Semesterplan SoSe 2010

There are seminars, Reading Groups, Round Tables and Wokrshops and a Festival !
If you would like to take part or visit the workshop and for meetings with me please contact me by mail- The festival BERLIN DOCUMNETARY FORUM between the 2-6 of June is worth to plan time for it. All updates will be posted on this email list. If you are not yet on please contact Yara (yara_spaettATyahoo.com>, I ma happy to see you soon All my best,
Angela
Klasse Melitopoulos

Sommersemester 2010, Seminars, Round Tables, Reading Groups, Viewing Archives

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1 – Reading Group /3 May/4-6 pm/room 115/article : Gilles Deleuze ‚The new archivist’)

2. Workshop/4-7 May/all day/ Feminism and Performance Art with Bettina Knaup (application necessary) room 115

3. Seminar /7 May/3 pm/ Feminism and Performance Art /Bettina Knaup / room 115

4. Round Table /May 10/ 4-7 pm/ room 115

5. Reading Group /May 17/4-6 pm/ room 115 Extra-disciplinary Art Practices and Media Activism/Brian Holmes/ article from the book Escape the Overcode

6. Seminar /May 21/10.30-1.30 pm/ Extra-disciplinary Art Practices and Media Activism/Brian Holmes/ room 115

7. Workshop /May 18-21/ Extra-disciplinary Art Practices and Media Activism/Brian Holmes/ (application necessary), room 115,

8. Round Table/May 24, 4-7 pm/ room 115

9. BERLIN DOCUMENTRY FORUM 1/ 2-6 June/all day/ Haus der Kulturen der Welt (You are invited to attend the entire festival !)

Möglichkeitsraum Screen Performances

June 3, 10 pm (evening) The Life of a Film Archive with Stefanie Schulte Strathaus

June 4, 12 h Extra-disciplinary Art Practices and Media Activism with Brian Holmes

June 5, 2.30 pm Feminism and Performance Art with Bettina Knaup

10. Round Table/June 10/4-7pm/ room 115

11. Reading Group/14 June/4-6 pm/room 115

12. Reading Group and seminar 28 June/11am-3 pm, The Life of a Film Archive (location will be announced)

13. Viewing Archives /June 29/ The Life of a Film Archive (time and location will be announvced)

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Seminar

‘Der Möglichkeitsraum’ (The Blast of the Possible)

On the Bio-politics and Archives

Short Text

The ‘new” archivist, who Deleuze recognizes in Foucault, has apparently created something fundamentally new: he cuts transversely through existing language systems across scientific languages, every day enunciation’s and schizophrenic nonsense. He wants to stay agile and does not care about juxtaposed sentences or about the keyboard of his type writer. He does not want to speak about the ‘other’ or follow dialectics of conflict because by doing so he can’t differentiate the possible from the actual. He just wants to consider enunciation with all their omissions and breaches.

The seminar ‘Möglichkeitsraum’ invites to think the ‘new’ archivist along the work of three curators and cultural producers on their film and video archives who are collaborating (with me) on a screen performance that will be staged in the Berlin Documentary Forum in the House of World Cultures Berlin between the 3rd and the 5th of June 2010.

With Bettina Knaup (curator), Stefanie Schulte Strathaus (Arsenal Institute for Film – and Videoart) and Brian Holmes (cultural theorist) the three screen performances elaborate the possible and actual potentialities of a history and art production along three archives. We consider Foucault’s idea what an enunciation with it’s omissions and breaches can be in time. We work on ‘rules of transition’ of an enunciation from one time period to the next – within the moving images.

Der Möglichkeitsraum proposes to work in a laboratory like platform, an assembled space in that functions of cinema, theater and prostproduction studio are intertwined with each other. The platform contains a double screen projection, a database and a video- and sound mixer on stage. The screen is connected with the archaic function of theater that is to assemble, switch, combine and perform heterogeneous language flows.

1. Feminism and Performance Art with Bettina Knaup

The video archive assembled for the exhibition project re.act.feminism by the Berlin based curators Bettina Knaup and Beatrice E. Stammer show an exemplary overview of gender-critical performance art of the 1960s and 1970s and its current ‘return’ in form of appropriations, re-enactments and archival or documentary projects. The emergence of feminism and performance art critiqued patriarchal forms of knowledge production, political speech, bio-politics and the capitalizing function of the art market. The Blast of the Possible with Bettina Knaup address the idea of relational feminism within performance art that transgresses gender relations and identity politics in direction to urban bio-politics, knowledge production, therapy and ritualized speech.

Read more

(www.reactfeminism.org).

Performance art emerging in the 1960s and 70s was infused with ideas of social emancipation and fundamentally influenced by women artists interested in feminism. Performance art explored the intersection of art and life, of private and public. By focusing on the sentient, creating, knowing, speaking body it is the ideal medium to deconstruct the status of women as art objects and appropriate the subject position, to dramatize the social and physical vulnerability of women’s bodies in a patriarchal society and to deconstruct and subvert notions of stereotypical identity. Moreover, as a new art form, occurring outside the confines of the traditional art space, performance was a medium for collective and social intervention in the public sphere.

