The Jusoor-Program scholarship will provide two scholarships to Syrian students currently living in Syria, Lebanon, Jordan, Turkey, Iraq, or Egypt. Scholarship recipients will be outstanding community members with a history of academic excellence and civic engagement work. Both first-year and transfer students are eligible for this scholarship, and recipients may choose to pursue any of the BA programs that Bard College Berlin offers.
This scholarship is the newest addition to the Program in for International Education and Social Change (PIESC). PIESC began at Bard College Berlin in 2015 and has supported over 60 students from areas of crisis including Afghanistan, Eritrea, Iraq, Syria, and Ukraine with full scholarships. In November, Bard College Berlin and Bard College announced a scholarship program that will provide 60 Ukrainian students with full scholarships.
Interested applicants must apply to Bard College Berlin before the January 15, 2023 deadline. There is no application fee. Scholarship winners will be announced in March 2023.
More information about the scholarship, including the full selection criteria, can be found on Jusoor’s website. Questions about the application process should be directed to [email protected].
This workshop is part of Raj-Reichert’s larger research project on Labor Governance in Global Production Networks.
The workshop aims to discuss the rise of global supply chain laws tackling labor and environmental conditions in offshored-production locations in the Global South, how they relate to (and differ from) private governance mechanisms, and with what outcomes for workers, communities and their environments. The intended outcome of the workshop is to develop a new research agenda relevant for analyzing the effectiveness of global supply chain regulations.
Originally from Syria, Alaboud came to Bard College Berlin in 2019 on a full scholarship in the university’s Program for International Education and Social Change (PIESC). She is studying for a BA in Humanities, the Arts, and Social Thought (concentrating in Ethics and Politics) and recently returned from an Erasmus exchange semester at Sciences Po in Paris. Before moving to Germany, she studied in Syria and India.
Prof. Dr. Catherine Toal , Dean of Bard College Berlin, paid tribute to Alaboud’s achievements as a student and to the support and encouragement provided by college faculty: “Professors at the college are immensely proud to have had the opportunity to teach a student of Alaboud’s intellectual gifts and personal courage. She is an inspiration to students and faculty alike.” Dr. Marion Detjen, Academic Director of the PIESC program, emphasized Alaboud’s thirst for knowledge, diligence and ability to penetrate complex issues as well as her “wise modesty.” Referring to the public Real Talk series, Dr. Detjen stated: “Nawara spoke so movingly of the plight of those left behind in Syria that everyone present was palpably affected; and this was all the more impressive because it was combined with very considered and sober analyses of the economic and political situation.”
As a Rhodes Scholar, Alaboud aspires to pursue future research in comparative political science. She is particularly interested in the processes of ending military hostilities, peacebuilding, and democratization and their interactions in post–civil war countries, especially in the Middle East. In her bachelor’s thesis, she attempts to trace the effects of peace agreements on the success of democratic transitions. At Oxford, she hopes to pursue an MPhil in Politics (comparative government): “The prospect of joining the wide community of previous Rhodes Scholars, and the chance to join the outstanding academic community at Oxford, is incredibly exciting,” she says. “It is not lost upon me what a rare privilege this is; so many gifted young Syrians deserve such an opportunity but are hindered from receiving it by the severest of circumstances. I hope to be able to make the most of my time at Oxford and to contribute something of value to the field of post-conflict studies, especially for the people who suffer the consequences of war everywhere. This would have never been possible without the help and support of so many incredible people, especially my ever-so-generous professors and academic advisor."
Alaboud’s is one of two Rhodes Scholarships for students from Syria, Jordan, Lebanon, and Palestine, conferred in partnership with the Saïd Foundation. It is also one of two Rhodes Scholarships awarded this year to Bard students: At Bard College in New York, Sonita Alizada, an Afghan student who is internationally recognized as a rapper and human rights advocate, was awarded a Global Rhodes Scholarship, available to students from nations that are not members of established Rhodes constituencies. Alizada has spoken and performed at United Nations events, urging an end to child marriage and standing up for the rights of women and girls, especially in her home country.
About Bard College Berlin
Bard College Berlin is a globally diverse liberal arts college offering four-year Bachelor of Arts degrees accredited in Germany in the United States. Eligible students earn a dual US and German degree. The College has a history of supporting students from countries and regions in distress, including Syria, Iraq, Yemen, Eritrea, Iran and most recently Afghanistan and Ukraine. Currently, the student body consists of 313 students from 63 countries and six continents.
About Bard College
Founded in 1860, Bard College is a four-year, residential college of the liberal arts and sciences located 90 miles north of New York City. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in more than 40 academic programs; graduate degrees in 13 programs; eight early colleges; and numerous dual-degree programs nationally and internationally. Building on its 162-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal arts education. For more information about Bard College, visit bard.edu.
Cells: Memories For My Mother was written while McCrea was sharing a small flat in Dublin with his mother during quarantine. From Foyles:
“Moving through a sequence of remembered rooms - the 'cells' - Gavin unspools an intimate story of his upbringing and early adulthood: feeling out of place in the insular suburb in which he grew up, the homophobic bullying he suffered at school, his brother's mental illness and drug addiction, his father's sudden death, his own devastating diagnosis, his struggles and triumphs as a writer, and above all, always, his relationship with his mother. Her brightness shines a light over his childhood, but her betrayal of his teenage self leads to years of resentment and disconnection. Now, he must find a way to reconcile with her, before it is too late.”
