Im Wintersemester werden wir uns erneut mit modularen Systemen und biobasierten Materialien beschäftigen sowie den theoretischen Diskurs mit internationale Positionen weiterführen.
per Zoom. Link: zhdk.zoom.us/j/64401234364
Unsere Gäste werden sein:
Kyoko Iwaki, Japan / Belgien
ap-arts.be/en/person/kyoko-iwaki
30.10.2024 17.30–19 Uhr
in englischer Sprache
Performing Fading: Postvisual Dramaturgy in Time of Ecological Catastrophes
Kyoko Iwaki is an Assistant Professor at the University of Antwerp, Belgium. After her career as a theatre journalist, she became a scholar specializing in Asian (specifically Japanese) contemporary theatre and performance who conducts research at the intersection of post-visual dramaturgies, Japanese philosophies, and theatres of catastrophes. Kyoko’s recent publications include: ‘The Politics of the Senses: Takayama Akira’s Atomized Theatre after Fukushima’ in Fukushima and the Arts: Negotiating Nuclear Disaster (Routledge, 2016), and ‘On (Not) Being Useful: The Art of Drifting in Asian Contemporary Theatre’ Studies in Theatre and Performance (2021). She was appointed the co-programmer of Theater der Welt 2023. She is the Associate Editor of Performance Research journal.
„In this talk, I propose a new mode of seeing in ecocritical dramaturgy by drawing upon the concept of haunting agents as nearby relatives or invisible siblings in Japan. Philosophically, I will invoke the premodern Buddhist concept of myō, which denotes a realm where invisible, supernatural, and immortal beings coexist alongside those inhabiting the visible, tangible, and relational world of ken. Building upon this philosophical framework, especially inspired by the proposition of medieval poet Kamo no Chomei, I illustrate how engagements with the unknown in the world of myō are becoming more prevalent in contemporary Japanese performances. To cultivate a harmonious coexistence with the dead others, including more-than-human entities, I posit that adopting what I call the “dramaturgy of fading” can serve as a valuable approach for moth mitigating representational violence and addressing the nonhuman durationality of ecological crises“.
N55, Dänemark
https://www.n55.dk/
13.11.2024, 17.30–19 Uhr
in englischer Sprache
Modular Systems
N55 is a platform for artistic collaboration, operating since 1996 on a high level in international contemporary art, design and architecture.
„N55’s notion of art is grounded in a perception of art as a part of daily life, with the artist as a generalist who can orient her/himself towards any field of knowledge. N55 is first and foremost concerned with relations between ethics and aesthetics, and thereby politics, and to develop an artistic work with practical as well as metaphorical implications. By reformulating certain features of our daily life and surroundings, it is possible to create meaningful situations and social surplus. Art is not restricted to certain methods, techniques and theories, but must take all possible media into consideration, and by means of a general approach, be concerned with fundamental conditions for existence“.
„The work is published without copyright as a form of ‘open source’, which others can copy, build upon, etc. Thereby the traditional distinction between artist and audience is blurred and intellectual ownership is rejected. All along N55 have sought an independent position in relation to art markets and maintained a critical and constructivist position. N55 wish to demonstrate that art as a way of living and acting can be of considerable relevance for other areas of society, and raise attention about basic relations between art and politics, aesthetics and ethics - based on inclusion, not exclusion. .(.) With projects like the XYZ CARGO cargo bikes, we are trying to create a model for producing things locally in an environmental and socially sustainable way.“
Rahel Kesselring, Deutschland
www.rahelkesselring.org/
27.11.2024, 17.30-19 Uhr
in deutscher Sprache
How to hold things: Reparatur, Regeration und Rewilding als künstlerische Praktiken in versehrten Ökosystemen
Rahel Kesselring ist Szenografin und Kulturwissenschaftlerin und zurzeit wissenschaftliche Mitarbeiterin am Exzellenzcluster «Matters of Activity» der Humboldt-Universität zu Berlin. Ihr dort angesiedeltes Promotionssprojekt untersucht ortsspezifische Praktiken der Reparatur, Regeneration und des Rewilding in Arbeiten der zeitgenössischen Kunst an der Schnittstelle zu Plant Studies, Queer Theory, Kunstgeschichte und Kulturwissenschaft. Als Künstlerin arbeitet sie in unterschiedlichen Gruppierungen im europäischen Raum, u. a. für den steirischen herbst, MaerzMusik Berlin, Wien Modern, Festival far° Nyon, Ashkal Alwan Beirut, Kaserne Basel und Gessnerallee Zürich.
„Wie können sich versehrte Ökosysteme, Wälder und Pflanzen regenerieren und wie können diese Prozesse unterstützt werden? An der Schnittstelle zu Plant Studies, Queer Theory und Kulturwissenschaft untersucht Rahel Kesselrings Beitrag reparative künstlerische Arbeiten und Praktiken, die in bzw. mit Ökosystemen stattfinden und die Handlungsmacht von Pflanzen ins Zentrum stellen.“
Catinca Tilea, Niederlande
catincatilea.com
11.12.2024, 17.30–19 Uhr
in englischer Sprache
HOW - A circular material and an exploration in biobased building together with the community
Catinca Tilea is a Rotterdam based artist and designer. She is interested in how expressing one’s creativity can be used to address social dilemmas. Her work often combines installation, artistic research, and design elements with getting her audience involved in the creative process. Since 2018 Tilea experiments with biotechnology and biofabrication as tool for redefining our relationship with nature.
„Designer Catinca Tilea explores what it would be like if everybody could build with organic waste. The term HOW is an abbreviation for household organic waste and refers to biological waste from the home, including almost all there is to discard and in the very fluctuating proportions of everyday life.
Tilea uses HOW as substrate for a fungus to form its mycelium network on. She does this with the intention to create social interaction with biobased forms of building.
What if biotechnology would be used open source, as a social instrument? Could citizen involvement with biofabrication contribute to systematic education on sustainability?“
