documentary films: "10e Chambre — Instants d'audience"

hello everybody, this week we’ll watch:
“10e Chambre — Instants d’audience” (10th District Court)
a film about court rulings in paris by Raymond Depardon.
as usual thursday 18h in room 115

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James Bridle: Cloud Index, 22.11 4pm 115

Cloud Index is a weather prediction model that consumes vast amounts of historic weather data from satellites and correlates it with polling data on major political events, most notably the recent EU referendum. Bridle’s new commission for the Serpentine explores the connections between climate, behaviour and networks and uses the principles of weather divination and advanced neural networks to question our technological certainties and our democratic convictions. With Cloud Index, Bridle takes on the computing ‘cloud’ as the most pervasive and least understood metaphor of our times.
James Bridle is a British artist and writer based in Athens, Greece. His artworks have been commissioned by galleries and institutions and exhibited worldwide and on the internet. His writing on literature, culture and networks has appeared in magazines and newspapers including Wired, Domus, Cabinet, the Atlantic, the New Statesman, the Guardian, the Observer and many others, in print and online. He lectures regularly at conferences, universities, and other events. His formulation of the New Aesthetic research project has spurred debate and creative work across multiple disciplines. His work can be found at

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documentary films: “Man of Aran”

This weeks film is:
“Man of Aran” – (Robert J. Flaherty, 76min, 1934)
starting again at 18h in room 115.
Bests Christoph

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documentary films: "The Fog of War"

some info on the screenings – tomorrows film is:
“The Fog of War” – (USA 2003, 107min, Errol Morris)
THE FOG OF WAR, Robert McNamara, 2003, (c) Sony Pictures Classics
In which Robert McNamara, Secretary of Defense under Kennedy and Johnson, reflects on his life and his insights on the problems of war.
like last week we’ll screen the film in room 115, starting 18h directly with the film and the discussion afterwards.

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documentary films: Dont Look Back

this weeks film is going to be a documentary about young Bob Dylan on his acoustic tour in England:
“Don’t Look Back” – (USA 1967, 96min, D.A. Pennebaker)
like last week we’ll screen the film in room 115, starting 18h
all the best

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documentary films

hello everybody,
there will be a seminar about documentary films this semester, and Hito kindly agreed that I can do the screenings in room 115 instead of 150 (which is rather small). here’s the link to the vorlesungsverzeichnis.
the seminar will be thursdays 18-21h, with a christmas break 22.12-5.1. Most films will be in english or with english subtitles , and discussions will be english/german, whatever people feel most comfortable. we’ll start this week with:
“War photographer”
(CH 2001, 96min, Christian Frei, english with german subtitles)
also on the watch list:
* “10e chambre – instants d’audience” (The 10th Judicial Court: Judicial Hearings) – (F 2004, 105min, Raymond Depardon)
* “Sherman’s March” – (USA 1985, 157min, Ross McElwee)
* “Man of Aran” – (USA 1934, 76 min, Robert J. Flaherty)
* “Restrepo” – (USA 2010, 93min, Tim Hetherington, Sebastian Junger)
* “When We Were Kings” – (USA 1996, 89min, Leon Gast)
* “Don’t Look Back”- (USA 1967, 96min, D.A. Pennebaker)
* “Shoah” – (F 1985, 544 min, Claude Lanzmann)
* “Herr Zwilling und Frau Zuckermann”- (D 1999, 126min, Volker Koepp)
* “Chicken Ranch”- (USA 1983, 74min, Nick Broomfield, Sandi Sissel)