Cells: Memories For My Mother has been released in Ireland, the United Kingdom, Australia, and New Zealand. It is slated for a U.S. release in April 2023.
Praise for Cells:
“Cells is a raw, throbbing thing; the literary equivalent of an open wound, but one that’s been cauterised by a highly skilled surgeon.” –The Telegraph UK
“The tone of Cells is sombre, scathing, at times vengeful, recollections written with the kind of anger that brings a startling clarity of expression to subject matter that includes homophobia, class issues, mental health, parental neglect and illness.” –The Irish Times
“McCrea examines his past like a surgeon wielding a scalpel. The result is a visceral and searching memoir where the author displays seemingly inexhaustible strength in revealing his vulnerability.” –The Sunday Business Post
The conference centered on the exploration of how Joyce’s corpus of works offers a complex notion of Europe as a geopolitical and cultural space of exchange. Set against contemporary existential threats to a shared notion of Europe, this conference intends to revisit Joyce’s vision of European identity, one distinct from a notion of European cosmopolitanism, which is often associated with European modernism and to Joyce himself. The event’s full program can be found here.
As part of the conference, the ICI Berlin hosted the reading “After Joyce”, which included guest speakers Nuala O’Connor and Adrian Duncan and a welcoming address from Dr. Nicholas O’Brien, the Irish Ambassador to Germany. Other lectures given at the conference include
“Who's He When He's Abroad? Joyce and the Irish in Italy” and “Europe and Europa: The Heritage of Myths for a Critique of Euro-essentialism and Euro-skepticism”.
2022 marks the centenary of the publication of James Joyce’s Ulysses.
On November 17, Vormann appeared on DW News in English and German to unpack the finalized election results.
On November 11, Vormann spoke with RBB about the election results. Vormann also took part in a panel discussion on election results at the Federal Press Office later that evening. A recording can be accessed here.
Prior to the election, Vormann appeared on Radio Eins and SWR2 to discuss potential outcomes and the current state of U.S. politics.
The conference is concerned with questions such as: Who has access to university education? What is a university and what does it stand for? How can we reimagine the university in today’s world? What is the ‘Third Mission’ of universities, and how does it connect (or not) university to society? Can we rethink the university as an open society where education and knowledge take place in interaction with the communities around us?
Hans Stauffacher, a BCB lecturer who instructed several Socrates Project courses, and Faiza Lynar, Head of Civic Engagement and formerly Socrates Project Assistant, will be participating along with two Socrates Project alumni from Berlin.
Students from operational Ukrainian higher education institutions will be hosted in cooperation with their home institution, both to ensure that students can continue working towards their degrees, and to maintain the stability of those Ukrainian institutions that are currently under duress.
Applications are accepted until November 23, 2022 for a program start in fall 2023.
The program builds on previous Bard efforts to support refugee scholars and students. In the mid 1930s, the College gave refuge to distinguished writers, artists, intellectuals, and scientists fleeing Nazi Europe. In 1956, the school welcomed more than 300 Hungarian student refugees fleeing the Soviet invasion. In 2004, Bard helped bring more than 50 students from European Humanities University in Belarus, which was closed by the Lukashenko regime, to complete their education at Smolny College. A similar program was set up for 60 Turkmen students who could not continue their education at the American University in Central Asia in 2010. Bard College Berlin has welcomed more than 50 displaced students through its Program for International Education and Social Change, most of them from Syria. Last year, Bard committed to welcoming 100 Afghan students after the Taliban takeover of the country and this summer Bard College Berlin took in 12 refugee students from Ukraine.
Please direct any and all student inquiries to [email protected]
Students who would like to apply should do this through the website for the Ukrainian Refuge Program.
Access the full paper on Taylor & Francis Online.
Laura will deliver a talk on the works of British poet and painter Mina Loy entitled "Per strade eccentriche" ("Eccentric paths") and discuss the newly published Italian translation of Loy’s The Lost Lunar Baedeker in conversation with Caroline Patey (University of Milan). Laura and Caroline Patey will explore Loy's aesthetics, modernist poetics, and feminism through the lens of her constant rejection of norms, which led to her reception as eccentric and difficult.
Laura is also the author of Mina Loy’s Critical Modernism (2019, University Press of Florida) and has taught texts by Mina Loy in many courses at BCB, including the core course and OSUN Network Course on "Global Modernisms" and "Feminism and the Avant-Garde".
The Il faro in una stanza festival takes place on November 12 and 13 at the Carrobiolo Library. It is sponsored by the Italian Virginia Woolf Society and the bookshop Virginia & Co. This year’s festival will feature talks and readings on Virginia Woolf, the Bloomsbury Group, Olivia Laing, the Mitford sisters, and Mina Loy.
Khurram joined Bard College Berlin following the Taliban takeover of Kabul in August 2021 and received a fellowship from the Gerda Henkel Stiftung. She was the Youth Representative for Afghanistan to the United Nations in 2019 and prior to studying at BCB, Khurram was a student at American University of Afghanistan. Khurram is a dedicated activist in the area of education for women and girls. She recently joined the Transforming Education Summit as the regional leader of the Tertiary Refugee Students Network hosted by the United Nations.
Though Khurram’s life and work have been disrupted by ongoing geopolitical conflict in Afghanistan, she remains optimistic that with dedication and material change, Afghanistan’s future looks bright. At the end of her talk, she states:
“What happens when you put ‘failure’ into the thought process, into the minds and bodies of a nation and especially its young people, what happens when you call them ‘finished and done’, just because their political systems failed to protect them and their futures? This is the mainstream perception pushed by mainstream media and policymakers around the world. It is true that the political failure is an undeniable reality, but it’s not the whole story. We often underestimate the power of false narratives and the subconscious, counterproductive consequences they have on people and their realities.
