio album, is the product of a lengthy recovery period. Florentina aims at transforming herself into a warrior on both a spiritual and a physical level. Now, evening by evening, she enters the ring to defy the art world, fear and trauma. She prepares for every show as if it was a fight. Thus, each instalment of Recovery is characterized by physical healing and starting fresh, by the recovery of what seemed lost and by the recovery of artistic data.
The performance emerges from the conviction that the only art worth being made is art that can heal. Florentina Holzinger is inspired by George Balanchine’s legendary ballet Agon, created in 1957. The work’s title means competition and is considered a highlight of Balanchine’s examination of Igor Stravinsky’s music. Florentina created her own Agon which was shown at festival ImPulsTanz 2014 in Vienna and Recovery is based on that piece.
Concept: Florentina Holzinger Performed by Florentina Holzinger, Btissame Amadour, Clara Saito, Eva Susova, Lenneke Vos, Orinta van der Zee Sound Design: Stefan Schneider Dramaturgy and guidance: Vincent Riebeek, Renée Copraij, Sara Ostertag Production: Frascati Producties (Amsterdam – NL) Coproduction: brut Wien (Vienna – AT) . Management and Distribution: Something Great (Berlin – DE) Funded by Creative Europe, Life Long Burning, die Kulturabteilung der Stadt Wien and the Performing Arts Fund NL.
Co-produced by Centre des arts d’Enghien-les-Bains (FR) and Romaeuropa Festival (IT). With scientific institutional partners Centre National de Recherche Scientifique (CNRS) and Laboratoire de Recherche en Informatique (LRI) at University Paris-Saclay. Supported by PACT Zollverein.
Trailer
Photos
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
(C) Photography: Manuel Vason // Piero Tauro // Giada Spera
Description
“Si sta come / d’autunno / sugli alberi / le foglie” G. Ungaretti
Humane Methods dissects the violence of algorithmic societies, where power structures, knowledge creation and normative criteria become means of remorseless manipulation. Through the physical and psychological brutalization of people and non-human beings, the combination of digital technologies and capitalistic urge has driven the natural ecosystem towards impending destruction.
In a landscape of ruined nature and technological relics, a community of semi-human figures lives a primal and stern existence. An artificial intelligence (AI) algorithm, left to its own devices, feeds on the biodata of the figures’ bodies as it tries to learn a meaningless sequence of numbers. It is a garden out of time, or perhaps, it is a garden within the fold of our times.
Inundating the space is a dogged, hypnotic stream of sound and light: the calculations of the AI turned into perceivable material. Thus, by dictating brightness or darkness, rhythm or stasis, the AI marks out the figures’ lives. It is computational “brute force” hammering the senses.
As in a symbiosis, both the algorithm and the figures are stuck in an ever-changing loop. It counts, they worship, they touch, they sense. It counts, they worship, they touch, they hurt, it counts, they sense, they hate. It counts, they worship, they touch, they sense, it counts, they isolate, they hate, they attack.
In a ritual of self-sacrifice a machinic deity is born in the form of twin prosthetic arms. They are without a body and use their artificial neural networks to seek flesh, dancing with the skin, the muscle and the bones. Will the ritual bring communion or tragedy?
In this community, existence is suspended: a society struggling against its own balance, torn between a moral rejection of violence and its systematic application against human’s kin and the ecosystem. It is a catastrophe out of time, or perhaps, it is a catastrophe of our times.
Cast & Crew
Development – Fronte Vacuo (Donnarumma, Pevere, Familari) Artistic direction, performance – Marco Donnarumma, Margherita Pevere Choreography, dramaturgy, music, machines – Marco Donnarumma Symbionts, biomaterials – Margherita Pevere Costumes – Margherita Pevere, Ana Rajcevic, Marco Donnarumma Scenography – Marco Donnarumma, Margherita Pevere, Andrea Familari Research, interactive learning technologies – Baptiste Caramiaux Light design and stage production – Andrea Familari Premiere ensemble – Joele Anastasi, Cora Gasparotti, Denise Gioia, Beatrice Riccardi, Massimo Sconci, Valentina Squarzoni, Andrea Tufo Robotics and metal visual design – Ana Rajcevic Robotics 3D modeling and engineering – Christian Schmidts Neurorobotics advisor – Neurorobotic Research Laboratory Photography – Manuel Vason Live photography – Piero Tauro, Giada Spera Production and tour management – René Dombrowski Project management – Claudia Dorfmüller
Humane Methods is a production by Fronte Vacuo (Donnarumma, Pevere, Familari).
nora abdel-maksoud
lola arias
ariana battaglia
sibylle berg
can candan
daniel cremer
jeannette ehlers
ender / kolosko
marina frenk
oliver frljić
marta górnicka
suna gürler
arsinée khanjian
marta malikowska
hakan savaş mican
ersan mondtag
orit nahmias
sebastian nübling
vidina popov
falk richter
yael ronen
sasha marianna salzmann
isabella sedlak
sasapin siriwanij
hanh mai thi tran
tine rahel völcker
white on white
sivan ben yishai
EXHIBITION
morehshin allahyari
lola arias
chiara baldini / rafael kozdron
yael bartana
mehtap baydu
luchezar boyadjiev
candice breitz
banu cennetoğlu
danica dakić
silvina der-meguerditchian
lea draeger
atom egoyan
jeannette ehlers
ender / kolosko
regina josé galindo
marta górnicka
anke hannemann *
sanja iveković
alfredo jaar
šejla kamerić
natasha a. kelly
grada kilomba
katarzyna kozyra
damian le bas
delaine le bas
alanna lockward
maría paula maldonado *
hakan savaş mican
donna miranda
henrike naumann
julieta ortiz de latierro *
tanja ostojić
ceylan öztrük
yael peri *
elena quintarelli
oliver ressler
oliver ressler / martin krenn
larissa sansour / søren lind
farzane vaziritabar *
viron erol vert
claire waffel *
ina weise *
* mfa-public art and new artistic strategies der bauhaus-universität weimar
CONFERENCE
bi̇lgi̇n ayata
manuela bojadžijev
ethel brooks
gabriele dietze
fatima el-tayeb
naika foroutan
olubukola gbadegesin
damian ghamlouche
agnieszka graff
seda gürses
michelle higgins
esra karakaya
eren keski̇n
donna miranda
winifred poster
emilia roig
julia roth
birgit sauer
nishant shah
robbie shilliam
gina athena ulysse
YOUNG CURATORS ACADEMY
soukaina aboulaoula
riksa afiaty
mona benyamin
vladimir bjeličić
rafika chawishe
adela demetja
ayli̇me asli demi̇r
fatou kiné diouf
yuan fuca
helia hamedani
martha luisa hernández cadenas
thao ho
huang ding-yun
lyse ishimwe nsengiyumva
liene jurgelāne
rola khayyat
sreyneang khon
olivia hyunsin kim
lee cheah ni
zhazgul madazimova
chepkemboi j. mang’ira
donna miranda
nhung dinh
amila puzić
aya rebai
promona sengupta
uygar önder şi̇mşek
sasapin siriwanij
ida ślęzak
aziz sohail
corrie tan
phoo myat thwe
arkadi zaides
TEAM | PARTNERS
TEAM 4TH BERLINER HERBSTSALON
Organised by Shermin Langhoff with Aljoscha Begrich, Çağla İlk (exhibition) with Erden Kosova, Ong Keng Sen, Irina Szodruch (Young Curators Academy) with Rebecca Ajnwojner (conference) with Elena Sinanina (Team leader and artistic collaboration) Stage Design Shahrzad Rahmani Assistant (Management) Anne Diestelkamp, Young Curators Academy Alexandra Lange, Lynn Takeo Musiol, Therese Nübling Project management Alexa Gräfe Assistants to Project Management René Dombrowski, Natalia Polyzou, Dag Lohde Technical Production Directors Malte Roloff, Georg Scherlin Assistants Stage Design Julia Casabona, Pia Grüter, Inga Aleknaviciute Interior Alissa Kolbusch Asstistants to Production Lucia Leyser, Kristin Buddenberg Direction Assistants Branko Janack, Rico Wagner, Antonia Zeich Internship stage Design Alice Faucher Production Management Studio Я and Lichtsaal Monica Marotta Technical Director Joachim Hering Press collaboration Denhart von Harling Social Media Jo Preußler Development Website Michael Boeker, Caroline Haufe, Jo Preußler Online Communications Caroline Haufe Translation English Website Summer Banks Graphic Design María José Aquilanti, Ann Christin Sievers, Lena Wessel
