Atelier Archives to come at Tanzquartier Wien: program

EDN Atelier: archives to come
Tanzquartier Wien
21-24 April 2016

This EDN Atelier is integrating the 11th edition of the artistic-theoretical parkour SCORES. It seeks to investigate the diverse practices and strategies of potential and constantly actualized archiving, the archives of the future, continuosly arriving, the archives to come. SCORES nº11 thereby searches to distinguish tendencies, possibilities and means offered by contemporary choreographic practice in comparison to and in alliance with other disciplines.

Through the activity of archiving a potentially concrete presence invents itself anew constantly, a present tense in which an individual or collective subject re-orients and re-locates, relates itself to. Via the tracing, collecting, arranging of objects and materials the past simultaneously formulates as a future, and the future as a past – as that which could have been, as that which will have been.

In this EDN Atelier we look into questions as about the desire and agency of collecting and archiving in front of constantly changing artistic and political situations, under moving conditions, in states of transition. Or further: in which critical situations the need or even necessity of undertaking and inventory (of a presence) emerges, in order to relocate and establish new relationships towards the existing master narratives – as in many archives from below, where through changing the grammars of the past new paths and possible continuities get established? Which affects and desires are inscribed into such acting?

Within this thematic field especially the parts and aspects of archive, which are out of sight, that which withdraw/distract from a possible meta-level of reflection and to which we don’t easily have access, play a role. They often speak to us only in traces and symptoms from the different stores and layers (body, space, time) they reside in and make themselves perceivable and visible mainly in non-controllabe situations. How can the discourses that inform us be unmasked, our blind spots revealed and where do we carry “our” culture(s)? Jacques Rancière wrote, that identity is only a question of space and that we have to travel, to move in order to disclose it.

In this notion of archive objects and materials cannot simply claim or get rid of their causality through the contexts they are set into, but simultaneously bear and tell “their own” (hi)stories independently from the projections of the archiver. In a practice of active archaeology objects and materials themselves experience subject status, archivers and their bodies themselves get part of the object of investigation, since they themselves also have to be examined in relaton to their inscriptions, ascriptions and overscriptions. Per se they can register/record and be registered/recorded only in the process, temporarily and situatively: also in a sense that they unresistingly set themselves into relation with (their) memory spaces, “refuge areas”, that do not exist any longer, that are left behind and still are taken with, which can be archived/activated, as spaces to be, as archives to come.

ORGANIZED BY

Tanzquartier Wien and European Dancehouse Network.

PARTICIPATION

Registrations: https://goo.gl/14eeXM

More information here: http://www.tqw.at/en/events/scores-n%C2%B011-atelier-edn-european-dancehouse-network

CALENDAR

Thursday 21 April

13:00 h. Workshop: The archive as a body, the body as an archive. By Claudia Bosse + guests. At TQW/Studios.
16:00 h. Installation: Transforming Acts. By Penelope Wehrly + Detlev Schneider. At TQW/Studios.
17:00 h. Discoursive opening.  By Andrea Amort, Scott Delahunta, Walter Heun + Lelja Mehanovic, Martina Hochmuth. At TQW/Studios.
21:00 h. Performance: Choreographic Games. By Rémy Héritier + Laurent Pichaud. At TQW/Halle G.

Friday 22 April

13:00 h. Workshop: The archive as a body, the body as an archive. By Claudia Bosse + guests. At TQW/Studios.
14:00 h. Installation/Performance: Table of contents. By Siobhan Davies Dance. At Leopold Museum.
15:00 h. Performance: Black Belt Drawing. By Dan Perjovschi. At TQW/Studios Passage.
16:00 h. Installation: Mobil[e]_migration. By Daniel Aschwanden + Conny Zenk. TQW/Studios.
16:00 h. Installation: Transforming Acts. By Penelope Wehrly + Detlev Schneider. At TQW/Studios.
17:00 h. Lecture performance: REDEN [Talking]. By Christine Gaigg + Claus Philipp. TQW/Studios. Discussion in German.
18:00 h. Lecture: Traces between the Times. Archive/archiving and writing (dance) hi/stories. By Christina Thurner. TQW/Studios. Lecture in German.
19:00 h. Performance: Mobil[e]_migration. By Daniel Aschwanden + Conny Zenk. TQW/Studios.
21:00 h. Performance: Der Tausendfüßler (Was bleibt?) [ Millipede (What Remains?)] a livelong project. By Milli Bitterli. TQW/Halle G.
23.00 h. Performance: Collection of Tunes. By Boris Ondreička. TQW/Studios.