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RCPP program in October & November 2016

projectpiccrop_3-425 October, 2pm – 5pm
Auto Italia: Shell Corporation*
What are the desired conditions to produce artwork? What is enabled by
working collaboratively that is greater than what we can achieve alone?
Marianne Forrest and Edward Gillman of the London-based artist-run
project and studio Auto Italia South East will lead ‘Auto Italia: Shell
Corporation’, a half-day session presenting research and references
informing Auto Italia’s current programme and studio practice.
Touching on alternative methods for producing and distributing artwork
through collaborative production, the session will consider the
potentials for art and artistic practice enabled through operating under
the guise(s) of Auto Italia. The session will encourage a collective
imagining of what ‘artist-led’ groups might look like and operate as in
the future, touching on histories of group production and seeking
enlightenment from examples found in theories of group work, esoteric
decision-making strategies and role-play.
*A shell corporation is a company which serves as a vehicle for business
transactions without itself having any significant assets or operations.
Writing workshop:
28.10,, 6.2
8 November, 11am – 2pm
PWR: Network Geometry
We will map out convoluted, cryptic network geometries starting from a
number of poetic figures: The Secret Enclave, TrustZone, Fog Computing,
Mist, Ether, Cloud, Urbit Ships, The Great Firewall, Proof-of-Location.
For the second part of the session we propose to look at current
standards for network topology icons (eg. cisco) and together sketch out
additions – other roles and constellatons that are not taken into account.
Ways of being
The workshop will start with a presentation by Cécile B. Evans, which will be related to a 3 year period encompassing her projects AGNES, Hyperlinks or it Didn’t Happen, and What the Heart Wants. Yuri Pattison will talk about his 2-3 year residency with Chisenhale in London, which revolved  around the life/work construct in relation to new technological and ideological formations and the possibility of alternative ways of being.
More info tba end of October.
A report from Beijing
Antonie Angerer and Anna Eschbach, founders and curators of I: project space in Beijing, will present
 their AR based book by publishing platform tria. The catalog “lin_ke” features video works by the artist Lin Ke. In close collaboration with designer Sonja Zagermann and the artist, the editors explored new possibilities for translating moving images into printed matter. The result is a book that can be constantly updated.
Besides presenting the interactive publication, Antonie and Anna will
 contextualize their experiment on closing the gap between the digital and the analog by taking us on a tour through the
 extended virtualities of the Chinternet (the Internet with Chinese characteristics).

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WS 2016-17 – class meetings

All the class meetings and seminars will take place:

at UDK Berlin / Hardenbergstraße 33 / Room 115 / 14:00

  • October 
  • Mon. 17.10 / Elevator B*****$!
  • November
    Tue. 1.11 Class meeting
  • Tue. 8.11 Wednesday  9.11  –  Seminar by Ana Teixeira Pinto 
  • Tue. 15.11 Calass meeting
  • Tue. 22.11 Seminar by Ana Teixeira Pinto /4-6 pm – James Bridle – more info:
  • Tue. 29.11 Class meeting
  • December
  • Tue. 06.12 Seminar by Ana Teixeira Pinto
  • Tue. 13.12 Class meeting
  • January
  • Tue. 17.1 Class meeting
  • Tue. 24.1 Seminar by Ana Teixeira Pinto
  • Tue. 31.1 Class meeting
  • February
  • Tue. 14.2 Class meeting
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SIREN _ Performance at Ernst Reuter Platz, during Rundgang 2016