[...] And what Afghans, Afghan youth are protesting for and demanding for today is a fight that they have taken upon themselves on behalf of all of us, on behalf of all freedom loving people of the world. They have proven that they are not failed and done, and I'm sure that the free thinking people of the world everywhere will ensure that young Afghans are not forgotten.”
Khurram’s TEDx talk can be watched in its entirety on Youtube.
In an interview with The Sociological Review, Lisiak said,
“While it is rooted in rigorous research, the podcast aims to present complex academic ideas in an approachable way and engage audiences in a lively conversation. [...] For Massey, any place – including her London neighbourhood of Kilburn – is never just one thing, but rather ‘a meeting-place, of jostling, potentially conflicting, trajectories’. As she wrote, ‘It is (or ought to be) impossible even to begin thinking about Kilburn High Road without bringing into play half the world and a considerable amount of British imperialist history.’ And that, as she insisted, provokes in us a global sense of place.”
Spatial Delight is hosted by the Sociological Review and funded by VolkswagenStiftung. In addition to Lisiak, several other members of the BCB community are involved in the project. Adèle Martin (HAST '22) joins the podcast as a production assistant. Bose Sarmiento (HAST ‘21) is the podcast’s illustrator and hosts of one of the episodes in Spanish. Erick Moreno Superlano (HAST ‘22) will host an episode (also in Spanish) on Venezuela. Reece Cox (visiting student ‘17) serves as Sound Producer. Janina Schabig assisted in production and Florian Duijsens assisted in script editing.
Spatial Delight premiered on October 28 and can be found on all major podcast streaming platforms, including Spotify, Apple Podcasts, and RSS. To find the full list of ways to listen, click here.
Literature professor Martin Widmann, the organizer of LitFest, says that, “LitFest shows that Bard College Berlin plays an active role in the city’s vibrant literary scene. By celebrating literature, we want to create a space where Bard College Berlin’s academic and creative learning culture interacts with the community beyond campus. The line-up of guest speakers reflects the plurality of languages used at the college and in the city of Berlin.”
The event series will begin on Thursday, November 10th with poet and author Alistair Noon reading English-language translations of Osip Mandelstam’s early 20th century Russian poetry. On Wednesday, November 16th, writers Isabel Fargo Cole and Rebecca Rukeyser will offer readings from their recent work on the U.S. state of Alaska. Cole will read in German, Rukeser will read in English. On Thursday, November 17th, Tomer Gardi and Matthias Nawrat will offer readings in German. Tomer Gardi is an Israeli-born writer known for his deliberate use of Radebrechen, or broken German. Matthias Nawrat is a Polish-born writer working in German.
LitFest is designed to bring cultural and literary enrichment to Pankow, a borough of Berlin typically underserved compared to southern and central parts of the city. The event series is sponsored by Neustart Kultur, an organization operated by the Federal Commissioner for Culture and Media (BKM).
LitFest is free and open to the public. No advanced registration is required. To find out more about the events, including specific times and locations, visit the event webpage.
Zamrik’s first published volume of poetry, Ich bin nicht (I am not), will be released by Hanser Berlin on October 15, 2022, in English and German. Ich bin nicht explores themes of belonging and unbelonging, from Damascus to Berlin and beyond. Accompanying the launch, Zamrik will perform readings from the book at the Archäologie des Verlusts Festival at the Roter Salon of Volksbühne on Saturday, October 15 at 8pm. To purchase tickets for this event, click here. To pre-order a copy of Ich bin nicht, visit Sam’s website.
Additionally, Zamrik’s lyrical work will be featured in New Songs from the Earth which will premiere at the Neuköllner Oper on October 15, 2022. New Songs from the Earth seeks to “capture contemporary experiences, images and feelings about the concept of ‘Mother Earth’ in a musical-scenic mosaic that quotes the original music and continues it in new compositions – symphonic and chamber music, with vocals and also purely instrumental.” More information (including where to buy tickets) can be found here.
Bard College Berlin reached out to Sam to ask them a few questions about art, culture, identity, and exploration.
What about your personal and intellectual background informs your work?
I am queer, I come from a very poor and uneducated family, I grew up under a dictatorship regime, and I suffer from chronic mental illness, but I also came to have access to a university education and can speak three languages. Most importantly, however, I have always been an outsider. Each of these things plays a huge role in my work today and informs it every step of the way. For instance, I prefer to give workshops on topics that are relevant for the underrepresented, such as the series of workshops I conducted at the Haus der Kulturen der Welt on the topic of asylum and exile, or the creative writing workshops I co-led for disenfranchised refugee high school students in Brandenburg. Moreover, all of these influences converge in my poetry, which I like to believe is positive representation of outsiders like me. I like to craft poems that lend themselves to close reading, but I think that's a lot to ask of the reader, as the content is largely autofiction, so I rely heavily on political theory, philosophy, narratology, and linguistics in order to appeal to the reader, retain their engagement, and deliver my message while also keeping the poems accessible and free of (too much) jargon.
Could you speak to Berlin as a creative, educational, or artistic space?