Saturday 23 April

11:00 h. Performance: Black Belt Drawing. By Dan Perjovschi. At TQW/Studios Passage.
12:00 h. Installation/Performance: Table of contents. By Siobhan Davies Dance. At Leopold Museum.
13:00 h. Workshop: The archive as a body, the body as an archive. By Claudia Bosse + guests. At TQW/Studios.
16:00 h. Installation: Mobil[e]_migration. By Daniel Aschwanden + Conny Zenk. TQW/Studios.
16:00 H. Installation: Transforming Acts. By Penelope Wehrly + Detlev Schneider. At TQW/Studios.
17:00 h. Lecture: The archive as a body, the body as an archive. By Claudia Bosse. TQW/Studios.
18:00 h. Lecture: survival strategies (the Contemporary Art Archive and the Knowledge Museum) 1985 today. By Lia Perjovschi. TQW/Studios.
19:00 h. Lecture: Rewind-Forward. By Olaf Nicolai. TQW/Studios.
21:00 h. Performance: Archive. By Arkadi Zaides. TQW/Halle G.
23:00 h. Film Screening: Fahrenheit 451. By François Truffaut. TQW/Studios.

Sunday 24 April

10:30 h. Installation/Performance: Table of contents. By Siobhan Davies Dance. At Leopold Museum.
11:00 h. Performance: Black Belt Drawing. By Dan Perjovschi. At TQW/Studios Passage.
12:00 h. Discoursive Detour. By Siobhan Davis with Scott delahunta, Dan Perjovschi, Arkadi Zaides, Sandra Iché, Penelope Wehrli a.o. TQW/Studios.
13:00 h. Workshop: The archive as a body, the body as an archive. By Claudia Bosse + guests. At TQW/Studios.
16:00 h. Installation: Transforming Acts. By Penelope Wehrly + Detlev Schneider. At TQW/Studios.

CONTENTS

Workshop: The archive as a body, the body as an archive · Claudia Bosse
What memory do archives and bodies have? How do archives construct reality and history? How does the body construct its past and present? What documents become part of archives? How are cultural identities and ideological boundaries designed in archives? What are the (ethical) taboos and resistances of the archives and the body? The workshop investigates the politics of the body, of the status of documents and the future of archives on the basis of examples of work from Claudia Bosse’s dealings with museum collections, and confronts these with methods and researches of her own work. What are the respective media and grammars of remembering?

Claudia Bosse is an artist, choreographer and artistic director of theatercombinat. After a degree in theatre direction at the Ernst Busch Academy of Dramatic Arts, Berlin, she now works in the field of (experimental) theatre between installation, (space) choreography and urban intervention and generates political hybrids as site-specific settings with particular arrangements for different audiences. She has developed international installations and works for museums, architecture, theatres and urban spaces.

