All posts tagged “Workshops

We have no art: we do everything as well as we can.

Akademie II Workshops-40
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Akademie-II-Abschluss-32
Akademie II Kinderbetreuung-4
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Fotos: Robin Junicke und Impulse Festival

We have no art: we do everything as well as we can.

Impulse Akademie, Impulse Festival, Mühlheim an der Ruhr, 2022

Was wäre, wenn nicht Produktion, sondern Reproduktion im Zentrum unseres Kunstverständnisses stünde? Wenn Sorgebeziehungen künstlerische Zusammenarbeit nicht hemmen, sondern bereichern würden? Wie funktionieren künstlerische Arbeitsprozesse, wenn sie nicht mehr in neoliberalen Produktionslogiken gedacht werden, sondern als Instandhaltung, als Wiederaufnahme und Wiederanknüpfen? Was kann die Kunst hier von Aktivist*innen der radikalen Sorgearbeit lernen? Und was wäre, wenn wir die Kunst schließlich selbst als Sorgearbeit begreifen würden? Wäre das dann Maintenance Art?

Gemeinsam mit Akteur*innen aus der künstlerischen Praxis, Studierenden, Dramaturgie und Produktion wurde in einem Workshop von andpartnersincrime eine Form des Freien Theaters erforscht, die Kunst- und Sorgearbeit miteinander verbindet und diese Maintenance Art im Mülheimer Stadtraum erprobt.

Während der gesamten Dauer der Workshops stand eine kostenlose Kinderbetreuung zur Verfügung. Dies gehört zur Frage des Zusammendenkens von Kunst- und Sorgearbeit dazu!

15.- 18th of Juni 2023, Mühlheim an der Ruhr

https://www.impulsefestival.de

https://www.cheersforfears.de/impulse-akademie/

Der kindliche Blick

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DER KINDLICHE BLICK

Workshop und Film mit Kindern aus Leipzig Grünau

Künstlerhaus Mousonturm / Take Heart Programm Fonds darstellende Künste / Soziokulturelles Zentrum Heizhaus

Stadtplanung hat also einen signifikanten Einfluss auf das Aufwachsen und die sozialen Aufstiegsmöglichkeiten von Kindern.
In sozial schwächeren Nachbarschaften kommt es oft zu einer Agglomeration von Defiziten in der Gestaltung der Außenräume, die die kindliche Entwicklung beeinträchtigen und zu einer Exklusion von gesellschaftlicher Teilhabe führen. 

In „Der kindliche Blick“ haben die Regisseurin und Dramaturgin Eleonora Lela Herder und der Videokünstler Jos Diegel sich aus künstlerischer Perspektive mit dem Themenkomplex „Geographie der Kindheit“ auseinandergesetzt. Im Vordergrund stand hierbei die Frage, welche Teilhabe- und Mitgestaltungsmöglichkeiten Kinder und Jugendliche am urbanen Raum haben.
Dabei sollte ein Perspektivwechsel durchgeführt werden: für welche angenommene Norm wurde der öffentliche Raum konzipiert und was für Blickwinkel und Perspektiven ergeben sich für diejenigen, die in diesem Raumentwurf nicht mitgedacht werden? Welche darstellerische Mittel machen den kindlichen Blick auf Stadt für Erwachsene erfahrbar?

Sinem Dinara Hartmann, Malou Löffler, Ben Zeisler, Kira-Katharina Zimmermann

Natalie Hadarie, Anna Döhler, Finja Döhler, Timmy Eggert, Emilia Ehrenberg, Josephine Etumunu, Sinem Dinara Hartmann, Anton Hermann, Raciel, Carlos Ros, Fanny Schreiber, Saskia Schürmeier, Alina Stäbler, Oskar Stäbler, Diana Sulaimani, Anna Sophie Ulrich, Emily Wende 

Künstlerische Leitung: Eleonora L. Herder
Kamera, Schnitt, Videodesign: Jos Diegel
Kamera, Schnitt, Locationscouting: Michelle Koprow
Sounddesign und Komposition: Jonas Harksen
Produktionsdramaturgie: Sarah Charlotte Becker
Creative Producer: Sven Rausch

TEAM HEIZHAUS/Projekt GRÜNAU ON TOUR

Choreographie und Einstudierung: Johanna Uhle & Mechthild Schade
Betreuung: Mandy Unger, Laura Wilmer
Pädagogische Betreuung: Marie Molle, Paul Illner, Josefine Bartl

Oma Brigitte. Erzieherin in der DDR.
Michelle, 1990er Jahren in Grünau großgeworden
Madlen, 1994- 1998 in einem Kinderheim in Grünau

ART AS LABOUR

©Julia Schleisiek

ART AS LABOUR – Mutterschaft als Institutionskritik. 

Diskursformat und Publikation im Rahmen von „Care City“, Wunder der Prärie 2021, Mannheim. 

Die Künstlerin Mierle Laderman Ukeles musste Ende der 1960er Jahre erfahren, dass Künstlerin und Muttersein als zwei sich gegenseitig ausschließende Seinsweisen auf dem freien Kunstmarkt galten. 