Though it can be unforgiving at times, Berlin is a patchwork of so many communities and worlds and that lends itself to creation, learning, and art, because Berlin itself teaches, creates, and makes art. One can learn a lot about politics, history, architecture, art, ethnology, post-colonialism, and so much more just by walking between its many Bezirke. Graffiti and other street art meets Renaissance and Romantic painting in the streets; 10 languages buzz together in a lively human loudness on any given train ride; one can walk by buildings that survived catastrophe and others that continue to cause it; home and exile coexist on the same street; the global south reproduces its localities in every part of the city and wears a North Face jacket. I can only wax poetic about Berlin, because Berlin itself is like poetry, and whatever you think of poetry will certainly apply to Berlin as well.
How do you think interdisciplinarity in the classroom fosters creativity outside of the classroom?
Interdisciplinarity opens multiple entry points into any given topic and a broader, more varied perspective on each discipline that one wants to look into, as well as a sure footing when embarking on practical applications. It also delimits a person's capacity to work on a project by providing experience (even if only theoretical) in multiple mediums, which in turn frees up creative energy and allows significant possibilities for practical creation. In other words, interdisciplinarity gives a person multiple tool sets that are readily available for both creative and practical processes.
How do you find—or make—opportunities in line with your interests?
As an outsider even among outsiders, I can't say that I was successful in finding opportunities in line with my interests, but certain opportunities definitely presented themselves to me during multiple phases of my life which I had to cease and tailor to fit. At Bard Berlin for instance, I found that a lot of my interests were at times too niche for a lot of people, so I had to rephrase and rework them in ways that facilitated building bridges between myself and others. To that end, the old adage "Know your audience" is paramount. A weird, albeit good example from my time at Bard, is my life-long interest in the occult. Naturally, it did not go over very well with many people, but couching it in more tangible, more relevant terms and weaving it into politics and philosophy essays seemed to do the trick, and it even began to pique the interest of some people who had previously rolled their eyes every time the topic was brought up, which allowed me to discuss it more freely both inside and outside class. Similarly in my professional life, I had to muster up the courage to make space for myself by learning how to present and pitch things to people in order to create opportunities not previously available to me. So I would say I make opportunities line up with my interests by getting to know who I am talking to and what might interest them as well, then by creating symbiotic, give-and-take relationships that I am ready to accommodate and are ready to accommodate me, with sufficient room for mutual, consensual compromise.
Bard College Berlin thanks Sam Zamrik for their thoughtful, eloquent response and their contributions to cultural discourse both in Berlin and across international boundaries.
The decision to remove the films from the festival was made by a small panel of five members, an action that was quickly criticized by festival-goers and the shareholders of documenta. Supporters of the decision maintain that the issue was so urgent that expert input needed to override traditional legal processes concerning film censorship; detractors believe it led to the loss of trust between festival organizers and the artists and audiences that populate the festival. Detjen’s article asks when this type of policy-making by academics is acceptable.
As she writes, academic authority is an important part of civic life, as exemplified by the role that scientists and doctors played in creating COVID-19 guidelines outside of traditional legislative channels. Expert decisions may not be wholly apolitical, but they are motivated by a desire to help the public rather than to advance a specific agenda. To Detjen, the documenta 15 decision was an overreach, not for declaring the films to be antisemitic, but for deciding that the films could not be showcased at all, even as complex historical documents that were made in a different context.
Detjen cautions against the use of academic credentials to advance specific political agendas, especially when academic opinion can commandeer a popular vote or public forum. She writes,“The state of research must be taken into account, the knowledge of others must be consulted, the criticism of colleagues must not only be endured, but solicited, actively sought, for in the end it is exclusively colleagues who, under the conditions of freedom of research and teaching, determine what is science and what is not.”
Detjen’s essay has entered an international, multilingual conversation surrounding these questions, advancing our understanding of democracy, contemporary art, and the role of academia.
Tecklenburg’s Performing Stories: Narrative as Performance is a foundational book on narrative in and as performance. The book was translated by William Locke Wheeler. Tecklenburg’s focus lies on narration less as literary composition than as sensate, embodied cultural practice—a participatory and open process that fosters social relationships. She gives central importance to the forces of narration that create and undo culture and politics.
Prof. Dr. Dr. Erika Fischer-Lichte, university professor of theater research at the Free University of Berlin, says that the book is “not only an outstanding research achievement but also a gripping read… a highly original and innovative theoretical exploration in contemporary theater studies.”
Praise for the German original (published at transcript, 2. edition 2016):
‘One special merit of the book is how its reassessment of terminology interrogates and dismantles frozen dichotomies that have led foremost to the exclusion of narrative theory from certain fields of scholarship… Tecklenburg’s book is a vastly important and long overdue contribution to both contemporary narrative theory and theater studies.’—Elke Huwiler, www.theaterforschung.de
Performing Stories: Narrative as Performance can be purchased on Seagull Books and The University of Chicago Press websites.
Recovering a richer liberalism capable of weathering today’s political storms, Tocqueville’s Dilemmas, and Ours explains how we can reclaim nationalism as a liberal force and reimagine sovereignty in a global age—and do so with one of democracy’s most discerning thinkers as our guide.
Chat-Inferno is inspired by Dante’s Inferno within The Divine Comedy. The piece examines the communication form of online chats with all of their emotionalizing and social volatility; audiences can walk around with smartphones and headphones and chat with each other. A parallel online audience can also take part in the chat. Together, the participants set off through the circles of hell of our time: the limbo of the indifferent, the sea of flames of deceptions or in the quagmire of wrathful souls.