Installation: Transforming Acts · By Penelope Wehrly + Detlev Schneider
Since the 1980ies, dance has been providing impulses for artists who were looking for future-oriented means of expression and therefore crossed the borders between genres and categories; dance thus deeply influenced the theatre avant-garde. At the same time, in Middle Europe, the synergies of dance, sound and image spaces were developed based on the work that Cage, Cunningham and the New York Judson Church protagonists had been working on since the 1960s. Lucinda Child’s influence reached us, for example, in Robert Wilson’s pieces. Also, the early choreographies by Anne Teresa de Keersmaeker, Jan Fabre and other activists of the Flemish / Netherlands scene of the time were artistically stimulated by these roots. Then they themselves became a source of inspiration for younger choreographers and directors. These processes of inspiration and transformation in the last three decades of the last century are what this media installation project would like to show in impressive pieces by exemplary protagonists: Pina Bausch, Laurent Chétouane, Jo Fabian, Jan Fabre, Johann Kresnik, Thomas Lehmen…

Penelope Wehrli, born in Zürich, currently lives in Berlin. Since 1980, she developed performance installations, films and videos , which were shown in New York , Belgrade and Bangalore. Since 1996, she defines her enactments and walk-in media spaces as “space scores”. From 2004 to 2009 she was professor for scenography at the Hochschule für Gestaltung in Karlsruhe.

Detlev Schneider is a theatre and cultural studies scholar and curator. He completed his degree in Leipzig and Berlin, after which he worked in theatre journalism with the focus on scenography and theatrical border zones. He was the co-initiator of the revival of the Festspielhaus Hellerau in Dresden and a member of the artistic management of the Medien-Kunst-Labor Tesla. Currently he is carrying out studies and projects at the intersection of media performance and music theatre.

Discoursive opening: The Worlds of Rosalia Chladek · Andrea Amort
In her lecture the Vienna dance scholar Andrea Amort talks about the opening up and research into the extensive estate of Rosalia Chladek, one of the most important pioneers of free dance in the 20th century. The long-term project is a cooperation between the International Rosalia Chladek Society with the Music and Arts University of Vienna and the Vienna Theatre Museum.

Andrea Amort is professor at the University of Vienna, dance historian, dramaturg and critic. As a writer she published österreich tanzt. Geschichte und Gegenwart,  Nurejew und Wien. Ein leidenschaftliches Verhältnis and Hanna Berger. Spuren einer Tänzerin im Widerstand. She has been curator on behalf of the city of Vienna for theater, dance and performance and currently she is investigating at MUK.

Discoursive opening: DRAWING, THINKING, OBJECTS AND CODE · Scott deLahunta
In the last decade a number of artist-initiated research projects have emerged from the field of choreographic practice that embraced the idea of digital media offering something special to the process of recording, annotating and publishing dance. Motion Bank has been one such project, in part claiming a new status for dance documentation and through this a means of contributing to its preservation. We have had the opportunity now to study results of these projects and engage them critically. Key insights emerging relate to a necessary lack of insight, process consumption, scores that cannot be read and artworks spawning artworks. Dance still holds to its unstable fluid components, but it appears to be more generative than before and more “researchable”. What might this mean for the theme of this conference, archives to come? This short presentation will share examples, analysis and proposals to provoke discussion on this question.

Scott deLahunta has worked as writer, researcher and organiser on a range of international projects bringing performing arts with a focus on choreography into conjunction with other disciplines and practices. He is currently a Senior Research Fellow at the Centre for Dance Research, Coventry University (UK) and Deakin Motion.Lab, Deakin University (AUS). He is co-directing the Motion Bank Institute based in Frankfurt.

Discoursive opening: On challenges of institutional archiving · Walter Heun + Lelja Mehanovic
With the launch of its Online Mediathek Tanzquartier Wien enabled the access to a unique cultural heritage, which has been made available to the public after several years of digitalization. In the framework of their presentation Walter Heun and Lejla Mehanovic will talk about the concept and the realization of the Online Mediathek and furthermore deal with the issues of responsibility as well as the challenges regarding the archiving of one artistic institution’s activities.

Walter Heun isthe artistic director of Tanzquartier Wien. He studied theatre studies, German literature and philosophy and is involved since 1984 in the field of dance. With his production company Joint Adventures, he carried out various national and international projects, such as the TanzWerkstatt Europa in Munich and the National Performance Network (NPN). Heun was the founding Manager at Tanztendenz München. He initiated and managed the choreographic center of the expanded dance department at Lucerne City Theatre luzerntanz in luzernertheater from 1999 until 2004.

