The value of art - Research - Institute for the Perfroming Arts - VTI
If you are able to understand Flemish
The value of art by Pascal Gielen, Sophie Elkhuizen, Quirijn van den Hoogen, Thijs Lijster en Hanka Otte
If you are able to understand Flemish
The value of art by Pascal Gielen, Sophie Elkhuizen, Quirijn van den Hoogen, Thijs Lijster en Hanka Otte
Hier ein interessantes remake von einem Selfie (nur sind diese Menschen leider keine Weltstars) deshalb bleibt diese Form sehr klein! Das ist vielleicht die 'wirkliche' Krise. Gesehen und Gehört im HAU2 am 5.März 2014.
Auf dem Poto zu sehen: Alain Platel, Virve Sutinen, Rüdiger Schaper, Colette Sadler, Sabrina Sadowska und Elisabeth Nehring
Haben und Brauchen und bbk berlin laden ein
HH & B
Geschichten aus Hamburg über Kunst, Arbeit und Stadtpolitik
Freitag, 14. Februar 2014, 19 Uhr
Projektraum des Flutgraben e.V.
Am Flutgraben 3
12435 Berlin
www.flutgraben.org
Kunst und Stadtpolitik sind in Hamburg eng verwoben mit einer aktivistischen Szene, welche der Indienstnahme von Kultur bei der Spaltung der Stadt widerspricht. Der Protest gegen die Internationale Bauausstellung und die Internationale Gartenschau in Wilhelmsburg, gegen den Abriss der Esso-Häuser in St. Pauli oder die Gentrifizierung des Schanzenviertels rund um die Rote Flora werden weit über die Stadtgrenzen Hamburgs hinaus wahrgenommen. Projekte wie „Park Fiction“, das „Gängeviertel“ oder „Not in Our Name, Marke Hamburg“ finden auch in Berlin großen Zuspruch. Zudem bilden die Plattformen „Recht auf Stadt“ und „Es regnet Kaviar“ neue Bündnisse zwischen Stadtpolitik und Kunstpraxis. Dies wollen wir in Bezug auf die Berliner Verhältnisse diskutieren mit:
Andreas Blechschmidt, Stadtaktivist
Christine Ebeling, Künstlerin und Gängeviertel-Sprecherin
Britta Peters, Kuratorin
Christoph Twickel, Journalist und Autor
Moderation: Kathrin Wildner, metroZones
Bar und Imbiss während der gesamten Veranstaltung, ab 23 Uhr musikalischer Ausklang: T-INA Darlingpräsentiert ein konzeptuelles DJ Set aus Songs über die Situation einkommensschwacher MieterInnen.
Mit freundlicher Unterstützung durch die Senatskanzlei — Kulturelle Angelegenheiten. In Kooperation mit dem Neuen Berliner Kunstverein.
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„HH & B“ ist der öffentliche Auftakt zu einem internen Klausurwochenende von Haben und Brauchen und des berufverbands bildender künstler berlin (bbk), das sich der Konzipierung eines längerfristigen Dialogprozesses zwischen Akteuren des Kunstbetriebs und dem Senat zur Situation und Zukunft der Produktion und Vermittlung zeitgenössischer Kunst in Berlin widmet.
Die Veranstaltung findet auf Deutsch statt. Bei Interesse bieten wir eine individuelle Flüsterübersetzung ins Englische an. Bitte meldet Euch bis spätestens Dienstag, 11. Feburar 2014, unter info@habenundbrauchen.de, solltet Ihr eine solche Übersetzung in Anspruch nehmen wollen.
Wir fänden es super und wichtig, dass Ihr kommt.
www.habenundbrauchen.de
www.bbk-berlin.de
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Dear participants of the intramural weekend,
Haben und Brauchen and bbk would like to invite you
HH & B
Stories from Hamburg on Art, Work and City Politics
Friday, 14 February 2014, 7 pm
Projektraum des Flutgraben e.V.
Am Flutgraben 3
12435 Berlin
www.flutgraben.org
In Hamburg, art and city politics are closely interwoven with an activistic scene that opposes the instrumentalisation of culture in the splitting up and parcelling out of the city. These protest movements – against the International Bauausstellung (International Architecture Exhibition) and the Internationale Gartenschau (International Garden Festival) in Wilhelmsburg, against the demolition of the Esso-Häuser in St. Pauli or the gentrification taking place in the Schanzenviertel around the Rote Flora – are perceived far beyond Hamburg’s city limits. Projects like ‘Park Fiction’, the ‘Gängeviertel’, or ‘Not in Our Name, Marke Hamburg’ have enjoyed popularity and experienced encouragement in Berlin. In addition, the platforms ‘Recht auf Stadt’ (Right to a City) and ‘Es regnet Kaviar’ (It’s raining caviar) are building new alliances between city politics and art practice. We wish to discuss these topics in relation to the state of affairs in Berlin with:
Andreas Blechschmidt, city activist
Christine Ebeling, artist and Speaker of Gängeviertel
Britta Peters, curator
Christoph Twickel, journalist and author
Moderation: Kathrin Wildner, metroZones
Bar and snacks during the entire event, musical finale starting 11 pm: T-INA Darling will present a conceptual DJ set comprised of songs about the situation of low-income renters.