TEAM DE-HEIMATIZE BELONGING CONFERENCE
Organisation Rebecca Ajnwojner Assistant Maike Müller Internship Mariette Minnemann Production Management Kübra Karataş Technical Production (Humboldt-Universität zu Berlin) Detlef Damis Video documentation & Camera Patrícia Bateira Live- Stream (Humboldt-Universität zu Berlin) Jörg Schulze, Tobias Rüst
TEAM YOUNG CURATORS ACADEMY
Hosts Irina Szodruch, Ong Keng Sen, Erden Kosova Assistant Therese Nübling Production Management Kübra Karataş Video documentation & Camera Patrícia Bateira Internship Rosa Langhoff
Maxim Gorki Theatre
Direction Shermin Langhoff (Artistic Director), Marcel Klett (Executive Director) Head of Communications & PR Anna Bause Head Press Xenia Sircar Head of box office and sales Markus Bäuerle Artistic Operating Director Christine Leyerle Head of Supernumerary Kathi Bonjour Management Stage Design Alissa Kolbusch Project Management Studio Я Monica Marotta Head of Gorki X Janka Panskus Technical Director Thomas Kirsten (Technischer Direktor), Joachim Hering (Stellvertreter) Management Stage Technology Robert Rammelt Management Lighting Pierre Stolper Management Sound Christopher von Nathusius Management Props Jens Gebhardt Management Mask Paula Karer Management Dressing Service Andrea Schulz Head of Evening Service Peter Hanslik, Jana Radünz Management Administration Sabine Gehrke Management House Inspection Edgar Schönberg IT Management Stefan Heinemann Management Theatre Workshops Marcus Trettau Assistant Theatre Workshops Amos-Peter Mayer Head of Carpenters Burkhard Rauch Management Painting Petra Olbrich Head of Theatrical Plastic Claudia Vogel Management Locksmithery Mayk Reimann Management Decoration Egbert Haase Management Costumes Thomas Maché Wardrobe mistresses Silke Adolf, Simone Schmunz
PARTNERS
The 4. Berliner Herbstsalon is funded by:
The Young Curators Academy is funded by:
The De-Heimatize Belonging conference is organised in cooperation with:
Die De-Heimatize Belonging Konferenz ist ein Projekt des Maxim Gorki Theaters mit der Humboldt Unversität zu Berlin / Berliner Institut für empirische Integrations- und Migrationsforschung im Rahmen des 4. Berliner Herbstsalons in Kooperation mit dem Centre for Intersectional Justice gefördert von der Bundeszentrale für Politische Bildung.
Individual projects featured in the exhibition in cooperation with:
Thanks to:
Badischer Kunstverein, Stéphane Bauer, René Block, Anja Bogojević, Patrick Ebensperger, Eidotech, Jörg Frieß, GeierTronic Videotechnik, Damian Ghamlouche, Sebastian Hoffmann, Nataša Ilić, Initiative Haus der Statistik, Moses Leo, Anja Lindner, ngbk – neue Gesellschaft für Bildende Kunst e. V., Ong Kengsen, Erden Kosova, PraterSound, Danny Pratsch, Amila Puzić, Jirka Reichmann, RGpro, SCOTTY Projektraum für zeitgenössische Kunst und experimentelle Medien e. V., Raimar Stange, Bildmuseet Umeå, Antje Weitzel, Misal Adnan Yıldız, Didem Yazici, Claudia Zini.
” Hallo!” is a performance about not hearing and not being heard. It was created in the aftermath of the “Gezi” protests – the name of a park in Beyoğlu district of Istanbul, which was to be demolished by the Turkish government, upon which an unorganized civil society protest wave took over for a period of time starting May 28th 2013.
Hallo! is a political statement reflecting on the protests and how they were perceived by various factions. It is a two-part performance. In the first part it puts the audience in the center along with the performer Gizem Aksu. Hearing, listening yet being helpless and disconnected. Every performance creates a one time, never to be repeated piece changing with the audience. In the second part, where the audience has the chance to voice their feelings and thoughts about the performance, people reveal how they relate to the piece and also how it relates to their lives.
This work is also a result of a hopeless and helpless time after “Gezi” for Aydın Teker. At a time when she started thinking that “nothing she ever did had a meaning”, Teker realized that people were talking but not really listening. This helpless moment of not being heard moved her to choreograph this performance. One can observe the audience and how the feeling of “not being heard” affects them as the performance progresses.
A pioneer of contemporary dance in Turkey who has worked in Istanbul for over twenty-five years, Aydin Teker likes putting bodies into destabilising situations, testing their capacity for dynamic adaptation to the extreme. She graduated from Ankara State Conservatory in 1973 and joined Ankara State Opera and Ballet as a dancer. Thanks to a scholarship in 1976, she moved to London and then to the USA. She received her B.F.A. and M.F.A. from New York University’s Tisch School of the Arts. Her works have been shown in many countries and renowned festivals including the Zürcher Theater Spektakel (Zürich – CH), KunstenfestivaldesArts (Brussels – BE), Festival TransAmériques (Montreal – CA), among others.
Co-produced by STUK Kunstencentrum Leuven, CND – Centre National de la Danse Pantin, Tanz im August / HAU Hebbel am Ufer Berlin, PACT Zollverein Essen.
Funded by Senate Department for Culture and Europe.
Supported by: ÉTAPE DANSE, initiated by the Institut Francais Deutschland / Bureau du Théâtre et de la Danse, Uzès Danse CDCN, Théâtre Nîmes and fabrik Potsdam funded by Ministère de la Culture et de la Communication/DGCA and the city of Potsdam; BUDA Arts Centre Kortrijk, Tanzfabrik Berlin.
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Eine Produktion von Thiago Granato.
Ko-produziert von: STUK Kunstencentrum Leuven, CND – Centre National de la Danse Pantin, Tanz im August / HAU Hebbel am Ufer Berlin, PACT Zollverein Essen, unterstützt von fabrik Potsdam, Théâtre de Nîmes – Scène conventionnée pour la danse contemporaine Nîmes, Centre de Développement Chorégraphique Uzès.
Gefördert von: Senatsverwaltung für Kultur und Europa des Landes Berlin.
Unterstützt von: ÉTAPE DANSE, eine Initiative des Institut français Deutschland / Bureau du Théatre et de la Danse und der fabrik Potsdam, gefördert durch das französische Ministerium für Kultur und Kommunikation / DGCA und der Landeshauptstadt Potsdam, BUDA Arts Centre Kortrijk, Tanzfabrik Berlin.
DESCRIPTION / BESCHREIBUNG
“Trrr” locates the past in front of the body and the future behind it. It is a zone where archaic entities never seen or heard before can be manifested. It inscribes a dance in the margins of time by a body moving both forward and backward into uncharted or forgotten territory. “Trrr” is the third and last part of a larger body of work entitled “CHOREOVERSATIONS,” a project based on different imaginary collaborations between Thiago Granato and dead, living and as yet unborn choreographers.
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“Trrr” lokalisiert die Vergangenheit vor dem Körper und die Zukunft hinter ihm. Es ist eine Zone, in der sich bislang unbekannte archaische Wesen manifestieren können. Ein Körper, der sich zugleich vorwärts und rückwärts bewegt, schreibt einen Tanz in die Ränder der Zeit ein, in nicht kartiertes oder vergessenes Terrain. “Trrr” ist der letzte Teil der Trilogie “CHOREOVERSATIONS”, ein Projekt des Choreografen Thiago Granato. Es basiert auf verschiedenen imaginären Kollaborationen zwischen Granato und toten, lebenden sowie noch ungeborenen Choreografen.