Lejla Mehanovic completed her studies of German Philology, Theater, Film and Media Studies at the University of Vienna. Since 2010 she has worked in the dramaturgy and theory department of Tanzquartier Wien and is the editor of the publication SCORES and responsible of the Media Center and TWQ Online Mediathek.

Discoursive opening: The Witness: screening and talk · Martina Hochmuth
Martina Hochmuth introduces the film by Ruti Sela The Witness  commissioned by Musée de la danse in the context of Moments: A History of Performance in 10 Acts, curated by Boris Charmatz, Sigrid Gareis, Georg Schöllhammer am ZKM Karlsruhe.  The venue for the film by the Israeli artist Ruti Sela is the exhibition Moments itself; its theme is the multiple approach to performance history in it.

Martina Hochmuth is a curator, dramaturge and producer in the context of contemporary dance and performance. Since July 2009 she has been directing productions by Musée de la danse / Centre Chorégraphique National de Rennes et de Bretagne (Manager Boris Charmatz) and doing curatorial cooperation with Boris Charmatz, among others. She was a dramaturge and director of research at the Tanzquartier Wien. She is a co-editor of It takes place when it doesn’t: On dance and performance since 1989 (with Krassimira Kruschkova and Georg Schöllhammer) and the expo zéro online catalogue (2011 with Gilles Amalvi).

Performance: Choreographic Games · Rémy Héritier + Laurent Pichaud
Choreographic Games situates itself right at the heart of what we conceive as the discourses of and about “contemporary dance”, playfully exploring its vocabulary and testing the very grammar it is constructed upon. Questioning existing master narratives of art and dance history, anticipated patterns, styles or aesthetics within an excerpt of a dance piece or text, a group of “experts” Rémy Héritier and Laurent Pichaud have asked (trans)local choreographers and theorists as well as collaborators Philipp Gehmacher, Nicole Haitzinger, Saskia Hölbling and Anne Juren to join them for an evening of choreographic games. The idea is not so much to “hit the nail on the head” but to expose processes of memory and (inbound as well as outbound) discourse production as we all find ourselves re-orienting and re-locating, relating us to what we see and/or already know. Can we rely on our (subjective or collective) knowledge, on our analytical tools? Or will they fail us in favour of collective contemplation, of invoking us to question views, discourses and postulates on and of contemporary dance?

Rémy Héritier is a French dancer and choreographer who lives in Paris and Lille. Since 2005 he has created successively solos, a duet, quartets, quintets and a sextet for example Arnold versus Pablo, Archives or Chevreuil. His work was shown in France, Europe and the USA. Since 1999 he has been performing or collaborating with artists such as Philipp Gehmacher, Mathilde Monnier, Jennifer Lacey, Loïc Touzé, Laurent Pichaud, Christophe Fiat, Sylvain Prunnenec, Matthieu Kavyrchine, Guillaume Robert, Laurent Chétouane, amongst others. He was an associate artist to Les Laboratoires d’Aubervilliers- France in 2008-2009.

Laurent Pichaud studied contemporary dance and contemporary art history. Up to now he has presented about fifteen pieces including specific performances related to museum exhibitions. He’s used to focusing his practice on perception experiences, through which the presence of the performer is emphasized not only as an artist but also as a singular man or woman and where he tends to collapse the idea of a total professional self control.

Installation/Performance: Table of contents · Siobhan Davies Dance
Using the archive of Siobhan Davies as an initial but not exclusive starting point, Table of Contents explores what archival dance material could look like and how it could be experienced. In a live movement installation co-created by Siobhan Davies, Andrea Buckley, Helka Kaski, Rachel Krische, Charlie Morrissey and Matthias Sperling, each artist uses their own history as a choreographer and performer to question how dance is archived. Resembling a form of movement laboratory, a series of evolving choreographic situations take place in a shared space between performers and the audience. The work offers the possibility of a live dialogue to experience and consider how the past reveals itself in our present action.