Chat-Inferno is a part of the Spy On Me #4 Festival, a festival on theater and digital culture, run by HAU (Hebbel Am Ufer). This year’s theme is ‘New Companions’. In an interview with HAU, Tecklenburg said,
The German-language piece will run from September 30 until October 3rd. For more information, visit the Chat-Inferno page of the HAU website.
Concept: Interrobang / By and with: Max Gadow, Lisa Großmann, Elisabeth Lindig, Peggy Mädler, Till Müller-Klug, Lajos Talamonti, Nina Tecklenburg / Coding: Florian Fischer, Hannes Breul / Stage: Sandra Fox / Music: Friedrich Greiling / Dramaturgical cooperation: Christiane Kühl / Coding dramaturgy: Pilar Petropoulos-White, Veronika Risnovska / Final rehearsal coordination: Selma Böhmelmann / Assistance: Annelie Uhlig / Light design: Dirk Lutz / Graphics, animation: Jürgen Fehrmann, Julia Elger / Video engineering: Marius Bratoveanu / Production management: ehrliche arbeit, Sandra Klöss / Public relations: Tina Ebert / Internship: Aurelia Kraus
In addition to displaying her own artwork, Vala wrote the text for the exhibition guide for Goya Yo lo vi – Ich sah es – I Saw It. The exhibition is a core part of Bard College Berlin’s Eine Uni ein Buch (One University one Book) project, which BCB was selected to receive by the Stifterverband and the Klaus Tschira Stiftung.
The themes depicted by Goya are close to the real-life experiences of several BCB students. As Vala writes in the guide: “Studying such an aesthetically and politically powerful artwork as Goya’s Los Desastres de la Guerra creates a newly empathetic viewpoint from which to consider the diverse catastrophic effects of war, including the flight of populations, psychological wounds, and political and geographical reconfigurations across the earth in the present day.”
Goya’s works are particularly relevant to the BCB student body for perceiving images of war and reflecting on ways to move forward. As Vala puts it: “... to be moved by such works, is to allow the beauty and sublimity, or the resistance to them, to be the medium of communication and to be granted that space to feel and think in communion: to feel the horror, and to think, what can be done?” The college’s scholarship initiative, the Program for International Education and Social Change, supports the refugee students that are studying at BCB, a number that represents nearly 15% of the student body.
Goya Yo lo vi - Ich sah es - I saw It and The Atlas of a Stranger will run until November 6, 2022. Over the next several weeks, Bard College Berlin students and faculty will be organizing events in connection with the exhibition and centered on themes such as migration, borders, and Francisco de Goya’s extremely influential role in art history.
Bard College Berlin’s connection with the Open Society University Network offered the opportunity for students to take courses with students from around the world. Other students worked for the US Senate in Washington, D.C., a Market Research position, and the Rosa Luxemburg Stiftung in Tunisia.
Watch this video to hear from our students in their own words of the work they accomplished over the summer.
However, beyond the numbers, our new students also have impressive stories to tell.
Two of the new BCB-ers completed voluntary social years in Rwanda and Spain. Three of the incoming students are recipients of the U.S. Department of State-funded merit-based scholarship program, Future Leaders Exchange. Our students have been TED speakers, delegates in Model UN conferences, climate change activists and participants in Brown and Princeton University summer schools.
Our new students have completed internships and volunteered at the Columbia University High School Law Institute, Red Cross Society, Lahore University, International Development Initiative as well as multiple refugee camps and children’s hospitals. The class of 2026 also has a significant number of students with experience in tutoring activities, particularly teaching English as a foreign language.
The first-year and transfer students completed an annual two-and-a-half-week Language & Thinking Program, introducing them to academic and social life at Bard College Berlin, and the bustling city of Berlin. You can see a short recollection of the L&T 2022 program here.
The class of 2026 are not the only newcomers to campus this fall. Dr. Nassim AbiGhanem has been appointed to the faculty, and he is joined by new guest faculty, Angela Anderson, Aaron Alle, Noam Brusilovsky, Razieh-Sadat Mousavi, Tirdad Zolghadr, Siegmar Zacharias and new guest faculty in the German Studies Program, Adelaida Ivan, Aleksandra Kudrishova, Dr. Florian Scherübl, Dr. Eugen Wenzel. You can learn more about the distinguished scholars joining BCB this semester here.
We wish everyone in the BCB community a warm welcome (back) to campus!
In March of this year, Bard College Berlin was one of the ten universities that were selected by the Stifterverband and the Klaus Tschira Stiftung to receive the Eine Uni ein Buch (One University one Book) award. For BCB, this is a 100% award success rate: thrice the college applied and all three times we triumphed. In 2017, the book of reference was Plato’s Republic, in 2018 we applied with Mary Shelley’s Frankenstein and this year, in a bold and daring move, we proposed a book that was in every sense extraordinary: Francisco de Goya’s Los Desastres de la Guerra (‘The Disasters of War’), a series of 82 prints in which the artist depicted the atrocities of the Napoleonic wars in Spain. The series was published in a bound format in 1863, 35 years after Goya’s death.
The heart of the project is the exhibition of a copy of Goya’s Les Desastres de la Guerra book, together with three additional series of prints that appeared in a bound format - Los Caprichos, Los Disparates and Tauromaquia - and single works on paper by the artist. Simultaneously, large projections of the individual images from Los Desastres de la Guerra as well as Los Caprichos will be shown, providing a unique opportunity to see each print represented in the series in a larger-than-life format. Goya Yo lo vi – Ich sah es – I Saw It takes place at the Sammlung Scharf-Gerstenberg and will run until November 6, 2022.