TRAILER
DATES / TERMINE
Sa. 11.08 // 19:00 // HAU3
So. 12.08 // 17:00 // HAU3
Mo. 13.08 // 21:00 // HAU3
Di. 14.08 // 19:00 // HAU3
CAST & CREW
Concept, Direction, Choreography, Performance: Thiago Granato ‘Invited’ Choreographers: “Stone” and “Jaguar” Direction Assistance: Sandro Amaral Interlocution: Jefta van Dinther, Daniela Visco Sound Design: David Kiers Lighting Design: Susana Alonso Dramaturgical Advice: Laura Samy Production: Sandro Amaral, Thiago Granato Financial Administration: René Dombrowski with www.penkiito.com
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Konzept, Leitung, Choreografie, Performance: Thiago Granato ‘Eingeladene’ Choreografen (fiktive Gesprächspartner): “Stone” und “Jaguar” Assistenz der Leitung: Sandro Amaral Dialog: Jefta van Dinther, Daniela Visco Sound: David Kiers Licht: Susana Alonso Beratung Dramaturgie: Laura Samy Produktion: Sandro Amaral, Thiago Granato Finanzen & Administration: René Dombrowski mit www.penkiito.com
Each era has its wonders of the world, the idea of an impossibility that is nevertheless constructed, bigger and more impressive that anything the world has known. These architectural and artistic tours de force mark the victory of man over his physical limits and the laws of nature. But isn’t the human body that has devised and made these imposing wonders even more wondrous? Isn’t it more mysterious and more beautiful than the giants we are surrounding ourselves by? How does the body behave to the gigantic architectures of our environment and how would they change when we start to think from the body again? Once again, the relationship between dance, construction and architecture is at the heart of Radoaun Mriziga’s work. In a precise and refined choreography, in this piece Radouan Mriziga confronts the beauty of the moving body with the geometric power of architecture and sculpture. 7 heads off on a quest for the world’s ultimate miracle: the human body.
CREDITS
Concept / Choreography: Radouan Mriziga
Co-created and performed by: Radouan Mriziga, Maïté Jeannolin, Zoltán Vakulya, Bruno Freire, Eleni-Ellada Damianou, Lana Schneider, Suhad Najm Abdullah
Visual artist: Lana Schneider
Musician: Suhad Najm Abdullah
Costume: Annabelle Locks Dramaturgical advice: Esther Severi Artistic advice: Alina Bilokon Image: Maïté Álvarez Assistant: Sara Chéu Thanks to: Jozef Wouters
Production: Moussem Nomadic Arts Center (Brussels – BE)
Co-production Kaaitheater (Brussels – BE), Kunstenfestivaldesarts (Brussels- BE), Sharjah Art Foundation (Sharjah – UAE), C-Mine cultuurcentrum Genk (Genk – BE), Vooruit (Ghent – BE), PACT Zollverein (Essen – DE) In the context of European Network DNA (Departures and Arrivals) co-funded by the Creative Europe Program of the European Union In collaboration with: Kunstenwerkplaats Pianofabriek (Brussels – BE), Charleroi Danses Centre Chorégraphique de la Fédération Wallonie-Bruxelles (Charleroi – BE), STUK – House for Dance, Image & Sound (Leuven – BE)
Tour Dates
22. + 23.09.2018 7 by Radouan Mriziga , Lafayette Anticipations as part of the program Echelle Humaine / Festival d’Automne à Paris , PARIS (FR)25. + 26.05.2018 7 by Radouan Mriziga, Alkantara Festival 2018 – Teatro Municipal Sao Luiz, LISBON (PT)28.04.2018 7 by Radouan Mriziga at PACT Zollverein (Performing Arts Choreographisches Zentrum NRW), ESSEN (DE)
“55” by Radouan Mriziga
an architectural form playing with expectations
’55’ is the first creation by choreographer and dancer Radouan Mriziga, and the first part of a trilogy produced by Moussem Nomadic Arts Centre, in which he examines the relationship between dance and architecture and portrayes man as a balancing act between mind, body and spirit. The second part of the trilogy ‘3600’ was created in 2016. The third part ‘7’ premiered at the Kunstenfestivaldesarts in 2017. Since then.
What makes 55 so unique is Mriziga’s specific dance language: a confrontation between corporeality and strict concepts, and between the sensual and the rational. Using his own body as a measure, he creates an architectural form. For him, dance or movement is a way of achieving something different. Slowly and securely, he sets to work, subtly playing with your expectations. In this piece, his background and various different influences come together to create a fascinating hybrid.
Credits
Concept and performance: Radouan Mriziga Assistance: Alina Bilokon Acknowledgements: Moussem team, Alina Bilokon, Youness Khoukhou, Bart Meuleman, Steven De Belder
Production: Moussem Nomadic Arts Centre (Brussels-BE)
Co-production C-mine (Genk – BE), WP Zimmer (Antwerp – BE) In collaboration with Cultuurcentrum Berchem (Berchem – BE), Pianofabriek (Saint-Gilles – BE), O Espaço do Tempo (Montemor-o-Novo – PT), STUK – House for Dance, Image and Sound (Leuven – BE)
Tour Dates
25.09.2018 55 by Radouan Mriziga, Città delle 100 scale festival, POTENZA (IT)07.09.2018 55 by Radouan Mriziga, Festival Danza Urbana, BOLOGNA (IT)24.06.2018 55 by Radouan Mriziga, Fête de la Musique à Genève / ADC- Association pour la Danse Contemporaine, GENEVA (CH)21. + 22.06.2018 55 by Radouan Mriziga, Armunia / Inequilibrio – Festival di teatro e danza contemporanea,CASTIGLIONCELLO (IT)29.03.2018 55 by Radouan Mriziga, Museo civico di Palazzo Chiericati – Musei Civici Vicenza, VICENZA (IT)
A coproduction by Tilman Hecker, RADIALSYSTEM V and Mozartsummer Mannheim. Funded by Capital Cultural Fund, Berlin. With the friendly support of Watermill Center New York.
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Eine Koproduktion von Tilman Hecker, RADIALSYSTEM V und dem Mannheimer Mozartsommer. Gefördert aus Mitteln des Hauptstadtkulturfonds. Mit freundlicher Unterstützung des Watermill Centers New York.
DESCRIPTION / BESCHREIBUNG
How can music be made to be visible? In the performance MIDNIGHT, using a combination of sound art, dance theater and experimental musical theater Lynsey Peisinger and Tilman Hecker visualize four pieces by W.A. Mozart on stage. Mozart’s music will not be heard, but rather seen: musical elements will be replaced by the movements of the performers, as well as, the use of video and lights, meanwhile a complete soundscape will accompany the course of the performance and will reflect the structural precepts of the musical score.
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Wie lässt sich Musik sichtbar machen? In der Performance “MIDNIGHT” visualisieren Lynsey Peisinger und Tilman Hecker in einer Kombination aus Klangkunst, Tanztheater und experimentellem Musiktheater das letzte Klavierkonzert, zwei Konzertarien und ein Lied von Wolfgang Amadeus Mozart. Dafür nähern sie sich den Partituren der Werke und nutzen deren kompositorischen Strukturen als Grundlage für das Geschehen auf der Bühne. Mozarts Musik wird nicht zu hören, sondern zu sehen sein: Streicher, Bläser, Klavier und Gesang werden durch theatrale Elemente – Licht, Video und drei Performer – ersetzt. Die Melodien verschwinden, doch das kompositorische Timing bleibt. Ein Soundscape des Komponisten Arno Kraehahn begleitet den Verlauf der Performance und spiegelt die strukturellen Vorgaben der Partituren. Die rückwärts laufende Projektion der von oben gefilmten Performance, das Spiel mit Gleichzeitigkeit, Pausen, Verschiebungen, sowie das Spiel der Performer mit ihrer eigenen Projektion, erschaffen eine optische Struktur, die Auskunft gibt über zeitgenössische Subjektivität und zugleich einen vollkommen neuen Blick auf Mozarts Kompositionen ermöglicht.