With friendly support of the Senatskanzlei – Cultural Affairs. In cooperation with the Neuer Berliner Kunstverein.
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“HH & B” is the public commencement of an intramural weekend retreat involving Haben und Brauchen (To Have and To Need) and the berufsverband bildender künstler berlin (bbk). The retreat will be dedicated to the conception of a long-term process of dialog, between agents within the art scene and the Berlin Senate, that will focus on the situation and future of the production and mediation of contemporary art in Berlin.
The event will be held in German. We offer individual whisper translation into English to those interested. Should you desire translation, please submit a request by Tuesday, 11 February 2014, at the latest at info@habenundbrauchen.de.
We think it would be great and important that you come.
What happens when you let three musicians improvise together with three dancers who only just teamed up the same afternoon? The question cannot be answered withany general validity but for last Wednesday’s Monday Match at the Bimhuis, theresult was quite entertaining, at some times moving or exciting and eventually, it was pretty provocative.
From the start, musicians Raoul van der Weide (cello and base), Michiel Scheen (piano) and Bart van Dongen (harmonium, melodica and Korg MS-20) laid down a challenging soundtrack for the dancers to work with. Frantic even in the most timid passages, intense, and only occasionally melodic, their fascinating improvisations set a pace that was perhaps a bit too demanding for performers Sonja Augart,Marie-Louise Gilcher and Jochen Stechmann, who are – no need to deny it – past the years of ‘ultimate fitness’. At the same time it was a pleasure to see how the energy generated by the musicians was transferred to the dancers, urging them on, pushing them beyond their limits in unexpected ways.
Unable to flow with the music for longer stretches of time, the dancers had to develop alternative strategies. They switched between explosive bouts of pure dance and stretches of more theatrical performance that drew heavily on attributes like animal masks, roles of thin wrapping paper and soap bubbles. In both instances the performers showed their distinct individual qualities: Stechmann carried a strong physical presence, he radiated joyful strength and a sensuality that was both tangible and suppressed as he looked for contact with his colleagues, happy to drag, lift, hold or chase; Gilcher brought grace and exactness to the set, her tall slender frame cutting across the floor, arms and legs defining space; and Augart displayed the innocent yet critical intelligence that drive her actions on stage, defining positions, interacting with the audience, engaging the musicians and crossing the borders.
As there is no narrative in an experimental session like this I will just mention a few scenes that immediately stuck with me. There was a strong sequence of motions by Stechmann bowing, shaking his head like a young bull that reminded me of a dance I witnessed in Sudan: the Kambala, traditionaly performed by boys about to become men. There were two moments when Gilcherplayed with the paper: one funny scene with her sitting on it, wriggling her bum to move forward across the stage, and one really beautiful with her making turns,the paper wrapped around her feet turning with her. Stechmann and Gilcher getting intimate with the paper together, she licking it, he eating it, and again, later in the performance, him kissing her through the paper she had covered herself in. And then there was Augart…
She had a hilarious scene with Stechmann in which they were blowing fake farts with their lips on each other’s bare skin and she opened the second part in a memorable parody of Prussian Stechschritt or goose step, but somehow it was Scheen and the Steinway he was playing that fascinated her most. In the first part she had already loosely taped Scheen’s head to the piano but in the second part Augart stepped it up a few notches: she stuffed paper in the case, crawled under the lid, hammered on the strings with her fists and finally started wrapping the entire instrument in paper, Scheen included. Gilcher and Stechmann were assisting her, tape was stuck everywhere until artistic director Huub van Riel could no longer watch it and sent a technicianon stage to stop the assault on one of the few grand piano’s in The Netherlands that ‘produce an acceptable sound’ – as van Riel explained later.
As far as I can tell, the Monday Match is something precious, a great formula that the Bimhuis can be proud of. I found it impressive to see creativity at work at such close range, to witness the open-mindedness, the spontaneity and the concentration of the performers; how they combine material from their long training and personal history with playful invention and unrehearsed interaction. I could see the tensions, the opportunities, the things that worked, the things that didn’t work – and the unexpected dynamic that can develop when a childlike enthusiasm hits a precious grand piano… It was a wonderful evening, one that I will not soon forget.