Interdisciplinary arts workshops (Fall 2018)

Oct. 29 until Nov 1, 2018

During Fall Break 2018, BCB will offer three interdisciplinary arts workshops. They provide an opportunity to encounter the practice of internationally known artists from the fields of visual art, dance and theater. Each workshop will last for four days and run for approximately 6 hours a day. Workshop 1 and 2 take place on the campus of Bard College Berlin in Pankow, Workshop 3 will be in Dock 11 studios on Kastanienallee in Mitte.  

The workshops are open to students from other universities in Berlin as well.

To apply for one of the workshops, please send an email with a short explanation of your interest to
Prof. Dr. Dorothea von Hantelmann, d.vonhantelmann@berlin.bard.edu 

Workshop 1: Christopher Kulendran Thomas & Annika Kuhlmann in collaboration with Omsk Social Club: Liquid Citizens (4 ECTS credits)

Workshop 1: Christopher Kulendran Thomas & Annika Kuhlmann in collaboration with Omsk Social Club: Liquid Citizens (4 ECTS credits)

How could citizenship be reconceived in an age of globally accelerated dislocation? In the face of resurgent nationalisms around the world - and given diminishing public confidence in many existing political institutions - could technology now enable alternative forms of societal organisation to develop beyond national borders?

With a variety of inputs from an ongoing group discussion, the workshop will collectively imagine an alternate post-capitalist reality. Taking their long-term venture New Eelam as a starting point, Annika Kuhlmann and Christopher Kulendran Thomas will explore whether technology could reduce the barriers to enter and exit various systems, amplifying democratic voice by enabling more choice. In collaboration with Omsk Social Club, the 4-day workshop will focus on exploring and playing through various scenarios. Through this process, we will design a speculative space and harness mutated forms of LARP (live action role play) and Real Game Play (RGP). In which we will together test the premises and assumptions of our "new" temporary world structure.

Christopher Kulendran Thomas (b.1979, London) is an artist who manipulates some of the structural processes by which art produces reality. His work has been included in the 7th Bi-City Biennale, Shenzhen (2017); the 11th Gwangju Biennale; the 9th Berlin Biennale; and the 3rd Dhaka Art Summit (all 2016). Recent exhibitions include I Was Raised on the Internet, Museum of Contemporary Art, Chicago (2018); moving is in every direction, Hamburger Bahnhof, Museum für Gegenwart, Berlin (2017), Bread and Roses, Museum of Modern Art in Warsaw (2016), Co-Workers: Network As Artist, Musée d’Art Moderne de la Ville de Paris (2015) and Art Turning Left: How Values Changed Making, Tate Liverpool (2013). Recent solo exhibitions include: Tensta konsthall, Stockholm; and New Galerie, Paris (both 2017). Thomas is the founder and CEO of New Eelam (new-eelam.com).

Annika Kuhlmann is a curator who works predominantly through long term collaborations. As Creative Director at New Eelam, she has developed presentations for the 9th Berlin Biennale, the 11th Gwangju Biennale, Berlin’s Hamburger Bahnhof – Museum für Gegenwart, Tensta konsthall in Stockholm and the Museum of Contemporary Art Chicago. She has also worked on exhibitions at Haus der Kulturen der Welt, Berlin; BFI Miami, Kunstverein Harburger Bahnhof, Hamburg; New Galerie, Paris; and she co-curated the exhibition Welt ohne Außen at Gropius Bau, Berlin together with Tino Sehgal and Thomas Oberender.

Omsk Social Club uses traditional methods of Live Action Role Play (Larp) and Real Game Play (rgp) to induce states that could potentially be fiction or a yet, unlived reality for the players. Omsk works closely with networks of players, everything is unique and unrehearsed. Omsk game designs examine virtual egos and popular experiences allowing the works to become a dematerialized hybrid of modern day culture alongside unique personal experiences. Omsk Social Club Lives and works in Berlin. She has exhibited across Europe in various institutions, galleries and off sites such as Martin Gropius Bau, Migros Museum für Gegenwartskunst, Zürich, Middlesbrough Modern Institute of Art, Bergen Kunsthalle, Gossamer Fog, Futherfield Gallery and Kunsthalle Zürich.