TRAILER & FOTOS
(C) Lucie Jansch
DATES // DATEN
Tour: 2018 – Festival Otkrovenie, Kazakh State Academic Drama Theater named after M. O. Auezov, Almaty, Kazakhstan
14 / 15.02.2018 – Kazakh State Academic Drama Theater named after M. O. Auezov
Tour: 2017 – Alexandrinsky Theatre, St. Petersburg, Russia
23.07.2016 – 20h00 – Nationaltheater Mannheim – Originalversion sowie Orchesterversion mit Erik Nielsen (Musikalische Leitung und Klavier), Iride Martinez (Sopran) und dem freien Orchester M18
Premiere: 2016 – Radialsystem V, Berlin
06.03.2016 – 17h00 // weitere Aufführungen: 06.03.2016 – 20h00 & 07.03.2016 – 20h00 // Radialsystem V, Berlin
CAST & CREW
Director // Regie: Tilman Hecker Choreography and Performance // Choreographie und Performance: Lynsey Peisinger Composition // Komposition: Arno Kraehahn Performance: Ivan Cheng und Frank Willens Dramaturgy // Dramaturgie: Dag Lohde Costumes // Kostüm: Julia von Leliwa Light // Licht: Scott Bolman Video // Video: Thilo Schmidt Make-Up: Manu Halligan Director’s Assistant // Regie-Assistenz: Sophie Beck Postproduction: ARRI Mitte Press // Presse: k3 berlin Production Management // Produktionsleitung: ehrliche arbeit – freies Kulturbüro Tour Management: René Dombrowski
Something Great is an international Performing Arts management office with headquarters in Berlin – Germany.
Our mission is as simple as complex. We want artists to tour more.
We are specialized in international distribution and promotion of contemporary creations in the field of dance, theater, music, performance and cross-disciplinary art projects.
Throughout the year we manage and promote the international touring activity of selected artists that we strongly believe in and support. The current artist portfolio can be seen here: Something Great
We also manage and promote specific projects by other artists and art organisations within defined goals and timelines.
Im Maxim Gorki Theater, Kronprinzenpalais, Palais Am Festungsgraben, Stadtraum
11–26 November 2017
Presse:
»Er hat sich längst zum wichtigsten Festival für politische Kunst in Deutschland gemausert. Der ‘Berliner Herbstsalon’ zeigt unter dem Motto ‘Desintegriert euch’ im Maxim Gorki Theater Arbeiten von rund 100 Künstlern, die sich gegen dumpfen Rechtspopulismus und religiösen Fundamentalismus engagieren. Und die sensibel und intelligent einstehen für Toleranz und Diversität.« (www.art-magazin.de)
»Die ganze Schau über Diversität ist eine Erzählung aus Kunst und Leben. Man hat Mut zum Theatralischen, zum Emotionalen und verzichtet auf die im globalen Kunstbetrieb übliche Coolness und elitäre Arroganz. Mit größter Deutlichkeit ist diese kleine ‘documenta’ aus der Welt der Bühnenkunst hinausgetreten. ‘Desintegriert Euch!’ heißt es manifest.« (www.berliner-zeitung.de)
»’Monument’ is a part of the Berliner Herbstsalon festival, which features work by about 100 artists around the German capital. The organizers call the festival a ‘rebellion against attributions, generalizations and simplifications.’« (www.nytimes.com)
»Und Biennale-Stärke hat der Salon nicht zuletzt […] dank seiner ›Tiptop-Künstlerliste‹.« (www.nachtkritik.de)
Der 3. Berliner Herbstsalon (www.berliner-herbstsalon.de) wird vom 11. bis 26. November eine öffentliche Probe für das Aufbegehren gegen Zuschreibungen, Verallgemeinerungen und Vereinfachungen sein. DESINTEGRIERT EUCH! ist die Überschrift über einem Parcours, der rund 100 bildende und darstellende Künstler*innen zu einer Probe in Widerständigkeit gegen vermeintliche Übersichtlichkeit zusammenbringt.
Mit Arbeiten von:
Nora Al-Badri/Nikolai Nelles // Not A Single Bone, 2017, Installation
Die Anti-Humboldt Box // Die Anti-Humboldt Box, 2013, Installation
Birgit Auf der Lauer/Caspar Pauli/Aufbruch Neukölln e.V. // Workshop
Anestis Azas/Prodromos Tsinikoris // Clean City, Theaterstück, 2016
Nidaa Badwan // 100 Tage Einsamkeit, 2013, Fotografien
bankleer // Diverse in the Universe, 2017, Sculptural Performance
MFA-Public Art and New Artistic Strategies der Bauhaus-Universität Weimar
Sebastian Baumgarten // Ferngespräch, 2017, Soundinstallation
Mirko Borscht/Volkan T. // DeathIntegration, 2017, Durational Performance
Luchezar Boyadjiev // On Vacation: Friedrich the Great from Berlin, 2004, Fotografie
Banu Cennetoğlu // The List, 2017, In Kooperation mit UNITED for Intercultural Action, vertrieben als eine Beilage der Berliner Ausgabe des Tagesspiegels am 09.November 2017 und als eine Plakatkampagne an 48 Orten.
Chto Delat // БИБЛИОТЕКА АКТИВИСТКИ / Klub der Aktivistin, 2017, Objekt
Danica Dakić // First Shot, 2008, Videoinstallation
Ender/Kolosko // THEATER OHNE GRENZEN / FELDLAGER BABEL-STADT, 2017, Installation und Interventionen
Cevdet Erek // Improvisation, 2017, Performance
Azin Feizabadi // ICH BIN DEUTSCHER, 2017, Installation
Nina Fischer/Maroan el Sani und Bertold Stallmach // Concrete Castle and Identity’s Rule of Three, 2014, Skulptur and 2016, Video (in collaboration with Bertold Stallmach)
*foundationClass der Weissensee Kunsthochschule Berlin // TRUST US, 2017, Installation (4-Kanal, HD, Video, Audio)
Aimée García Marrero // Rewind, 2014-2017, Videoinstallation
Marta Górnicka // KONSTYTUCJA NA CHÓR POLAKÓW, 2016, Video
Delaine Le Bas/Damian Le Bas // Safe European Home?, 2011, Installation & Romani History X, 2017, Zeichnungen & Romani Embassy, Delaine Le Bas, Performance
Selma Selman // I pissed on your land, 2017, Fotografien & Selma Selman: You have no idea, 2016, Video und Performance, You have no idea, 2016, Video und Performance
Santiago Sierra // Europe Long Play, 2009, Soundinstallation & Conceptual Monument, 2012, Installation
León Siewert-Langhoff // Das Giraffenproblem, 2017, Lecture Performance
White on White // White on White #FUCKME ! (we didn’t make it), 2017, Performance
Zentrum für politische Schönheit
Tobias Zielony // Alles, 1997 – 2005, Fotografien
Team 3. Berliner Herbstsalon
Kuratorium Shermin Langhoff mit Aljoscha Begrich, Çağla İlk, Erden Kosova, Tunçay Kulaoğlu, Elena Sinanina Assistenz Olga Hohmann, Leonie Huber Leitung Dramaturgie 3. Berliner Herbstsalon Aljoscha Begrich Produktionsleitung Alexa Gräfe Assistenz Produktionsleitung René Dombrowski, Dag Lohde Leitung Ausstattung Shahrzad Rahmani Ausstattungsassistenz Katharina Scheicher, Luisa Puschendorf Regie- und Produktionsassistenz Yannick Geske Regieassistenz Isabella Sedlak, Léon Siewert-Langhoff, Ariana Battaglia, Lola Fonsèque Hospitant Burak Safa Çalış
Technischer Direktor Thomas Kirsten Assistenz Technischer Direktor Joachim Hering Technische Produktionsleitung Robert Rammelt Technische Produktionsleitung Bildende Kunst Claudia Dorfmüller Bühnentechnik des Maxim Gorki Theaters | Werkstattleitung Marcus Trettau Assistenz Werkstattleitung Peter Mayer Leitung Kostümabteilung Thomas Maché Kostümassistenz Julia Denzel, Ann Kurz Leitung Beleuchtung Pierre Stolper Mitarbeiter Beleuchtung Jens Krüger, Hans Fründt, Jan Langebartels Leitung Ton und Video Christopher von Nathusius Bereichsleitung Video Jesse Kracht Leitung Requisite Jens Gebhardt Leitung Maske Paula Karer Leitung Ankleide Andrea Schulz Leitung Presse Xenia Sircar Pressemitarbeit Mona Intemann, Ida Steffen Leitung Kommunikation Anna Bause Online-Kommunikation Patrick Kennedy Social Media Jo Preußler Entwicklung Internetauftritt Matthias Hübner, Patrick Kennedy, Jo Preußler Übersetzung engl. Webseite Summer Banks Fotografie Ute Langkafel, Lutz Knospe, Esra Rotthoff Leitung Abenddienst Peter Hanslik, Jana Radünz Leitung Verwaltung Sabine Gehrke Leitung Hausinspektion Edgar Schönberg IT-Management Stefan Heinemann Redaktion Sonderheft Aljoscha Begrich, Ludwig Haugk, Leonie Huber, Xenia Sircar Grafik Design María José Aquilanti, Amelie Strothmann, Julia Marquardt
Partner
Der 3. Berliner Herbstsalon wird gefördert von:
Einzelne Projekte werden unterstützt durch:
Das Sonderprojekt des Zentrum für Politische Schönheit im Rahmen des 3. Berliner Herbstsalon wird gefördert von:
CONSTANZA MACRAS | DORKYPARK wurde 2003 von Constanza Macras und Carmen Mehnert gegründet. Die Company arbeitet in wechselnden Besetzungen mit verschiedenen internationalen Tänzern, Schauspielern und Musikern zusammen und kombiniert in ihren Stücken Text, Live Musik, Tanz und Video.