Siobhan Davies is a renowned British choreographer who rose to prominence in the 1970s. Davies was a founding member of London Contemporary Dance Theatre and in 1982 joined forces with Richard Alston and Ian Spink to create independent dance company Second Stride. Founding Siobhan Davies Dance in 1988, she works closely with collaborating artists to ensure that their own artistic enquiry is part of the creative process. By 2002 she moved away from the traditional theatre circuit and started making work for gallery spaces. Davies applies choreography across a wide range of creative disciplines including visual arts and film.

Performance: Black Belt Drawing · Dan Perjovschi
Dan Perjovschi works with the very basic and simple means of drawing, deriving ideas from mass media political and social analysis and from personal observations on daily life. He is known for drawing directly on the walls of institutions, most commonly museums, often in-situ and whilst the exhibition is ongoing. His motivation is to transform the space of the museum into a databank of actuality reflecting what is going on in the world at the moment the exhibition – and here the events of archives to come – is taking place. The artist’s drawings are a mix between cartoon, graffiti and press drawings.

Dan Perjovschi lives and works in Bucharest. He is a visual artist mixing drawing, cartoon and graffiti in artistic pieces drawn directly on the walls of museums and contemporary art spaces all over the world. His drawings comment on current political, social or cultural issues. He has played an active role in the development of the civil society in Romania, through his editorial activity with Revista 22 cultural magazine in Bucharest, and has stimulated exchange between the Romanian and international contemporary artistic scenes.

Installation and performance: Mobil[e]_migration ·  Daniel Aschwanden + Conny Zenk
Through the encounter with images from the archives of refugees and Viennese residents a dialogue with various residents of the city is initiated, a dialogue that challenges all the participants and playfully negotiates values, situations and attitudes between similarity and difference. In the performance and installation format Mobil[e]_migration by Daniel Aschwanden, Conny Zenk and Veronika Mayer, storytelling, performative self-portraits, dances, projections are the media elements of a transdisciplinary practice that aims to bring new impulses to current discourses about issues of integration.

Choreographer, performer and urban practitioner Daniel Aschwanden experiments with transdisciplinary methods in urban contexts departing from body related agendas applying a choreographic gaze to urban surroundings. His works articulate themselves in a wide range of formats reaching from interventions in public spaces to installations and performances in gallery spaces and theatres and relating social  with art agendas. Lecturer at the University of Applied Arts Vienna, since 2013 at the Social Design Studio.

Conny Zenk is media artist with the focus on generative video art, installation and performance. She explores hybrid contexts between projection, digital gadgets, bodies and urban environments. Active as a live visual improviser she works chiefly with software that allows her to investigate digital processes and to translate them into videos of abstract landscapes.

Lecture: REDEN [Talking] · Christine Gaigg + Claus Philipp
Possibly a dry thesis: with his monumental, six-volume autobiography Min Kamp the Norwegian Karl Ove Knausgård gives something back to literature that one regards as having been sold out to zeitgeist columns and initiative applications: an interest in the serpentine paths of private life, which one commonly describes as the “curriculum vitae”. If this is now treated as “state of the art”, then a glance at it possibly obscures the fact that Knausgård is moving in the context of a long novel and memoir tradition, following Flaubert, Balzac and Proust, for example. What have we lost since then, what would there now be to win back? In a brief, entertaining discussion Christine Gaigg and Claus Philipp want to concentrate on STERBEN, LIEBEN, SPIELEN, LEBEN, TRÄUMEN (as the five volumes are titled in the German edition): REDEN [Talking].

Christine Gaigg is a freelance choreographer based in Vienna working on international co-productions and collaborations. Her most recent stage essays are DeSacre! Pussy Riot meets Vaslav Nijinsky (2013), Maybe the way you made love twenty years ago is the answer? (2014) and untitled (look, look, come closer) about war pictures (2015).