Vala Schriefer, a 4th year student at Bard College Berlin, writes in the exhibition guide: “Studying such an aesthetically and politically powerful artwork as Goya’s Los Desastres de la Guerra creates a newly empathetic viewpoint from which to consider the diverse catastrophic effects of war, including the flight of populations, psychological wounds, and political and geographical reconfigurations across the earth in the present day. These events, animated and stressed by the haunting and torturous visions of Goya’s etchings, are to some BCB students in fact intimate experiences. Since the beginning of the university’s Program for International Education and Social Change, over 10% of the BCB student body has been made up of young refugees.”
Over the next several weeks, Bard College Berlin students and faculty will be organizing events connected to and inspired by the exhibition. More information about the exhibition and accompanying program can be found here.
The exhibition offers a look into the Living Archive with video and audio documents of pandemic theatre making and audience experience via interviews, rehearsal shadowing, video documentation and digital interactions. It investigates the questions: How hybrid is the future of theatre? In what ways has the pandemic changed how we work in theatre and gather in it as a public space?
The Living Archive includes a section created by Bard College students from Berlin and Annandale, who participated in the network course "Post/Pandemic Theatre in Berlin and New York" in the Fall 2021 semester.
It is co-created by members of the artistic research project Viral Theatres (Volkswagenstiftung): Ramona Mosse (principle investigator, BCB and FU), Nina Tecklenburg (BCB and Interrobang), Janina Janke (Turbo Pascal) and Christian Stein (game.lab HU).
Several distinguished scholars join BCB for the first time this fall as guest faculty.
• Angela Anderson (MA Film and Media Studies, The New School) is an artist and researcher working in the mediums of multi-channel video and sound installation, sculpture and photography.
• Aaron Allen (MA Security Studies, Georgetown University) is a non-resident fellow at the Center for European Policy Analysis and freelance journalist focusing on transatlantic relations, democratic resilience, strategic arms control, and German foreign policy.
• Noam Brusilovsky (Hochschule für Schauspielkunst Ernst Busch) works as an author and director for German public broadcasting corporation ARD. His radio plays twice won the German Radio Drama Award and were nominated for the Prix Europa.
• Razieh-Sadat Mousavi (MA in History of Science, University of Tehran) is currently finishing her PhD thesis at the Humboldt University of Berlin and is a predoctoral fellow at the Max Planck Institute for the History of Science in Berlin.
• Tirdad Zolghadr is a curator and writer, most recently working as associate curator at KW Institute for Contemporary Art Berlin.
• Siegmar Zacharias (MA Performance Art, DasArts Amsterdam) who works in theory and practice in the field of performance, also returns to the guest faculty.
A number of new guest faculty will be teaching in the German Studies Program.
• Adelaida Ivan (MA Intercultural Communication, University of Bucharest) has received several grants for her cross-border research projects and is a former fellow at the Institute for Media and Communication Studies, Free University of Berlin.
• Aleksandra Kudrishova (MA Literary and Cultural Studies, University of Groningen) is a scholar of film, art, architecture, German language and literature.
• Dr. Florian Scherübl (PhD in German Literature, Humboldt-University Berlin) teaches Modern German Literature at the TU Dresden.
• Dr. Eugen Wenzel (PhD in German Studies, University of Paderborn) has been a lecturer at universities including Heinrich Heine University Dusseldorf, Bard College Berlin, and TU Chemnitz.
Read the full article on Zeit-Online.
The workshop will bring leading academic researchers and thinkers from around the world in an interdisciplinary manner to discuss how digital transformation affects the distribution of economic and social gains in global value chains and what industrial policy options there are for achieving more equitable results in global economy facing repercussions of a global pandemic and geopolitical disruptions.
The workshop is a part of the Blankensee-Colloquia, international workshops, each on an innovative issue from the humanities or social sciences.
'Who captures the Gains? New Theoretical Concepts on the Impact of Digital Transformation on the Global Economy' will be held from 14 to 16 September at the Weizenbaum Institute for the Networked Society.
Read the full article in Jacobin magazine >>
To read the full essay on the Berliner Gazette >>
Bystrom wrote the introduction with Carolyn Ownbey, Assistant Professor and Chair of English, Communications, and Literature at Golden Gate University in San Francisco. Popescu’s book traces the development of African literature during the second half of the twentieth century to address the intertwined effects of the Cold War and decolonization on literary history.
The project aims to advance the emergent field of Global South Studies by providing a platform and forum for a conceptual mapping of key concepts/thinkers/moments/issues within the field and is inspired by Deepika Bahri's innovative and influential [email protected].
Read the full essay on the Global South Studies website >>
This year's theme was centered on "Bureaucracies of Displacement." Together with Mimi Kim, Poulami Roychowdhury, Montserrat Sagot, Myra Marx Ferree, and Paige L. Sweet, Zeynep participated on the panel that focused on "State Bureaucracies and Gender-Based Violence Across National Contexts."
According to the ASA's press release, "Gender-based violence creates “displacements:” isolation from social networks, loss of access to paid work and welfare benefits, psychological upheaval, forced migration, lost faith in trusted institutions, housing insecurity, and coercive legal system involvement. Due to action or inaction, states create, interrupt, and/or reproduce such displacements." The panelists discussed a number of themes related to this topic, including: What role should states play in responding to intimate violence? Whose visions of “protection” are amplified in state policy? What kind of state exists for non-normative victims? How do state categories—such as “victim” or “refugee”—shape our understandings of violence and of survival?