Die Company tourte mit verschiedenen Stücken u.a. in Korea, Japan, Indien, Indonesien, Argentinien, Brasilien, Chile, Kolumbien, Südafrika, den USA und wurde zu vielen verschiedenen europäischen Festivals, wie z.B. dem Festival d’Avignon in Frankreich oder dem Aarhus Festival in Dänemark eingeladen.
DorkyPark wird u.a. durch den Hauptstadtkulturfonds und der Bundeskulturstiftung unterstützt und arbeitet regelmäßig mit Berliner Theatern wie etwa dem Hebbel am Ufer oder der Schaubühne am Lehniner Platz zusammen.
Das Aufgabenfeld umfasste von 2013 – 2017 die Leitung des KBB sowie Mitwirkung in der Produktionsleitung für folgende Projekte:
A production by CONSTANZA MACRAS / Dorkypark and HELLERAU – European Center for the Arts Dresden. Funded by the German Federal Cultural Foundation through the Doppelpass-program.
DESCRIPTION
“We are contained in nothing and photography assembles fragments around a nothing. When Grandmother stood in front of the lens she was present for one second in the spatial continuum that presented itself to the lens. But it was this aspect and not the grandmother that was eternalised.” Siegfried Kracauer “On Photography”
The ALBUM deals with memory in relationship with the photographic image and self representation. Constanza Macras’ new creation ALBUM tracks down memories of the time when the analogue world entered the digital age. From a nascent MTV and videoclip choreographies to today’s self-made YouTube generation compulsively hunting for the perfect self-portrait. How do we portray ourselves in front of a camera? What surroundings do we choose; what references do we make, or not? What do the portrayal, the pose tell us? Who is watching whom?
“Since what is significant is not reducible to either merely spatial or
merely temporal terms, memory-images are at odds with photographic representation. From the latter’s perspective, memory-images appear to be fragments but only because photography does not encompass the meaning to which they refer and in relation to which they cease to be fragments. Similarly, from the perspective of memory, photography appearsas a jumble that consists partly of garbage.” Siegfried Krakauer “On Photography”
Director / Choreography: Constanza Macras Music / Composition: Robert Lippok (raster noton) Dramaturgy: Carmen Mehnert
By and with: Emil Bordás, Luc Guiol, Hyoung-Min Kim, Nile Koetting, Johanna Lemke, Mandla Mathonsi, Ana Mondini, Felix Saalmann, Miki Shoji, Mohamed Akkouch (dance trainee) Musician: Robert Lippok, Felix Karpf
Modells: Annabel Schmieder, Marco Tabor, Ronny Welzel
Performing guests: Ana Mercy Alonso, Anne Hoschke, Antonia Gersch, Christiane Wacker, Christoph Grabe, Cristina Allés Dopico, Elena González Santorio, Gene Hünniger, Isabella Arboleda, Jacqueline Krell, Jan Böttcher, Joachim Lattke, Lorena Utrera, Magdalena Weniger, Miren Munoz, Oskar Staudinger, Serai Balmann, Solveig Meister, Tania Giovo, Tania Sternberg, Therese Bendjus
Kitchen by: Hoa Cáp, Kong Minh Cáp
Light: Falk Dittrich (Sergio Pessanha) Sound: Stephan Wöhrmann Sound / Video Assistant: Nikola Frenking Stage: Laura Gamberg, Chika Takabayashi, Veronica Wüst Stage Manager: Welko Funke Costume: Daphna Munz & Constanza Macras Costume Assistant: Maren Langer Technicians Hellerau: Kai Kaden, Helge Petzold, Sebastian Beyer, Henryk Bastian Assistant Director: Nikoletta Fischer Direction Trainees: Sophie Ketteniß, Albrecht Schroeder
Production Management: Katharina Wallisch Production Office: René Dombrowski Production Assistant: Magda Zielinska Distribution and International Relations: Rui Silveira Tour Management: Laura Nicolas Administration / CEO: Susanne Kern Projectcoordination Doppelpass: Anne-Katrin Schmidt / Katharina Wallisch
The Almost Nearly Perfect is a part of GIBCA Extended, part of Göteborg International Biennial for Contemporary Art.
DESCRIPTION
11 shades of Jante. Two choreographers interpret The Jante Law and the theme of the dance season: All together now / A common sense
Constanza Macras from Buenos Aires is an award-winning choreographer whose style is raw, physical theatre. In her works, she unites artists and ideas from all over the world around topics such as consumption, identity, migration, segregation and cultural clashes. Constanza Macras is the resident choreographer at the legendary theatre Schaubühne in Berlin. Her production Hell on Earth opened the 2010 Göteborgs Dans & Teater Festival at The Göteborg Opera.
Spanish Marina Mascarell is our next choreographer. Her works are poetic, political, intimate and socially political. After a dancing career which has included NDT 1 and 2 and Cedar Lake in New York, she now works as an international choreographer. By not staying too long in any one place, she has created her own style without being overly influenced by other artists. Her works are available at companies such as Scapino and Geneva Ballet and in the spring of 2015 also at Skåne’s Dance Theatre. Marina Mascarell is also active as resident choreographer at Korzo Theater Productions in The Hague.
These two womens’ expressions are very different from each other, but both are community-driven and interested in the tension between the individual and the collective. Musicians with specially written music will participate in both works.