You are warmly invited to the performance on Sunday afternoon in the waters of Ernst Reuter Platz.
SIREN _ 24th of July, from 4-10pm.
A temporary performance environment
in the waters of Ernst-Reuter-Platz
16:00 SIREN-TAXI (free)
by Anna Philippa Müller, Guillaume DeVore
from: Hardenbergstr. 33, see street sign
to: Ernst-Reuter-Platz
16:30 dundundundundun
by Michel Wagenschütz
with Anastasia Mandel, Carl Berzow, Hanna Stiegler, Jonathan Jung, Judith Dorothea Gerke, Jule Vetters,
Lukas Kostyra, Lydia AD, Max Göran, Pauline Niedermayer, Thi Loc Le, Thomas Love
Hexameter by Paulina Schulz
17:00 Kaltes Klares Wasser
by Berlin Pop Choir, Carina Erdmann, Isabella Fürnkäs
original Version by Malaria
with an arrangement by BPC Director, Lyndsey Cockwell
17:10 Odyssee
by Deniz Orta, Jonas Dassler, Juno Zobel, Maike Knirsch,
Thomas Prenn, Vincent Radetzki
*Costume and set design by
Artur Chruszcz, Julian-Jakob Kneer, Magdalena Mitterhofer
17:20 Kaltes Klares Wasser
by Berlin Pop Choir, Carina Erdmann, Isabella Fürnkäs
original Version by Malaria
with an arrangement by BPC Director, Lyndsey Cockwell
17:30 Stanton Taylor and Tobias Hohn
18:00 Wenn du schielst
by Okka-Esther Hungerbühler and Nuria Hyöng
18:10 Forever Dolphin Love
by Rosa Weiss and Isabel Gatzke
18:20 Sorrows of dehumanized
by Ana Gzirishvili and a partner
18:30 Orpheus und Euridike – Eine mythologische Skulptur
by Amelie Baier, Gerd Sulzenbacher, Cam Celiksirt
18.45 Thanks to Jordan and Mayla
by Carina Erdmann
Erase my calls
by Tenko Nakajima
19:00 Caner Teker and Nikolas Brummer
19:20 Work Art Play Art
by @3lsn3r, Josefin Fischer, Nat Marcus, Lara Wehrs
19:45 Love Research
by Astrit Ismaili
20:00 Fangtasia
by Nicholas Humbert and Lindsey
20:10 Don´t leave me this way
by Bruno Siegrist and Peter Kirk
20:20 Si-Reena
by Sarah Rosengarten
with Camille Lacroix, Hrefna Hörn Leifsdóttir,
Judith Gerke, Maurin Dietrich, Anna Calabrese,
Eva-Lotte Andereya, Melissa Kabakci,
Magali Delion, Sarah Rosengarten
20:30 COME AT ME, HEY – Songtext #5
by Matthias Vieider
20:40 I miss my dead dog
by Claudio Campo-Garcia
21:00 Sample
by Stella Sieber
21:10 Odyssee – Am Strand von Ithaka
Deniz Orta, Jonas Dassler, Junoh Zobel, Maike Knirsch,
Thomas Prenn, Vincent Radetzki
*Costume and set design by
Artur Chruszcz, Julian-Jakob Kneer, Magdalena Mitterhofer
More contributions by
Joseph Bourgois
Carina Erdmann: Thanks to Jordan and Mayla
GULAG HD: Missingno
Gerd Sulzenbacher and Matthias Vieider:
Diana und Akteon – Mythologische Skupltur, laufend


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I am posting this since no one seems to read it – its also updated to reflect current realities.
How to take part in activities:
In general, class meetings are open to anyone. However if you choose to attend informally this does not mean that you are considered a student or could earn any formal credits. It means you are welcome to attend and join the discussion.
For more formal affiliations, especially concerning support for all sorts of
grants (DAAD) and other applications, or the wish to transfer from another art school, the rule is extremely simple: pls follow the class in person for one term before asking such recommendations. I am getting up to two hundred requests per term. Then you will be able to state your request to the class (once a year) and it is up to the class to decide whether to endorse this request. If you are a UdK student already, make yourself know to the tutor, you can apply once a year to change to our class. All decisions are up to the class and it will not help if you send an email to Mr. Steyerl two days after an application deadline to declare how much you´ve always loved his work. If you have been assigned to our class as exchange student, make yourself known to the tutor as swiftly as possible. If you just to want to hang out with us you are welcome to join meetings seminars and workshops.
For entry exams and applications to become a regular student at UdK, pls get in
touch with faculty administration and follow regular procedures. Good luck. The class has nothing to do with this procedure whatsoever.
Letters of recommendation: any request that reaches me less than two weeks before your deadline will not be taken into consideration, especially not requests with a 48 or 24h deadline.
If you are on a general exchange programm and would like to follow class meetings pls get in touch with Gago at
Presentations in class and small group meetings:
Recommended format for presentations:
you will have around 45 min to present your work to the class, including
discussion. Presentations are most productive, if they include the discussion of at
least one work in progress, plus – if your work is not yet know to everyone else
– one or two previous projects for us to be able to take into account your artistic
If you apply to the class you have 10-15 min for your presentation.
If you join a tutorial you will be expected to take part in other peoples tutorials as well, that is to stay the duration of the session between 10 and 13h. It is a small group session and you are expected to give feedback to others if you want to receive it yourself.

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