POST DIGITAL IGNORANCE
How does technology influence socio-cultural change? Can technological change bring about a democratization of society, can we dream of a techno-utopia? Does unrestricted access to knowledge and information sharpen the critical consciousness of society or does it exacerbate incomprehension, fear, and ignorance? How can power structures be broken up and changed through critical artistic interventions?
LAB is a new feature introduce to amberNetworkFestival. The lab aims at creating collective research, creation, and production platform where artists from the network nodes collaborate physically as well as remotely meeting at Oyoun in Berlin, which is the base for the LAB. The LAB will be based at Oyoun in Berlin but also in the network nodes. All the activities will be hybrid; on multiple locations and online at the same time.
In a’21 amberNetworkFestival, we are placing the LAB in the core of the festival which will be longer than a month where the invited artists and artists from the network nodes collectively research, create, produce as well as curate and perform. The output of the LAB will be documented and exhibited at Oyoun as well as distributed locations on the network and also online on the website of the festival.
In the ’21 amberNetworkFestiva LAB, we exchange with students from the Humanities and Social Sciences Department of the Istanbul Technical University, under the guidance of Ebru Yetiskin.
From Concept to Performance
SS2021 / Workshop by Laia RiCa
Performing artist Laia RiCa opens the exchange about the practical side of free artistic work. Students’ concrete ideas and concepts for performances will be discussed, further developed, and brought to a public performance. Different performance formats and dramaturgical strategies will be explored, and other aspects of a production will be considered, such as team communication, logistics and coordination, media strategy, collaboration with a performance venue, and networking with other artists and possible collaborative partners. The course directly follows the seminar by She She Pop from WS 20/21; the concepts developed there serve as a starting point.
Intersectional Matter Reading Bag Launch
The compilation of Zines, Syllabus, Stickers, and Posters in a hand-printed bag was brought together on the occasion of the interdisciplinary university project »Intersectional Matter«.
Hopscotsch Reading Room
Kurfürstenstraße 14, 10785 Berlin.
December 19, 2020
Never Look Back / Ein Orpheus Festival
Kooperation von der Universität der Künste Berlin (Studiengang »Bühnenbild« Prof.
Janina Audick) und »Institut Kunst« (Prof. Mathilde ter Heijne), der Hochschule für Schauspielkunst Ernst Busch sowie dem Hochschulübergreifenden Zentrum Tanz Berlin (Studiengang »Choreographie« Prof. Wanda Golonka) mit der Staatsoper Unter den Linden.
Der Mythos vom Sänger Orpheus ist einer der ersten Opernstoffe überhaupt und fordert Musiktheaterschaffende bis heute zu immer neuen Bearbeitungen und Sichtweisen heraus. Mit dem Orpheus-Festival lädt die Staatsoper Unter den Linden Studierende der Berliner Kunsthochschulen dazu ein, aus Themen und Motiven des Orpheus-Geschichte Performances und installative Formate zu entwickeln. Die Arbeiten werden mit wechselndem Rahmenprogramm im Alten Orchesterprobensaal gezeigt. So rundet das Orpheus-Festival das Programm der BAROCKTAGE 2020, bei denen auf der großen Bühne »Orfeo«-Vertonungen von Claudio Monteverdi, Christoph Willibald Gluck und Carl Heinrich Graun im Zentrum stehen, aus einer zeitgenössischen Perspektive ab.
WS 20/21 Workshops mit Fanni Halmburger und Sebastian Bark von She She Pop
In diesem Kurs geht es um performative Selbstportraits (individuelle wie kollektive) und um die künstlerische Strategie der Entfremdung. Wir stellen uns selbst und gegenseitig Aufgaben, die uns aus alltäglichen Kommunikationsmustern und der gewohnten Perspektive herausbringen. Und wir entwickeln verschiedene Rahmungen, in denen das eigene, vertraute Material ‘fremd’ erscheinen kann – und damit verhandelbar und politisch. Wir arbeiten zunächst an Einzel- und Gruppenportraits und im zweiten Schritt an Performances mit ‘fremden’ Gästen, die wir außerhalb unserer bekannten Kreise suchen und zu uns einladen in gemeinsame Doppel-(Selbst)Portraits.
Rundgang Steinplatz Public Screening
SS 2020 Brick Wall Paper Trail is the title of the video that participants of the class ter Heijne developed together with Diana Arce for the alternative Rundgang.
The course curriculum of the UdK is a source for an empiric approach to answer these questions: What access do students have to instructors of color?
What opportunities do students have to select courses that include the perspectives and ideas of BIPOC?
Seen By #14: Imprinted Matter / Reading Room
The fourteenth part of the exhibition Seen By #14: Imprinted Matter, curated by Nina Prader, will be, due to the Covid-19 Lockdown, digital and can be viewed virtually.
The exhibition in the format of an analogue reading room wanted to attempt to make public space intimate and open and raises questions of representation, in reference to the Art Library and the UdK research project “Intersectional Matter”.
“Seen By” is an exhibition cooperation between the Art Library of the National Museums in Berlin and the UdK Berlin in the Museum of Photography.
Touching Without Touch & Conditioning Creative Processes
SS 2020 / A 5-day workshop program by Dafna Maimon
Dafna Maimon will focus on our own creative (performative) process. As a starting point she set up a program and exercises that may birth an ongoing creative process as the main goal. She will use our time together to unleash things in ourselves, reflect and harness our creativity as opposed to immediately creating results to be placed in the outside world.
Dafna: “In this current moment of social distancing and lockdowns, I’m interested in the kinds of intimacy we experience with ourselves. As so many forms of distraction/ways of being have been taken away from us (or replaced by new forms), in a sense, our “performing” in the world is currently limited to very few eyes. We are mostly seen only by ourselves, family, partners, pets, roommates, or from the waist up on computer and phone screens. At least, in my case, I have found that this new form of existence has brought about a lot of new daily life movements/gestures/and even noises, that seem to be unusually ‘free’ or dare I say, ‘authentic’; almost akin to a child’s not-very-self-conscious behavior. So, I’m proposing that together, we engage in a research of being “intimate” with ourselves, and track these gestures, sensations, thoughts and movements into a score that could be performed, or given as instructions for a small audience over an online video conferencing platform. For our scoring process we will utilize the principles of the RSVP cycles, a scoring methodology developed by Anna and Lawrence Halprin. We will also involve the idea of the “greek choir”, and utilize our group/audience as active participants helping to bring the score to life. In this way the “final performance” of the score will also be collaborative and engage with the idea of social choreography in a moment where we can’t physically be close to one another.”
Performing for (or with?) the camera
SS2020 / Workshop by Juliane Zelwies
While the concept of the fourth wall has been (and still is) a commonly accepted convention traditionally used in theatre, film and television, visual artists have early on broken these traditions by performing specifically for the (video) camera. The proliferation of the smart phone and the possibility of self distribution through the internet added yet another dimension to the use of the medium, that is to say also a new group of users as well as a new audience.
In this course, I will provide an insight into a few examples in which the 4th wall has been intentionally demolished or subverted, starting with a few historical accounts in film to present use in visual arts as well as other fields (e.g. music, politics or advertisement).
Furthermore, I would like to discuss with the workshop participants the role and possibilities of videos in different contexts, what kind of camerawork might support or undermine a given situation and how these questions might be relevant for one’s own practice. At last, I am inviting everyone to participate in a series of short performative exercises for (or with) the camera.