Claus Philipp was previously head of the cultural department of Der Standard. Now he is business manager of Vienna’s Stadtkino- He has published books on Christoph Schlingensief, Alexander Kluge and Ulrich Seidl.

Lecture: Traces between the Times. Archive/archiving and writing (dance) hi/stories · Christina Thurner (CH)
Anyone who puts “materials” into an archive, anyone who archives, lays down traces. These again (perhaps) are followed by others, so that in their present they lend a future to the past by writing hi/stories. The “archive” as an institution and “archiving” as a practice are booming (both scientifically and artistically). But what do these shimmering terms “contain”? They designate a historical corpus as much as the movements that open it up, insofar as they (also) start from the body of the user. They thereby have concrete, metaphorical and in both senses a corporeal meaning. This talk aims to address both a terminological discussion as well as a positioning of the archive/archiving between subject and object, between times and classification of times, between constancy and process; it aims to address questions of power and status, and, finally, the dance specifics on this debate as well as visions from the perspective of dance studies.

Christina Thurner is a professor of dance studies at the Institute for Theatre Studies of the University of Berne. Her research focus is on dance aesthetics and discourses from the 18th to 21st century, and dance historiography and criticism. Her latest book publication is  Tanzkritik: Materialien (1997-2014).

Performance: Der Tausendfüßler (Was bleibt?) [ Millipede (What Remains?)] a livelong project · Milli Bitterli The feeling of having to get away from this place, to go further, to leave things behind, without getting stuck, and again to arrive somewhere sets the body into a never-ending dance. Arms and legs are travelling and gather, pile up what they encounter. And although there is no succession and no sequence, nevertheless in this unrest a conservation and saving takes place: not at one place but at all places, not on a journey, but in the adventure of leaving without coming back. And if you have already been under way so long swaying on the high sea then it may indeed happen that you no longer know whether your are still dancing or have long been dreaming.

Milli Bitterli founded the Artificial Horizon company in 2000. Since then there have been numerous collective, cooperative and choreographic projects with Christine de Smedt, Wendy Houstoun, Superamas, Christine Gaigg, Markus Schinwald, Robert Steijn, Jack Hauser, Lisa May Post, the Theater im Bahnhof and Jennifer Lacey. From 2001 to 2003 she was the artistic curator for the training and workshop area at the Tanzquartier Wien. As a dancer she has worked together with Meg Stuart, Lloyd Newson, Nigel Charnock and many others.

Performance: Collection of Tunes · Boris Ondreička
LWTUA is a collection of tunes of one content in hundreds of forms. It demonstrates how the form wins over the content. It performs how sweet turns to bitter, intelligent to stupid, sad to funny just because of the interpretation of it. It shows the transformative dominance of pronunciation over the source domain.

Boris Ondreička is an artist, curator and singer based in Bratislava and Vienna. He has been working as project coordinator at Soros centre for contemporary arts and director of art-initiative tranzit.sk in Bratislava, and since 2012 curator at Thyssen-Bornemisza Art Contemporary, Vienna, AT. In 2010 he has co-founded the Julius Koller Society. His artistic projects were exhibited all over the world.

Lecture: survival strategies (the Contemporary Art Archive and the Knowledge Museum) 1985 today · Lia Perjovschi
CAA/CAA (Contemporary Art Archive/Center for Art Analysis) is a contemporary art museum in files focusing on art and its context, art theory and practice, cultural studies and critical theory. A comprehensive (international) database  “a voice-activated” capsule of knowledge.  A frame and platform for ideas, dialogue, communication and empowerment focusing on issues that reflect the current debate in the art field and new cultural theories — about the social and political relevance of art, its autonomy and its changes. Under different names, the CAA has been active since 1985 in Lia and Dan Perjovschi’s home in Oradea, in the frame of the experimental studio at Art Academy Bucharest, in Lia and Dan Perjovschi’s artist studio in Bucharest, in national and international museums, galleries, non-profit or artist-run spaces and in the mass media.

