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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“Decolonizing Knowledge” / Lecture by Grada Kilomba

We are very happy to announce that Grada Kilomba is going to give a lecture on “Decolonizing Knowledge” in June 21 from 11a.m.  in room115!
Grada Kilomba is a portuguese writer, theorist, and interdisciplinary artist.
Her work draws on gender, race, trauma and memory.
She is best known for using a variety of formats, from print publications to staged readings and performance, combining both academic and lyrical narrative, creating a very unique literary style. Grada Kilomba is also known for her book “Plantation Memories”, a collection of short stories that deal with experiences of racism, and is the coeditor of Mythen, Masken und Subjekte (2005), an anthology of critical whiteness studies in Germany. Since 2015 Grada is also curating the series KOSMOS² in the Maxim Gorki Theater, where issues of knowledge transfer and knowledge production in the present are discussed.
By using a collage of her literary and artistic work, in her lecture performance she raises questions concerning knowledge, ›race,‹ and gender: Who can speak? and What can we speak about? To touch this colonial wound, Kilomba creates a hybrid space, transforming the configurations of knowledge and power.
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ON OFF SHORE – CFP show at Museum für Fotografie

On the migration of people, intelligence, capital, and data
Curated by Paul Feigelfeld
Call for Applications
SEEN BY Exhibition at Museum für Fotografie
Opening September 29, 2016

The exhibition attempts to explore the connections and disconnections of intricately networked and fuzzily entangled currents and layers of migration. From the international streams of refugees fleeing war and displacement, migrant workers in China, Africa, or the former East Bloc, and the way they are politically and technologically tracked, regulated, guided by critical infrastructures, to long-standing financial and political structures which have since created their own economic shadow ecologies and infrastructures in the form of off-shore banks and deep bureaucracy; the art market as a land-locked off-shore economy, the migration of trading towards algorithmic regulation and management; the technological migration to platform oriented solutions and the major shift from search and filter algorithms to machine and deep learning and neural networks; the non-singularity of the existence of artificial intelligence beyond human understanding. The works in the exhibition can be in any medium and should attempt to open possible perspectives on these topics.

Please apply before June 17 with a short concept (including text, images, mock-ups, etc.), artist statement and CV to

Paul Feigelfeld
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Decolonising Mt. Gox

Very happy to announce that the wonderful Grada Kilomba will give a lecture on “Decolonising knowledge” 21.6 after class! For the pre-reading group pls register with Gago.
Also delighted to announce Mt. Gox Larp plus introductory lecture about crypto, DAOs and smart contracts by Ben Vickers for May 30th. This is absolutely strictly by registration, do not show up and just pretend not to have read this. You need to prep your character (and be assigned a character in the first place) and arrive in costume so make yourselves known to Fred or Mikk.

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need delicious brainwash?

Beware it is spring; the groundhog wakes  and you know how that goes. However here´s some great brainquakes to shake off that repugnant stasis.
check out Olekisy Radynskis fab new text on the rccp site!
also Dan wrote an undercover report for Rhizome.
This terms Museum for Photography show curated by Paul Feigelfeld, CFP to follow.
tutorials with Ana Pinto and Azin Feizabadi, sign up on wiki
Writing workshop with Vera and Boaz:
RCPP writing group
Mondays, 4:00 – 7:00 pm
9 May
16 May
23 May
6 June
20 June
4 July
The writing group will discuss individual writing projects at different
stages. These meetings also include close reading of selected texts from
a range of fields (literature, arts, media studies, philosophy). Some
texts are intended for close reading, others as triggers of writing
moods. Writing comes first. As soon as we have read your synopses, we
will expand the reading list so it responds to common interests.
Participants are expected to complete at least one text during the
summer term.
Please submit your synopsis (max. 100 words) until April 15
and read John Durham Peters’ text “Writing” for our first writing group
meeting on 9 May (and any other text that appeals to you).
*Networked Maps and Artistic Territories**
Workshop with Brian Holmes, art and cultural critic (Chicago) 25th of April, 2nd of May, exact time tba Raum 115
On the first day of this workshop theorist and mapmaker Brian Holmes will present both the results and the underlying techniques of his recent cartographic work on political ecology issues in Chicago. Then he will show participants how to set up a multimedia web-map interface that they can use. Together we will dream up some kind of theme or metaphorical structure to fit participants’ desires, then everyone will have a week to begin artistic processes at specific points or around Berlin. Holmes will return a week later and help participants integrate the documents of their work to points on the map (images, texts, audio or video files). The workshop will be both theoretical and practical, open to aesthetic questions beyond the specific techniques employed. No programming skills are required but whoever wants to begin learning how to work with a flexible and sophisticated map interface (Openlayers 3) will be able to do so.
Brian Holmes is an art and cultural critic with a taste for on-the-ground intervention. A polyglot living in Paris from 1990 to 2009, he collaborated with political art groups such as Ne Pas Plier, Bureau d’Etudes, and Makrolab. With Claire Pentecost and the 16 Beaver Group he co-organized the Continental Drift seminars. His books include Escape the Overcode: Activist Art in the Control Society (2009) and Unleashing the Collective Phantoms: Essays in Reverse Imagineering (2007), as well as Volatile Smile (2014) in collaboration with the photographers Beate Geissler and Oliver Sann. In Chicago where he now lives he is a member of the Compass group and teaches intermittently at the University of Illinois.
**Workshop with Ben Vickers, curator of digital at the Serpentine Galleries (London) 30th/31st May, **
exact time tba
** **
Mesh Network DIY
Workshop with Philipp Borgers, Freifunk Activist and engineer (Berlin)
**May/June, waiting for good weather conditions (: tba **
More and more people are single-handedly installing and maintaining free networks. Every user in the free wireless network provides his or her wireless LAN router for data transfer to other participants. In return, he or she can also transmit data, such as text, music and movies through a free internal network or use services setup by participants to chat, call or play online games. We use mesh networks.
A highly recommended seminar of a colleague at UdK!
Digital Materiality
Baruch Gottlieb
every Thursday,
Ha33-110 2-4pm starts 28 April
Digital Art, Digital Communication, Digital Future, does it all sound old already? Increasingly artists, theorists and political actors are turning their attention to persistent materiality which underlies th electronic digital world. Theorists have begun to elaborate new- and neo-materialisms as well as post-humanist ontologies which radicallyquestion how we perceive ourselves. This is a course where we bring theory into practice and practice into theory. We start with an analysis of digital and electronic products, media, images, sounds, and investigate their material basis from various approaches including phenomenology, history, philosophy and artistic practice. Digital materials are not homogenous, rather they are made up of myriad infinitesimal variations which help us understand what they are.

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