Über fünfzig Jahre später ist Ukeles Kritik immer noch aktuell: Künstler*innen, die auch Mütter sind, gelten als nicht verlässlich und weniger belastbar, als Risiko für Produktionsprozesse. Wie müsste eine Kunstinstitution aussehen, die Reproduktion und nicht Produktion in das Zentrum ihres Kunstverständnisses stellt? Wie kann Mutterschaft und Sorgearbeit im Kunstbetrieb sichtbar gemacht werden? Wie lassen sich den neoliberalen Produktionsformen der Kunstbranche Strategien der Instandhaltung entgegensetzen? 

Eleonora Herder und Inga Bendukat von andpartnersincrime haben gemeinsam mit Kompliz*innen aus Kunst, Aktivismus und Theorie dazu eingeladen, das »Manifesto for Maintenance Art« zu diskutieren, zu aktualisieren und umzuschreiben und neue Forderungen zur Vereinbarkeit von Sorgearbeit und Kunst aufzustellen.

Mit Inputs von Marcia Breuer (Künstlerin und Initiatorin »Mehr Mütter für die Kunst«), Hannah Cooke (Künstlerin), Katrin Hylla (Regisseurin und Co-Verfasserin des Care Manifestes von 2018), Magdalena Kallenberger (Mitglied von MATERNAL FANTASIES), Olivia Hyunsin Kim (Performerin und Regisseurin), Mary Jirmanus Saba (Filmemacherin und Geografin, Mitautorin von »Why Call It Labor?«).

Die während der Akademie entstandene Publikation gibt es hier zum Download.

Sensa Sortida – institutional critique

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DULL SENSATION

Institut del teatre, Barcelona, 2020

In the last two decades a new genre of post-dramatic theatre has emerged that is often described as performance-installation or theatre installation.Despite having its origin in an aesthetic crisis that was created in the context of the plastic arts in the 1960s, the theatre installation is distinguished from the plastic installation by an important characteristic: it turns space into narration and the spectator into the protagonist of the story. This makes it an interesting instrument for all those who are in search of other - perhaps more democratic - forms of narration. 

January 2020, 60 hours, 9 Students

A project of the Institut del Teatre, Diputacion de Barcelona

Memories and other Spaces

WORKSHOP

Muntada Al Masrah, Bagdad, Irak

19th and 20th of November 2019, 10 am to 4 pm in

The present epoch will perhaps be above all the epoch of space. We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment, I believe, when our experience of the world is less that of a long life developing through time than that of a networks.


(Michel Foucault, Of other spaces, 1967)

The Italian mathematician and astronomer Galileo Galilei was persecuted by his contemporaries, because he kept saying that the planet earth was not the center of the universe, but was actually one out of many planets rotating around the sun. They wanted to kill him, because they couldn’t stand this new perspective: suddenly our planet was just one star among many… 

Space is relative. A place is much more than a geographical location. Its dimensions depend on how and from where we look at it. If you are a turtle, a living-room can seem as a big as a football field. If you are the operator of a drone, you can be in your little office in Nevada drinking a cup of tea and at the same time at war in Afghanistan. If you are in love, the room of an old and shabby hotel per hours may seem the palace of a princess. Europe can be a place for hopes and dreams or a nightmare.

The artists Akram Assam, Eleonora Herder and Soran Ahmed are interested in different phenomena of globalization such as migration, the war on resources and the representation of places in the globalized media.

The workshop touches the following dramaturgical questions and techniques:

  • What does documentary work mean in theater?
  • How can we use our own biographies and memories as a material for the stage?
  • How to lead an interview on memories?
  • How to use documentary video material on stage?

More Information: https://www.facebook.com/MuntadaAlmasrah

Under the pavement- spaces of remembrance

Under the pavement- spaces of remembrance

Theatertreffen, Berlin

2016

Workshop leader: Eleonora Herder

Venue: Haus der Berliner Festspiele

Date: 14 May 2016, 11:00am

Walking as a practice of remembering and re-narrating. During the workshop I would like to ask which artistic strategies can be developed to make (former) utopias become visible and hearable and though stage the explosive potential of places.

DIGITAL CULTURES: Poranny Spacer

DIGITAL CULTURES: Poranny Spacer

Conference in Warsaw

26. September 2017

On Tuesday the 26th of September at 15:30h the dramaturg Szymon Wróblewski will talk about “Poranny Spacer” in the frame of DIGITAL CULTURE´s panel “Best of Poland” The event takes place at: Copernicus Science Centre
Wybrzeże Kościuszkowskie 20,
00-90 Warszawa

you can order your ticket here:
www.digitalcultures.pl/en

The Invisible City

The Invisible City

Lab for performative research

8. – 10.09.2017

What is a home? And what is a city? Can a city be seen as a collection of temporary and permanent homes? Can we speak of a city as a home? And what does it mean, according to Article 13 of the Basic Law, that the dwelling is "inviolable"? And what does it mean when just below it, in article 14, it says "property is obligatory". To what? Speaking about habitation means talking about our understanding of property, especially in Frankfurt, where the German squatter movement began.