Workshop 2: Lina Majdalanie: To be or not to be.
(4 ECTS credits)

Can we consider documents as a demarcation line between reality and fiction? And is it true that, by essence and nature, reality and fiction are condemned to opposite poles in an irreconcilable dichotomy? What kind of stories, discourses, narratives and daily life experiences cannot be recorded in documents? What kind of stories, discourses, narratives and daily life experiences cannot be considered as documents - and why? Based on different personal and not personal documents, objects, photos, articles that participants are asked to bring with them, we’ll try to question evidencies and power narratives, to construct our own possible stories, to re-construct possible histories, therefore inventing our biography and looking for our role in the world in common.

Lina Majdalanie is a Lebanese actress, director and playwright. She has created numerous works, i.a. Do I Know You (2017), A Drop of Sweat (2015), 33 rpm and a few seconds (2012), Photo-Romance (2009), and the video I Had A Dream, Mom (2006) as well as the digital project/installation Lina Saneh Body-P-Arts Project (2007/2009).

Among the projects she curated are Relatively Universal (HAU-Berlin 2017), Beyond Beirut (Mousonturm-Frankfurt, 2016), Vues (Kunsthalle-Mulhouse, 2015) and Motion-Less (Tanzquartier-Vienna, 2009).

Lina Majdalanie was a member of the curriculum committee for the Home Workspace Program at Ashkal Alwan in Beirut and has taught at the HEAD – Haute école d'art et de design in Geneva, at DasArts in Amsterdam, and at Goethe University Frankfurt. In 2009/2010, Majdalanie was a fellow at the International Research Center Interweaving Performance Cultures at Freie Universität Berlin.

In a long-standing collaboration, in works that move between documentary, video art and performance, the internationally-recognized Lebanese artist couple Rabih Mroué and Lina Majdalanie has developed a quite specific language. By blurring the borders between the real and the fictional, their performances, “non-academic lectures” and installations constantly circle around current political events and questions of representation. 

Read more: www.linasaneh-body-p-arts.com

Workshop 3: Maria F. Scaroni: body/material
(4 ECTS credits)

Workshop 3: Maria F. Scaroni: body/material(4 ECTS credits)

The body work I facilitate invites the participants to look and treat the body as material, addressing its organic functions and spiritual potential as well as its cultural implications. The nature of the approach is eclectic and sources from ‘chi’ cultivation techniques such as Qi Gong and Pranayama (breathing techniques), spine and limbs patterns explorations (body connectivity, proprioceptive systems), hands-on work (experimental body-alchemy teaching from Sara Shelton Mann) and elements of improvisation to transmute through different states. I use journeys and extended duration (either literal trance exercises drawn from dynamic meditation practices or shamanic journeys using visualization and movement) to flirt with the notion of ritual and personal/collective transformation, relying on trance and exertion, boredom and contemplation as tactics. The goal is to come to an understanding or to a state of questioning of the body’s borders, acknowledging it as multiple and idiosyncratic: codified, yet desirous of ecstasy and play, and seeking grounding and tenderness. This laboratory suits anybody who is interested in the body as a site of knowledge, as a forest of symbols or simply as a phenomenon to be felt, visually, kinesthetically and verbally. A certain stamina is required, but no specific skill, and therefore the workshop is open to any moving body.

Maria F. Scaroni is a dance artist. She interprets choreographic works, creates dances and hosts dance workshops. Trained independently, moved to Berlin in 2004, where she works as a freelance dancer performing/creating with Jess Curtis, Jeremy Wade, Frank Willens, Tino Sehgal, Venia Rovisco, Hannah Hegenscheidt, Wilhelm Groener, (a.o.). Since 2011 Maria collaborates with Meg Stuart/Damaged Goods, (Until Our Hearts Stop, Sketches/Notebook, with its follow-up initiative Supernova, and Built To Last), sharing with her and part of the Berlin dance community the commitment to improvisation as a performance event (City Lights, Auf den Tisch!, Politics of Ecstasy). Scaroni’s choreographic works focus on the process of collaboration, play with durational experiences and are featured by a crossbreeding between performance, choreography and installation. Maria teaches in Berlin’s University HZT and is involved in developing independent training programs (in Berlin, P.O.R.C.H. and ROAR) researching the body as material. She holds a Masters degree in Italian Modern Literature, with a thesis on education and dance.

Read more: https://mariafscaroni.wordpress.com/about/