Lia Perjovschi was born in 1961 in Sibiu, Romania. She studied at the Art Academy Bucharest  1987-1993 and currently lives in Bucharest and Sibiu. Her activity can be summarised as a journey from her body to the body of knowledge and was shown in more than 500 exhibitions, lectures, workshops around the world.

strong>Lecture: Rewind-Forward · By Olaf Nicolai
Olaf Nicolai questions the archive on its (own) capacity to produce, as a means of production. Via his work Szondi/Eden he shows, that documents and materials of an archive are not to be understood as static; rather as subjects they oscillate between their ascribed reference status and their potential to relocate themselves within communications, when their sources are understood as versatile.

Olaf Nicolai currently lives and works in Berlin and completed a PHD in comparative literature and linguistics at the Karl-Marx-University, Leipzig on the theme of The Vienna Group. Gesture Between Calculation and Expression (1992). He has exhibited in an international context since the early 1990s and in 1997 was invited to take part in documenta X. He develops diverse interdisciplinary projects which thematise the fundamental experiences of space, time and physicality.

Performance: Archive · Arkadi Zaides
The artistic exploration of the conflict between Israel and Palestine by Arkadi Zaides uses film material from B’Tselem (The Israeli Information Center for Human Rights in the Occupied Territories). The footage was filmed by Palestinian volunteers in high-conflict areas, showing Israeli people in various confrontational situations. The Palestinians remain behind the camera. Nevertheless, their movement, voice and point of view are highly present, determining the spectator’s perspective. Zaides involves his own body with the moving-material of his community and re-enacts gestures, voices and moving-sequences by soldiers and settlers to develop a hidden living-archive out of the perspective from the controlled, which is focused on the question what potential for violence is embedded in the individual human body.

Arkadi Zaides was born in 1979 in the Soviet Union, immigrated to Israel in 1990. Currently spends his time between Europe and Israel while working internationally. Since 2004, Arkadi has been working as a free-lance choreographer. His works have been shown in numerous international festivals in Israel, Switzerland, Italy, the Czech Republic, India, Hungary, Poland, Spain, Sweden, Romania, Germany, China, Taiwan, USA, Canada, The Netherlands and Japan amongst others.Embedded in Arkadi’s work is a belief that the role of art is to challenge and inspire viewers, while simultaneously it has a larger universal role to reach out and bring together different communities and different sectors of society.

Film Screening: Fahrenheit 451 · François Truffaut
The screen adaptation of Roman Bradburys sci-fi novel leads into a dystopia, evoking visions of the future as well as dark pasts. A state, in which the possession of books or reading itself, is believed to be a crime. The citizens “cleansed” of independent thought are dependant, illiberal, sedated. Information is “spoon fed” only, in strive to achieve a compliant society. Books, vessels of archives of a future-oriented utopia – are the main target of a system in which the fire brigade has turned into a fire setting force. Though, not even Fahrenheit 451 is able to silence all books: an anarchic resistance forms against the muteness – the archives detached from paper, being internalised.

Discoursive Detour ·  Siobhan Davis, Scott deLahunta, Dan Perjovschi, Arkadi Zaides, Sandra Iché, Penelope Wehrli
In this discoursive detour Arkadi Zaides, Dan Perjovschi, Siobhan Davis with Scott deLahunta, Penelope Wehrli and other through artist talks, lectures, work presentations will open the space for reflections on the proposed “archives to come”. What will the archives be that describe our presence in the future; what will remain and how do we inscribe ourselves already into (our) future memories or even project a future through concrete acts – a potential grammar of an archive to be? Through which practices can we already rewrite our multiple and multi-layered (hi)stories from a present tense and relocate ourselves in the surrounding of ever-changing environments to negotiate and claim the presence of the oftentimes ephemeral manifestations of our (individual or collective) subjectivities?

Picture: © Dan Perjovschi