For more information on the ASA’s 117th Annual Meeting >>
From the abstract:
Salons evoke high-flown associations; we picture elegant people gathering in glamorous settings for cultivated conversations about the arts, literature, and politics. The so-called salons hosted around 1800 in Berlin by bourgeois Jewish women are tied to promises of emancipation and religious toleration. Scholars have either hailed the empowering functions of these convivial gatherings or debunked their enlightened promises as myths. Drawing on the latest research on conviviality in the social sciences, on Friedrich Schleiermacher's theory of sociability, and on writings by and about Rahel Varnhagen, Henriette Herz and Fanny Lewald, this essay approaches the topic of the salon from a different angle. I argue that these women's social endeavours were not tied to specific ends that we can either admiringly endorse or expose as failures from today's perspective. The notions of the female self, of writing, and the conceptions of literature and philosophy emerging from these convivial constellations are inherently dialogical and shifting. Conversations may sometimes break open hierarchies, but they may also foster conflict and no improvement. The value of these encounters, I suggest, lies in the effort made rather than a classifiable outcome.
To read the full article >>
Climate Action is a Springer Nature open-access journal that publishes high-quality original research, reviews, and essays targeted at an audience of researchers and diverse stakeholders who are interested in mitigating hazardous effects of the global climate change. It aims at building a bridge from science to action towards scientifically informed policies at local and global level. The journal’s scope covers transdisciplinary research from social and physical sciences, combining political, environmental, socio-economic, and behavioral science, with a special focus on the climate change mitigation; climate governance and existing action plans; their feasibility (but also limitations) in the different regions of the world
The Journal’s Editor-in-Chief is Professor Jale Tosun and the Managing Editor is Dr. Spyros Bakas
Prof. Dr. Atanassow’s presentation is titled “On the Use and Abuse of Crossing Boarders.” She will be presenting in the second section at 4:55 pm CEST.
About Barriers and Borders:
In recent years, political turmoil in both North America and Europe has been focused, arguably to an unprecedented extent, on barriers to movement. The resurgence of nationalism, anti-immigrant sentiment, religious intolerance, and protectionism are aspects of restriction that restrain and inhibit cross-border flows of people, goods, money, ideas, and information. At present, the world also struggles with new barriers to movement coupled with personal restrictions imposed by the ongoing Covid-19 pandemic.
These sources of closure, often marked by anxiety and mistrust, are placing liberal constitutional regimes under great pressure.
Barriers and Borders aims to deepen trans-Atlantic scholarly exchanges by convening a research network centred on these themes. It seeks to bring sustained conceptual, analytical, and historical attention to the causes and consequences of constructing (or reconstructing) such impediments.
For more information on Barriers and Borders >>
For the full Crossing Borders’ program >>
From the announcement:
Some bodies are deemed as having the right to belong, while others are marked out as trespassers who are, in accordance with how both spaces and bodies are imagined (politically, historically and conceptually) circumscribed as being ‘out of place’.
18 years ago, Nirmal Puwar published Space Invaders: Race, Gender and Bodies out of Place (Berg, 2004).
Some bodies, the book pointed out, are ‘deemed as having the right to belong’: they fit into social institutions with ease, due to the sedimented histories, cultures and politics of ‘race’, gender and class. Such people are the ‘somatic norm’. Others are positioned as conceptual and historical ‘space invaders’, who are too different degrees ‘out of place’.
Written at a time when ‘increasingly, women and minorities are entering fields where white male power is firmly entrenched’, this powerful book used an expansive range of examples from across UK national institutions (including parliament, civil service, the art world and academia) alongside an inventive range of theory to understand how processes of exclusion are tied to conditions of inclusion, alongside how people negotiate and contest them. Space Invaders asks the question: ‘What happens when those bodies not expected to occupy certain places do so’?
Puwar’s lucid, nuanced and compelling book has been highly influential, inspiring work in the museum, arts and cultural sector (such as ‘The Space Invaders collective’ and podcast, as well as the ‘Spatial Feminism’ book club).
This book was launched in Milan and has been widely taken up in academia, used extensively in teaching (including in BCB’s Internship Seminar) and creative practices internationally. This afternoon event will revisit Space Invaders in a contemporary context marked by renewed activist work and institutional attention to ‘inclusion’, alongside the optics and capitalisation of diversity and the rise of new aggressive forms of inequality.
For more information on Revisiting Space Invaders: Race, Gender and Bodies out of Place >>
To the seminar’s registration >>
From Deutsche Welle: Aya Ibrahim has worked for DW for nearly 10 years, currently as a freelance reporter for DW News. The magazine particularly highlighted DW's "Seitenwechsel" format, developed by Ibrahim, which aired in the run-up to the 2021 German federal election and provided voters with a platform to discuss relevant issues.
In the featured article on the Top List in the magazine’s current issue, Ibrahim was asked what drives her in her journalistic work. She replied, "Curiosity. And the idea that quality journalism is crucial to the development of more just societies."
To read the full article in English on Deutsche Welle >>
To read the full article in German on Deutsche Welle >>
For more information on Medium Magazin’s 30 bis 30 (German) >>
Michael Nyakundi and Abdullah Naseer write, “Most solutions to police brutality have involved the often-lengthy process of bringing police to justice through jurisprudence, or, as is the case in the US, demanding for the defunding of police. While these solutions are salient, they rarely mend the bad blood/fears between police and the youth.” Their project introduces a workshop where police representatives and youth representatives (a) have a dialogue about ways in which they both can civically engage/communicate in order to promote conviviality and (b) go through various restorative justice measures the police can explore when dealing with crime. They will also organize a community engagement endeavor, such as rubbish collection or a soccer tournament, in which both the police and the youth would engage to further cement a cordial relationship. Further, they plan to lobby members of parliament to promote police and youth engagement in my Soweto slums.