The lab tries to revive these questions through interviews with activists of the "Eine Stadt für alle" (A City for All) movement.

Lisa Hahn is an activist in the initiative „Eine Stadt für alle – Wem gehört die AGB?” (A City for All - Who does the AGB (general terms and conditions) belong to?)

She studied Human Geography & Urban Research in Frankfurt. She focused more and more on the topic of housing and wrote her master's thesis on student housing. Since October last year Lisa Hahn has been working as a research assistant in local politics for the parliamentary group Die Linke (democratic left party) in the area of planning and housing policy and urban development.

The alliance "A City for All - Who does the AGB belong to?" is a forum for housing policy and neighbourhood initiatives from Frankfurt (and the surrounding area) and launches various actions and campaigns on a regular basis. In particular, the campaign "We are half the city" is about demanding high-quality and long-term affordable social housing in Frankfurt.

Images create cities. Whether official marketing or selfies in front of sights: cities and public spaces are often reduced to the visual. In doing so, they are particularly shaped by what cannot be seen, such as infrastructures and memories, norms and restrictions, plans and forgotten utopias. Beneath the surface of the images, the invisible city is hidden: firstly, with its different lifeforms, its history, its becoming and passing; secondly, with its borders, exclusions and marginalizations. Cities are spaces in which the future is permanently negotiated. They are reservoirs of the past, motors of the present and laboratories of the future - in the good and bad sense.

Since 2012 laPROF has been holding laboratories for performative research on a regular basis in order to make contemporary artistic methods openly accessible. In small laboratories, artists work together with participants on specific topics, making their methods of working and their aesthetic stance transparent. On the weekend of 8-10 September 2017 laPROF will organise a laboratory for performative urban research. The invited artists will research with the participants on concealed issues and stories in Frankfurt. Following artists will be there:

Ligna (Performance collective, Frankfurt/Hamburg): Construction and demolition

Friendly Fire (Performance collective/Leipzig): Places of protest

Diana Wesser (Visual artist and performer/Leipzig): Traces of Jewish history

Eleonora Herder (Performance artist/Frankfurt) with Lisa Hahn (Activist „A city for all"/Frankfurt): Coexistence

The event will be based in the student house in Bockenheim, the research will mainly cover the districts of Bockenheim and Westend. The laboratories will investigate concrete places, their history, how they function, what they show or hide. At the end of the weekend, the participants will create small audio or video tracks from their research, which will be implemented on a website and then, if possible, made openly accessible at the respective locations. This will create a pool of small artistic interventions. In addition to the open House of Cultures initiative, cooperation partners are the "Stadtlabor unterwegs" (City lab on the move) of the Historical Museum and the Jewish Museum.

At the beginning on Friday there will be an introduction by Jan Deck (independent theatre maker/laPROF) and Patrick Primavesi (Professor of Theatre Studies/Leipzig). Afterwards there will be a tour with Norbert Saßmannshausen, a district historian.

Qualitative interviews are used to generate data in the form of narrations and statements about a subject. However, the statements are not facts or views that are to be elicited from the interviewee as fixed units. Rather, they are communicatively generated data that arise in an interaction between the interviewee and the interviewer, including their verbal and non-verbal interactions.

Thus, the context of the data production is considered an immanent part of the data itself. The interview context should be integrated into the analysis.

An essential part of this happens through the self-reflection of the researchers. This also includes becoming aware of one's own position in relation to the interviewee and the object of research.

Qualitative interviews reveal what the spatial appropriation of one person does to the claims, rights and practices of another. In this sense, interviews can make a contribution to the pluralization of the city, they can be supportive in formulating and explaining the "right to the city". It has also become clear that the city actually takes placein the interview – and is not just being remembered and told of. If an interview is carried out on site, it is not only talked about the city, but the people involved in the interview create the city in their interaction.

DOCUMENTARY THEATRE

DOCUMENTARY THEATRE

University of applied sciences, Frankfurt

2018

Introductory seminar on contemporary documentary theatre.

In this block seminar, we worked together with students from the FH (University of Applied Sciences) in Frankfurt on both theoretical and practical aspects of what a document is and how it can have a performative and narrative effect on stage.

In addition to the screening and analysis of works by SheShePop, Boris Nikitin and Rabih Mroué, we gave insights into the methods of andpartnersincrime and ended with a small performance.

18 hours

8 students

A project of the University of applied Sciences, Frankfurt

PUBLIC SPACE

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PUBLIC SPACE

Institut del teatre, Barcelona 2018

Class for students of scenography

This course aimed to explore and deepen the field of public space as a possible performative space.

The idea was to investigate to what extent urban space is still a public space. And, if that's the case, who would be the audience and who the actors of this space.

How can public space work as a stage for a performance and simultaneously analyse where public space, already by nature, acts as a stage. For what performance? And who directs it? How can we, with the world's tools of theatre and performance, subvert this urban show?

How, by means of artistic interventions, can we reclaim public space and turn it back into a democratic platform?

January 2018, 45 hours, 15 Students

A project of the Institut del Teatre, Diputacion de Barcelona