THE JANTE LAW
The cultural term The Jante Law first appeared in Danish-Norwegian author Aksel Sandemose’s book A Fugitive Crosses His Tracks (1933). The law consists of ten rules which, characterized by village mentality, sums up the mechanisms of envy and jealousy:
01 You’re not to think you are anything special.
02 You’re not to think you are as good as we are.
03 You’re not to think you are smarter than we are.
04 You’re not to convince yourself that you are better than we are.
05 You’re not to think you know more than we do.
06 You’re not to think you are more important than we are.
07 You’re not to think you are good at anything.
08 You’re not to laugh at us.
09 You’re not to think anyone cares about you.
10 You’re not to think you can teach us anything.
The Jante Law also has a eleventh rule, called ”the penal code of Jante”:
11 Perhaps you don’t think we know a few things about you?
PHOTOS
All photos (C) Mats Bäcker
DATES
October 2015
Sat 17/10 – Thu 22/10 – Sun 25/10 – Tue 27/10
November 2015
Sat 7/11 – Sun 8/11 – Wed 11/11 – Sat 14/11 – Fri 20/11 – Sun 22/11 – Thu 26/11
December 2015
Wed 2/12
CAST & CREW
Choreographer: Constanza Macras Composer and performing musician: Almut Lustig Dramaturge: Tamara Saphir Set design: graa hverdag as/Kristin Torp Costume design: Daphna Munz Lighting design: Sérgio Pessanha Video design: Manuel Osterholt
Singer, Actor and Performer: Crista Alfaiate Percussionist: Mattias Breitlow Choreography assistant: Nikoletta Fisher
From / with Dancers: Jenna Fakhoury, Therese Fredriksson, Mai Lisa Guinoo, Janine Koertge, Maria Chiara Mezzadri, Satoko Takahashi, Ingeborg Zackariassen, Jim De Block, Simone Deriu, Takuya Fujisawa, Pascal Marty, Michael Munoz, Jonathan Savage, Ján Špoták, Oleg Stepanov
Production Management: Göteborgs Opera Production Management DorkyPark Berlin: Katharina Wallisch Production Office DorkyPark Berlin: René Dombrowski
A production by Constanza Macras | Dorkypark and Goethe-Institut China.
In co-production with Tanz im August, Schaubühne am Lehniner Platz and CSS Teatro stabile di innovazione del FVG, Udine and Guangdong Dance Festival. Funded by Capital Cultural Fund, Berlin – Governing Mayor of Berlin – Department for Cultural Affairs. Supported by the Berlin Senate Cultural Affairs Department and with the friendly support of The Garden Hotel.
TRAILER
DESCRIPTION
“The hard life began the day I retired, I have no flat, no job and no regular income” says the Chinese acrobat Cheng Fei, seven-times national champion and world champion. “The flowers, the applause, the flags – it feels like a different life“. On the scraphead by their mid-twenties, on their own, with no social security, often lacking formal education and job prospects in THE GHOSTS Constanza Macras worked with Chinese acrobats and circus performers. It looks like these artists, who once won fame and fortune for their country with their bodily discipline, have been forgotten and “decommissioned” by Chinese society, even though many of them are still quite young. They recall the “hungry ghosts” – according to Chinese popular mythology, lost souls who have been forgotten by their descendants and lead a miserable existence in an intermediate world. For Macras these artists’ materially precarious, ghostly condition is a metaphor for life in contemporary China, with its contradictions, social injustice and power structures. Those who once brought the country glory and honor are discarded as soon as they are no longer top achievers. “THE GHOSTS”, like the Chinese Ghost Festival in July, allows them a temporary return to the land of living, making their art and their stories visible once again.
PHOTOS
PREMIERE
3rd and 4th September 2015 during Tanz im August.
Additional shows 5th,7th and 8th September 2015 at Schaubühne, Berlin.
CAST & CREW
Director & Choreographer: Constanza Macras Dramaturgy: Carmen Mehnert
By and with: Emil Bordas, Fernanda Farah, Daisy Phillips, Yi Liu, Juliana Neves, Huanhuan Zhang, Huimin Zhang, Xiaorui Pan, Lu Ge, Chico Mello, Wu Wei, Jiannan Chen.
Music: Chico Mello in collaboration with Wu Wei, Jiannan Chen, Fernanda Farah and Yi Liu
Lighting Design: Sergio de Carvalho Pessanha Sound: Stephan Wöhrmann Video & Photodesign: Manuel Osterholt Set Design: Janina Audick Set Design Assistant: Veronica Wüst Costume Design: Allie Saunders Assistant Director: Nikoletta Fischer
Trainees: Alba Duno, Ariella Karatolou, Chin Kuo, Paul Rabe, Ottavia Tröster, Roberta Petit, Sina Manthey Translation: Chao Liu, Maureen Luo Yuebing
Production Manager: Katharina Wallisch Production Office: René Dombrowski Production Intern: Magda Zielinska Production Management (China): Xiao Yu Production Assistant (China): Chao Liu International Relations + Distribution: Rui Silveira Tour Manager: Ricardo Frayha
A production by Constanza Macras / Dorkypark in collaboration with Ayana V Jackson. A co-production with Dance Umbrella South Africa. Funded by Kulturstiftung des Bundes and Senatskanzlei für Kulturelle Angelegenheiten – der Regierende Bürgermeister Berlin and with friendly support of Rudolf Augstein Stiftung, Goethe Institut Südafrika, Dance Forum Johannesburg and Momo Gallery.
DESCRIPTION
On Fire, a new piece by Constanza Macras, deals with the re-evaluation of heritage and tradition in relation to segregated cultural groups, which are being articulated in new ways in urban life – and with self-defined contemporary practices and rituals. The piece wishes to reflect on postcolonial / post – apartheid ongoing power struggles and the artistic deconstructions of colonial / patriarchal imageries of “the other“. Macras works with a mixed cast of South African and Berlin-based performers in collaboration with the Johannesburg-based artist Ayana V. Jackson, whose photography interrogates and deconstructs other aspects of a specific chapter that we might add to the history of “invented traditions”: the visual representation of the “other” in historical and journalistic photography.
PHOTOS
PREMIERE
26. & 27. FEB 2015 / 19h00
DANCE UMBRELLA FESTIVAL
(Dance Factory, Cnr. Jeppe & President St,
Newtown, Johannesburg, 2001, South Africa)
CAST AND CREW
Choreography & Director: Constanza Macras
By & With: Louis Becker, Emil Bordás, Lucky Kele, Jelena Kuljic, Diile Lebeko, Mandla Mathonsi, Thulani Mgidi, Melusi Mkhwanjana, Felix Saalmann, Fana Tshabalala, John Sithole
Dramaturgy: Carmen Mehnert Visual Artist: Ayana V. Jackson Video Design: Dean Hutton Costume Design: Constanza Macras Costume Assistant: Noluthando Lobese Assistant Director: Nikoletta Fischer Sound Design: Jelena Kuljic / Abigail Thatcher Lighting Design: Catalina Fernandez Technical Direction: Abigail Thatcher
Production Management (Johannesburg): Nhlanhla Mahlangu Production Management (Berlin): Katharina Wallisch Production Office: René Dombrowski International Relations: Rui Silveira Tour Management: Ricardo Frayha
A production by Constanza Macras / DorkyPark and HELLERAU – European Center for the Arts Dresden in coproduction with Schaubühne Berlin. Funded through the Doppelpass program by Kulturstiftung des Bundes. With the support of the Swiss Arts Council Pro Helvetia.
DESCRIPTION
THE PAST explores the art of memory, or ars memoriae, in which memories are particularly strongly associated with physical locations, rooms and architecture. The starting point is the city as a concrete geographical location, as an anchor for memory, a mental picture and a cast of mind. What happens with our memories, what happens to those who are remembering when these physical places are destroyed? Constanza Macras talked to eyewitnesses who can remember cities that no longer exist in the same form today. The actions in the piece refer to the ancient techniques of ars memoriae, whereby in order to recall the thing to be remembered, we first have to find and organise our impressions. At the heart of this mnemonic technique is spatial orientation. How do we use rooms and places to remember?
The piece explores architectonic places as narrative instruments of our history – in the rewriting of history, for overcoming the wounds of the past, and for understanding contemporary events (personal and global) as part of a constant cycle that we experience as the passing of time. THE PAST is the fruit of a close collaboration with Oscar Bianchi, who composed a music delving into collective and individual memory. Exploring spaces between written and oral practice, the music embodies both the amplitude and the contradictions that rites of passage, communication and memory entail in the sphere of sound, and celebrate sound as a physical, sometime muscular, place where emotional and existential realities find in memory an independent and sometime ruleless form of storage.