The award winners were decided through a multi-step process. Twenty-five applicants submitted project proposals in an open call round. Five projects were selected to advance to a second round and given an award of $1000 and another month to conduct research and identify partners and materials needed to realize the project. Two finalists were selected from this stage and awarded a further $5000 to create a detailed project activation blueprint and timeline. Both finalists were named winners and split the final $10,000 award to realize their projects.
This award’s selection committee was chaired by Associate Director of the Human Rights Project Danielle Riou and included Dean for Social Action and Director of the Trustee Leader Scholar Program Paul Marienthal, Vice-Chair of the Board of Governors of Bard College Berlin Susan Gillespie, former Research Professor at the Andrew Gagarin Center for the Study of Civil Society and Human Rights at Saint Petersburg State University Carine Clément, and Executive Director of [email protected] Dariel Vasquez ’17.
About the Margarita Kuchma Project Award
Organized by Bard’s Human Rights Project, the Margarita Kuchma Project Award was created in honor of Margarita Kuchma, a student who was passionate about confronting injustice head-on. The award supports a real-world, student-led project that addresses fundamental issues of equality, freedom, social justice, civil rights, and human rights. Currently enrolled students and recent alumni/ae from across the Bard network, including Al Quds, Bard Berlin, AUCA, Bard Annandale, were invited to apply.
Translated from the abstract:
Since the late 1980s, the interpretation of Mies as a supposed opponent or even victim of National Socialist cultural policies has been under public scrutiny. This lecture focuses on Mies van der Rohe's situation in 1933 and 1934, and more broadly on the relationship between political judgment and architectural modernism. Just as Mies designed the pavilion for the World's Fair in Brussels in 1934 at the invitation of the Nazi Propaganda Ministry, among other things, he also saw the Revolutionary Monument as a primarily aesthetic-architectural challenge as early as 1926 - in the years of the Weimar Republic - freely following the motto: "I am not interested in whether the man who mixes the cement is a Nazi or a Communist. I'm only interested in whether he makes good cement." In retrospect, how can we appropriately classify Mies's role in the early years of National Socialism, during the time of an internal party dispute over the direction of modernism? And how does his understanding of architecture relate to our standards of evaluation today?
To watch the lectures (in German) >>
For more information on the Mies und die unvollendete Moderene lecture series >>
From the announcement: From the circulation of poetic forms across different languages and traditions around the globe, through the envisioning of national and transnational discursive communities, to the use of poetry in contemporary episodes of political resistance and its dissemination on social media, lyric poetry seems to be a privileged site for an inquiry into community formation and its politics. Various theoretical approaches cast poetry in this peculiar role, from French and French-oriented political philosophy, (exemplified in the famous exchange between Maurice Blanchot and Jean-Luc Nancy begun in the 1980s), to the reevaluations — in reader-response criticism as well as in postcolonial and decolonial studies — of poetry’s roots in orality and performance.
This workshop aims to bring the investigation of historical poetic communities into dialogue with recent developments in the theory of the lyric and in theories of community. While discussing a variety of poetic phenomena in modern European poetry that have been at the center of the critical debate — the poetics of the fragment, the unworking or désœuvrement of the work, the obscurity or polysemy of language, a change of aesthetic regime —, the workshop will also explore the lyric, in its longer history and transnational features, as a particular discursive mode that may offer alternative models of community formation.
These workshops are held in cooperation with ICI Berlin and Bard College Berlin with the support of the Oxford-Berlin Research Partnership.
For more information on the workshop at Christchurch College, Oxford >>
Registration for the Workshop at Christchurch College, Oxford University is due June 20, 2022.
To register email Francesco Giusti at [email protected].
For more information on the event at ICI >>
Registration is required and opens on June 21, 2022.
From the abstract: Logistics, the art, and science of circulation are both at the heart of military campaigns and business interactions. It can also be used as a key analytical prism toward understanding two of the most important fields of intervention of any state: defense and commerce. Using the case of the US-American state apparatus, [Vormann] articulated how [he used] the concept "logistical power" and what the implications of this analytical perspective could hold for the way we think about American political development, patterns of state intervention, and planetary urbanization.
For more information on the UQAM talk >>
From the blurb: Mehta’s forthcoming book examines the political thinking of Mahatma Gandhi, unearthing a non-liberal politics that rejects both imperialism and nationalism. If liberalism seeks freedom by elevating a state to discipline obedient citizens, Gandhi's political theory explicitly links politics to spiritualism and self-realization. Thus Gandhi is opposed to the power of the state as a mediating institution. He thinks in civilizational terms based in family and religion. And he values individual courage because it allows freedom and maturity. Mehta finds in Gandhi a political theory fundamentally at odds with the liberal-nation-state project.
Different Vision: Gandhi’s Critique of Political Rationality will be the topic of the 2022 Yehuda Elkana Fellowship text seminar. Professor Mehta and a number of world authorities on Gandhi and political thinking will be on hand to lead the discussion.
The workshop is supported by OSUN’s Hannah Arendt Humanities Network (HAHN).
For more information on the OSUN workshop >>