Bettina Knaup is a cultural producer with a background in political science, theatre, film, TV studies and gender studies. She has been involve d in developing or managing a range of interdisciplinary and transnational cultural projects operating at the interface of arts, politics and knowledge production. These include the open space of the International Women’s University (Hanover) and the trans-disciplinary Performing Arts Laboratory, IN TRANSIT (Berlin). For the past three years, she has co-curated and co-produced the International Festival of Contemporary Arts, CITY OF WOMEN, Ljubljana. As LabforCulture manager, Bettina oversees the development and production of the LabforCulture project.

Reading Group: 3 May, 4 to 6 pm, room 115, article Gilles Deleuze : ‚The new archivist’

Workshop: 4-7 May, all day, (application necessary), room 115

Seminar: 7 May, 3 to 5.30 pm, room 115

Screen Performance at the BERLIN DOCUMENTARY FORUM 1 :

5 June, 2.30 pm_Haus der Kulturen der Welt

Viewing Archives: 8 June, 11 – 5 pm, room 115

2. Extra-disciplinary Art Practices and Media Activism with Brian Holmes

Four Pathways through Chaos is based on Brian Holmes’ political theory about cybernetic governance and extra-disciplinary art practices /media activism.

Activism in a networked society has to confront a complex order of cybernetic norms governing affects, thought, desire and social relations through automation, economic deregulation and overcoded environments. So-called ‘second-order cybernetics’ operates through the mapping of dispersed, multi-agent populations, aiming for the modulation of complex flows; its characteristic media form is the worldwide web. The bio-political government of control society integrates forms of individualized production of subjectivity. How do social life forms resist the over-coding that constantly tracks and analyzes data about our behavior? ‘Any struggle in the fields of knowledge has to begin as extra-disciplinary practices’, moving beyond the calibrated access between science and art.

Four Pathways through Chaos is becoming a live montage, exemplifying four historically different audiovisual regimes that occurred in the USA since World War Two: broadcast television in the Cold War consumer society; video in art practice and activism as a subversion of the televisual norm; networked computing and its new forms of ‘control environments’; and new communication tactics of migration movements.

Brian Holmes is an art and cultural critic, activist and translator interested primarily in the intersections of artistic and political practice. He holds a doctorate in Romance Languages and Literatures from the University of California at Berkeley. was a member of the graphic arts group Ne pas plier from 1999 to 2001, and has worked with the French conceptual art group Bureau d’études. He is a frequent contributor to the international mailing list Nettime, a member of the editorial committee of the art magazine “Springerin” and the political-economy journal “Multitudes”, a regular contributor to the magazine Parachute, and a founder of the new journal “Autonomie Artistique”.

Reading Group_17 May, 4-6 pm, room 115, article from the book Escape the Overcode by Brian Holmes

Seminar 21. May, 10.30 – 1.30 pm, room 115

Workshop 18-21.May, all day, (application necessary), room 115,

Viewing Archives 8 June, 11-5 pm, room 115

Screen Performance at the BERLIN DOCUMENTARY FORUM

4 June, 12 h (mittags) Haus der Kulturen der Welt

3. The Life of a Film Archive with Stefanie Schulte Strathaus

A re-envisioning of moving images on the biography of the archive of the Arsenal Institute for Film and Video art

‚Must cinema screenings be organised by political activists for that new political films can be made?’ (Citation of a movie maker in the assembly ‘Les états généraux du cinema, Mai 1968, from the film ‚Das ist nur der Anfang – der Kampf geht weiter’ von Claudia von Alemann

The criteria of showing, spreading and distributing moving images contains a bio-political dimension that regulates active forces of life because through moving images heteronormative categories in our gaze, gestures and languages are immediately composed or rejected and thus affect our relations.

The Arsenal Institute for Film – and Videoart works with the active forces and fugacity of cinema images and thus understands each screening as a singular event in that the gaze, gestures and languages of it’s public co-determine the archive an it’s location.

Stefanie Schulte Strathaus, director of the Arsenal Institute for Film – and Videoart proposes to look at the possible and actual bio-political agency of an archive with a selection of feminist and queer films that composed three historical cinema events in the Arsenal cinema in Berlin :

– The exemplary event of 1973 with the 1. International Women’s Film Seminar organized and conceived by Helge Sander and Claudia von Alemann that triggered a follow up of other feminist and queer film festivals

– It’s actualisation in the event of 1997 called ‘Films, Festivals and Feminism ‚…es kommt darauf an, sie zu verändern’

– And the event of 2009 ‘LIVE FILM! JACK SMITH! Five Flaming in a Rented World

The feminist film of the 70ties was a thought-provoking tool. It had to be constituted against a large opposition and many difficulties. A political enunciation resulted that is still actual today: a crystalline vision about economic exploitation, heteronormativity and the (bio) political struggles that continue today.

Screen Performance at the BERLIN DOCUMENTARY FORUM _

3 June, 10 pm (evening !) Haus der Kulturen der Welt

Reading-group/seminar 28 June, 11 – 3 pm, (location will be announced)

Viewing Archives 29 June, (time and location will be announced)

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Round Tables

We continue the format of the round-table for presenting and discussing student projects. Each presentation should be prepared in collaboration with another student or expert who can elaborate a short comment on the presented topic.

Please reserve your dates for your presentations with Yara Spaett.

May 10, May 24, June 7, June 21

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