PHOTOS
All photos (C) Thomas Aurin
REVIEWS
„The Past“ is one of the most beautiful and personal works of this great and intelligent choreographer. (TIP // 22.12.2014)
“The Past” is a reminder of what performing arts is capable of on stage: creating an autonomous place of cultural memory. (Süddeutsche Zeitung // 11.11.2014)
Exploring the relationship between physical locations and the art of memory, Argentinian-born Berliner Constanza Macras and Dorky Park’s bizarre dance spectacle The Past proves to be both thought-provoking and absurdly entertaining. (ExBerliner // 28.01.2015)
And soon, in the Schaubühne, you are breathlessly watching lofty discourses about the art of memory being spun into wildly proliferating threads. Threads that cleverly and subtly lead to the heart of the matter: bringing to life memories of experiences that are really beyond representation. (Berliner Zeitung // 28.11.2014)
You can feel the sparkling wit and the rampant imagination of this ensemble, which kneads everything that it touches until its meaning has been turned on its head. This kind of subversion – even of one’s own means of expression – is a strength of the Berlin choreographer Constanza Macras and her DorkyPark company. (TAZ // 11.11.14)
Macras and her excellent ensemble compellingly manage to find complex, surprising translations for childhood, city, memory (maybe grief) in their typical hybrid of dance, performance, text and music. (TIP // 22.12.2014)
Constanza Macras gift lies in forming a temporary unit out of impressively diverse ensembles, without obscuring their different artistic profiles – regardless of her predilection for flying and intertwined bodies. (Berliner Morgenpost // 30.11.14)
This evening is clever and subtle and at the same time direct and raw. (Berliner Zeitung // 28.11.2014)
One of the exceptional qualities of the Macras company is how little they rely on the idea that choreography and acting, text and music should be interlinked in order to work together. (nachtkritik.de // 7.11.14)
Despite the increasing heaviness of the subject-matter, the production retains for the most part an evocative lightness. (Tagesspiegel // 29.11.2014)
The sharpness of the production is plain to see: in the delicately cushioned falls of the dancers, the back and forth of individual scenes. Applause for a good theatre piece. (Sächsische Zeitung // 11.11.2014)
PREMIERE
November 7. & 8. 2014, 20:00, Großer Saal, Festspielhaus Hellerau
CAST & CREW
Director & Choreographer: Constanza Macras Composition & Music: Oscar Bianchi Dramaturgy: Carmen Mehnert
By and with: Louis Becker, Emil Bordás, Fernanda Farah, Luc Guiol, Miako Klein, Nile Koetting, Johanna Lemke, Ana Mondini, Felix Saalmann, Miki Shoji, Michael Weilacher
Light: Sergio Pessanha Sound: Stephan Wöhrmann Stage: Laura Gamberg // Chika Takabayashi Metal Works: Werner Knoof, Andreas Nestler Stage Mangager: Welko Funke Technical Director: Kai Kaden // Welko Funke Costume Design: Alison Saunders Costume Assistance: Daphna Munz
Assitant Director: Felipe Amaya, Nikoletta Fischer Assistant to the composer: Vincenzo Mazzone, Clara Calero Durán Trainees: Marlene Kolatschny, Lea Gugger, Victor Colmenero Mir, Laia Alberich Casañas, Louise Douet-Sinenberg
Production: Katharina Wallisch Production Office: René Dombrowski Production Intern: Friederike Aps, Raquel Moreira Tour: Ricardo Frayha Project Coordination Doppelpass: Anne-Kathrin Schmidt // Katharina Wallisch
With the friendly support of Nikkifaktur, Dresden.
Forces of the city clash with forces of bodies, that consciously and unconsciously articulate and exaggerate the manifold sensitivities within an ever-changing urban society. Against this backdrop, the international symposium Dancing About Architecture curated by Constanza Macras and Lukas Feireiss, brings together diverse positions in the interdisciplinary discussion of dramaturgy, dance, music, architecture and urban space.
PARTICIPANTS
Stephen Barber (Kingston University, London) Gascia Ouzounian (Queen’s University, Belfast) Christopher Dell (Institut für Improvisationstechnologie, Berlin) Andrew Todd (Studio Andrew Todd/Theatrum Mundi, Paris) Gob Squad (Berlin / Nottingham) Lisi Estaras & Nicolas Vladyslav (Les Ballets C de la B, Belgium & Argentina)
SCHEDULE
24.9.2014
// 19:30 // Welcome Guests at Schaubühne Berlin Café
// 20:00 // MEGALOPOLIS at Saal A
25.9.2014
// 19:00 – 21:00 // Reception Guest and Symposium Talk with Stephan Barber and Lisi Estaras at Studio 44
26.9.2014
// 14:00 – 17:00 // Workshop “The Physical Shelter” with Lisi Estaras and Nicolas Vladyslav at Studio 44
// 18:30 // Symposium Talk with Gascia Ouzounian and Simon Will at ANCB The Metropolitan Laboratory at Pefferberg
27.9.2014
// 15:00 – 18:00 // Workshop “The Physical Shelter” with Lisi Estaras and Nicolas Vladyslav at Studio 44
// 20:00 // – Show BERLIN ELSEWHERE at Schaubühne Berlin
28.9.2014
// 16:00 – 18:00 // Symposium Talk with Stephen Barber, Gascia Ouzounian, Andrew Todd, Christopher Dell at Schaubühne Berlin Saal A
// 20:00 // Show BERLIN ELSEWHERE at Schaubühne Saal A
PARTICIPANT’S DETAILS
Stephen Barber
Stephen Barber is author of numerous books on international performance cultures, including three studies of the work of Antonin Artaud (most recently, on the final notebooks: Artaud: Terminal Curses, 2008), and books on the Japanese performer/theorist Tatsumi Hijikata, on the work of Jean Genet, and on the films of the Vienna Action Group’s performances. He has also published many books on urban cultures in relation to performance, film, photography and digital art; His recent books are: Muybridge: The Eye in Motion (Chicago University Press, “Solar” series, 2012), England’s Darkness (Sun Vision Press, 2013) and Performance Projections: Film and The Body in Action (Reaktion, 2014). He is currently Professor of Visual Culture at Kingston University in London. He is Fellow of the International Research Center, Interweaving Performance Cultures, at Free University Berlin, and Professor in the Faculty of Art, Design, and Architecture at Kingston University, London.
Christopher Dell
Christopher Dell, doctor of philosohphy, lives and works as theoretician, artist and musician in Berlin. He has held a position as visiting teacher for Architecture Theory at the University of Fine Arts Berlin, visiting professor for Urban Design Theory at HafenCity University, Hamburg (where he also co-lead the research-project „University of Neighbourhoods“) and the Technical University, Munich. Since 2009 he is member of the ANCB Network Campus executive board.Teachings a.o. at Architectural Association, London, University of the Witwatersrand Johannesburg, Columbia University New York, Academie for Bouwkunst, Arnhem. Dell is author of numerous articles and books „Improvisations on Urbanity“ Rotterdam 2009 (with Ton Matton), „Tacit Urbanism“, Rotterdam 2009, and REPLAYCITY (Berlin 2011), “Die improvisierende Organisation”, Bielefeld 2012, “Ware:Wohnen!”, Berlin 2013, “Das Urbane” Berlin 2014.
Lisi Estaras
1971, Cordoba (AR) Lisi studied dance in Cordoba (Argentina) and later on in Jerusalem in the Rubin Academy of Music and Dance. Later on she danced with the Ensemble Batsheva in Tel Aviv.Since 1997 Lisi works with les ballet C de la B. She danced in Iets op Bach, Wolf, vsprs, pitié!, C(H)ŒURS by Alain Platel, and Tempus Fugit by Sidi Larbi Cherkaoui.Through the years Lisi developed her own work; she created and performed in Bartime (Campo, Ghent), Cocina Erotica and No Wonder with Constanza Macras (Schaubuhnne, Berlin).At les ballets C de la B she directed Patchagonia, Bolero, The Gaza Monologues, primero and her latest piece, Dans Dans; in coproduction with het Kip (Ghent).
Gob Squad
Gob Squad is a British-German collective based in Nottingham and Berlin. They have worked collaboratively since 1994 in the fields of performance, video installation and theatre. They create mid-scale work that combines audience interaction with real-time video editing. The collective often use popular culture to explore the complexities of everyday life in urban spaces – in houses, shops, underground stations, car parks, hotels or directly on the street. Here reality and entertainment are set on a collision course and the audience are often asked to step beyond their traditional role as passive spectators and bear witness to the results.
Gascia Ouzounian
Gascia Ouzounian (BMus, MMus McGill University, PhD UC San Diego) is Lecturer in Creative Arts at Queen’s University Belfast. She has published and lectured widely on the topic of sound and space, focusing on such areas as sound installation art, site-specific sound, the history of spatial audio, acoustic mapping, and sound art in public and urban spaces. Ouzounian is committed to bringing the work of contemporary composers and sound artists to new forums. As a violinist and artist she has performed and presented her work across North America and Europe. Ouzounian is founder of Optophono, a label that publishes interactive sound and multimedia works (see www.optophono.com), and along with architect Sarah Lappin initiated the interdisciplinary research group Recomposing the City: Sonic Art and Urban Architecture at the Institite for Collaborative Research in the Humanities at Quenn’s University, Belfast.
Andrew Todd
Andrew Todd studied English at Cambridge and architecture at the University of Pennsylvania before moving to Paris, where he established his own architecture practice Studio Andrew Todd. The architecture and scenography practice has completed projects throughout Europe with a particular emphasis on spaces for the performing arts. Todd is co-author of the book ‘Peter Brook’s Theatre Environments’ (faber), written in collaboration with theatre director Peter Brook. He’s also part of Theatrum Mundi, a professional network of urbanists and artists in different cities, started by Richard Sennett. The collective consists of academics, architects, planners, performing and visual artists, with the aim to stimulate discussion about practices spanning stage and street. Andrew was made Chevalier des Arts et Lettres in 2011 by the French government for services towards the integration of different artistic disciplines.
TEAM
Production Management: Katharina Wallisch Production Office: René Dombrowski
Artistic Exchange with South African Artists on Gender and Tradition
Curated by Constanza Macras and Tamara Saphir.
Thanks to Georgina Thompson and the Dance Forum team in Johannesburg, PJ Sabbagha and the Forgotten Angle Theater Collaborative, Stevenson Gallery Johannesburg and Cape Town, Goethe-Institut Johannesburg, S.-R. N’Sonde, Kimba Mutanda Andersen andTayaka A/free/Collective, Tatiana Saphir and many others.
Supported by the Kulturstiftung des Bundes and Der Regierende Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten.
With the friendly support of the Dance Forum South Africa and the Dance Umbrella Festival.
DESCRIPTION
“Stating the plurality of the singularity is perceived as one of the most effective means to negotiate the Babel of races, cultures and nations, that has become unavoidable through globalization’s long history.” Achille Mbembe “De la Postcolonie”.
In his foreword to “On the Post-colony”, Achille Mbembe describes a movement coming from the margins and gaining its place at the core of different artistic disciplines and social studies. A movement that have been developing its own lexicon, theoretical arsenal, and different methods to analyze and interrogate “paradigms on the subject of race and diasporas (critical race studies), on sexuated difference (feminisms, gay issue), on post colonialism and subaltern knowledges (subaltern studies), and on the contemporary circulation of all sorts of flows (public culture)” (Achille Mbembe, “De la Postcolonie”, ed. Karthala 2000).
Short before the 20th anniversary of the first multi-racial democratic elections in South-Africa, a prolific variety of talented south african artists and thinkers are engaged on these interrogations, questioning the norms and processes that assign categories and values, the never- ending negotiation of identity constructions in the specific cultural, historical, socio-economic and political landscape of the Rainbow Nation. Taking them seriously, is a choice to believe in Mbembe’s promise for deepening a reflection on the democratic order, the politics of recognition and inclusion and our relation to the other and the world.
ARTISTS IN RESIDENCE
A special focus in the program will be given to south african LGBTI (Lesbian, Gay, Bi -and Trans- Intersex) activists that are questioning the norms of gender/sexuality identity constructions, working in the space between the most progressive legislation of Sub-saharan Africa to this regard and a reality that remains conflictive. In a country that belongs to the so-called world’s “Champions League” in terms of gay marriage, the phenomena of corrective rapes and the specific vulnerability to violence for LGTBI’s and women are still a severe reality. Moreover, homosexuality is considered by some as “un-African”, namely a “decadent” import from North America and Europe. Paradoxically, this homophobic belief is a relic of a Puritan legislation inherited from the period of British colonial era. Yet, in order to craft narratives of a south-african identity that includes LGTBI it seems still hard to avoid dealing with more complex processes related to religious practices and powers, as well as the cultural and political interpretations, re-interpretations and sometimes an instrumentalization of tradition and heritage.
On the other hand, the re-evaluation of heritages and traditions long related to segregated cultural groups are being articulated in new ways with urban life, and with self-defined contemporary practices and productions, that we want to include in this program. This often links to a subaltern reflection on post-colonial/post-apartheid ongoing power struggles and the artistic deconstructions of colonial/patriarcal imageries of the other.
28.02.2014 – 01.03.2014
19H30 – ”SHE IS NOT A GIRL, SHE IS NOT A BOY” BY AND WITH MMAKGOSI KGABI & JULIANA PIQUERO
“She is not a girl, she is not a boy” will question the interstices between the public space of performativity and the intimacy of the body’s inner perceptions. What remains once ambiguity has exploded all categories? An exploration of the significance or in-significance of words and movement. A language within language haunting us back, as the fantom of what it should and should not had been.
21H00 – “LOST IN TRANSITION” BY AND WITH KIERON JINA, MIKI SHOJI & JAN SEBASTIAN SUBA
Kieron Jina did an extensive field research on the “invisible” male sex workers from Cape Town. Sebastian Suba collected statements, anecdotes and legends of male porn stars. Miki Shoji joins them for creating an interdisciplinary performance work about hidden transactions and overexposed bodies, confessions and professions, witnessing and peeping. On the performativity of sex and the instability of gender.
07. – 08.03.2014
19H30 – “LELEME”, DANCE SOLO BY & WITH LERATO SHADI
Choreographical collaboration: Miki Shoji
In “Leleme”, the expression “mother tongue” is taken literally, as a departure point to explore how colonial language can be experienced physically. A negotiation of space is at stake, in the dynamics of hiding and revealing, enclosing, restricting, protecting. The prevailing themes in Lerato Shadi’s current body of work are a performative investigation into the politics of transformation, or transition, from absence to presence, subject to object, inclusion, exclusion and vice versa. Knitting, installation, video and sound are some of the media she uses to record this topical inquiries.
21h00 – “SHADES OF A QUEEN” BY AND WITH MMAKGOSI KGABI
Shades of a queen… is an experimental work investigating the constructs of identity. It evolves around rituals as important signifiers, and a fascination with intercultural exchanges that is certainly rooted in globalization. The creative process is based in personal experiences in public spaces i.e. conversations in taxi ranks, subway stations, airports, markets. “Omang? Who are you?…Who am I? I am a dusty feet traveller…An immigrant, a refugee, a traveller, a transient being, moving, shifting, crossing, riding, giving, taking, displaced and removed, a spawned street kid.” ‘I was spawned as the shoot of a veined directive relieved itself. Spawned as regret settled before rushing rivers of blood quietened. Spawned before whispers of my coming were ever muttered. Tuunikohaa!’
28. – 29.03.2014
19H30 – “MANDIOCA” BY AND WITH LUCKY KELE & RONNI MACIEL
Between the inhabited body of the ritual and the rituals of the technical performance, a duo work at the moving edges of trans/cendant states and immanent formal virtuosism. Lucky Kele and Ronni Maciel will interrogate what moves them and how to move together.
The Young Curators Academy is funded by:
