The art of the lecture invites eight performances from the German-speaking and exYu region to Cologne in October and November 2021. In essay performances, choreographies of thoughts and card-reading practices the series provides alternative and speculative perspectives on known and unknown fields such as healing, the art market, the dark net or the lectures of the sophists.
The works presented in this context are informed by the ›tradition‹ of lecture-performance that arose in the noughties, but whether they develop or challenge the format remains an open question. They employ strategies of partisanship and trickstery, and initiate a dialogue with themselves, their artistic materials, their compositional form, and their audiences. The art of the lecture is interested in what we call knowledge co-creation, rather than knowledge production.
We would like to think of the title of the series in multiple ways: the art of the lecture could be the art of lecturing, the lecture as an art form, the artistic lecture or the lectured art. The series on contemporary lecture art is curated by Helen Brecht, Nina Gojić, Jascha Sommer and Zrinka Užbinec.
7.10. 
 
Temporary Gallery
19:00

Jacob Bussmann 

Sophisticated Songs
20:00

Opening

20:30

Tanja Šljivar & Tamara Antonijević 

The Hag Theory & How to Spin an Endometrium


Christuskirche
21:30

Jessika Khazrik 

pharmaKopoeia

28.10.

Glasmoog
10:00 / 13:00 / 16:00

Adrijana Gvozdenović

7 anxieties and the world

19:00

ScriptedReality

Die Stadt mit der Zunge betreteN

20:30

Adrijana Gvozdenović

Some anxieties in the art of lecture

25.—26.11.

Kunsthafen
25.11. 19:00

Dunja Crnjanski & Frosina Dimovska

Taking Time

25.11. 21.00

Kiran Kumār

Epistolary Ancestries

26.11. 11:00

The Best Symposium

26.11. 15:00

Najbolja

The BesT

PROJECTS

Jacob Bussmann: Sophisticated Songs (GER/ ENG)

That something is and is not at the same time is a logical error according to the law of the excluded middle. The Sophists did not refute this but were constantly concerned with softening contradictions. They resisted the supposed constraints of logic and were compared to plants that talk confused and incomprehensible. 2400 years later, Jacob Bussmann, Rahel Kesselring and Henrike Kohpeiß subject the texts of the sophists to a musical reading.

Jacob Bussmann lives in Frankfurt/M and works as a musician and performer. He received his musical education in Frankfurt and Helsinki and holds a Master's in Applied Theatre Studies. He collaborates in varying constellations, together with Rahel Kesselring, Henrike Kohpeiß and Hanna Steinmair he developed the concert performances »Sophisticated Songs«, »Sceptical Birds« and »Panic Noon«.



 


Tanja Šljivar & Tamara Antonijević: The Hag Theory & How to Spin an Endometrium (ENG)

As a continuation of the work on practices of divination developed within the Björnsonova artistic platform, Tamara Antonijević and Tanja Šljivar developed a reading performance to tackle one witch with endometriotic superpowers and almost all the hags of the world. The hag lingers, the witch's endometriosis lingers – they are both here to stay.

Tanja Šljivar is a Belgrade-based playwright interested in the role and position of the text in different media, formats and systems of representation. Tamara Antonijević, currently based in Berlin, writes and works as a dramaturg and artistic collaborator in theatre, performance and the visual arts, focusing on the role of the text in the collective process.




Jessika Khazrik: A Body So Close: قرابادين PharmaKopoeia (ENG)
Quadraphonic essay performance with video


Stemming out of our ›post-coronial‹ and eternal search for healing, »قرابادين Pharmakopoeia« is a long-term music, hyper-media and research project probing the interlinks between remedies and media. Through a trans-millennial, interdisciplinary and open-access approach to knowledge, »قرابادين Pharmakopoeia« seeks to exhume and de-mystify systems of burgeoning knowledge and experience. It is inspired by combinatorial practices in medicine, music and magic. Launched at the advent of 2021 through a series of seven hyper-video anti-ads, the project has so far embodied the forms of seven scores, published text, radio conversations, a steganographic scroll and a prelude to a trans-millennial compendium on healing.

Jessika Khazrik is based between Beirut and Berlin. Her indisciplinary artistic practice ranges from music composition to machine learning, ecotoxicology, cryptography, performance, visual art and history of science. Khazrik holds BAs in Linguistics and Theatre from the Lebanese University and a MS in Art, Culture and Technology from MIT. Her work has been presented at the Kunsthalle Wien, Haus der Kulturen der Welt, the Museum of Modern Art Warsaw, Arab Image Foundation, Times Museum Guangzhou, among others. She often collaborates with artists and labels on album art and text and DJs under different names.



Temporary Gallery
Zentrum für zeitgenössische Kunst e.V.
Mauritiuswall 35
50676 Köln
temporarygallery.org

Christuskirche
Dorothee-Sölle-Platz 1
50672 Köln





Adrijana Gvozdenović: 7 anxieties and the world (ENG)
10:00 / 13:00 / 16:00 Card-reading-sessions
20:30  Some anxieties in the art of lecture  


In »7 anxieties and the world« the Montenegrin artist Adrijana Gvozdenović invites artists, researchers and other thinkers and practitioners to card-reading-sessions. The card-reading about artistic anxieties was developed in 2019, from the lecture-performance of the same name. Since then, Adrijana has been performing it for and with artists to encourage a conversation about the obsessions, worries and doubts that surround and form artwork and artistic practice. Drawing from the conditions that would otherwise be disempowering or controlling, the aim is to speculate about possible different relations and positions for artists to be recognized, played with and inhabited. For  »The art of the lecture« Adrijana invites three artists, collectives, or other allies to an intimate card-session. The talk at 20.30 is open to the public. Registration for card-reading-sessions via: mail@vkunst.eu

Adrijana Gvozdenović is a visual artist who is interested in artists' motivation and ways of resisting (self)institutionalised structures. She creates spaces for sharing for artists and researchers, and experiments with publishing artistic research, employing different performative methods to create ambiguous distinctions between practice and theory, theory and confession, documentation and production, artistic and curatorial, oral exchange and artistic form.




Die Stadt mit der Zunge betreten (GER)
Lecture-Performance by ScriptedReality


Under the paradigm of globalization, cities are perceived as places of the accelerated flow of capital, people, ideas, information and products. They are the nodes of a network of extremely fast connections that erases the space in-between. But how to think of the planet as an entanglement of all places – but not along the connections of high-speed internet, of flight routes and trade lines? Inspired by a quote from McKenzie Wark that one can enter places (topoi) by feet but also by tongue, we take ›tongue-walks‹ in the city. These deal with images that, as in the case of the Frankfurt New Old Town, force their own architectural reproduction; the walks follow the invisible lines of high-frequency trade through the suburbs, or make contact with ping ghosts that arise in the interference of the layers that the digital enfolds. From the perspective of walking, we create a grotesque geography that serves as a thinking infrastructure of a planetary entanglement that exists but still has to be imagined.

ScriptedReality is an artist collective based in Frankfurt am Main. While older works often dealt with the performativity of scores and writing, since 2016 ScriptedReality has been developing an artistic practice that deals with the world-forming and transforming ability of fictions. Using science fiction strategies and participatory storytelling, formats emerge in which the creation of a world can be experienced. In more intimate essayistic works the group uses fictionalization as a strategy for speculative production of meaning and for a thinking that strives for embodiment.



Glasmoog
Raum für Kunst & Diskurs
Filzengraben 2
50676 Köln
khm.de/glasmoog








Dunja Crnjanski & Frosina Dimovska: Taking Time (ENG)

The Taking Time project is a work in constant becoming, in which Dunja Crnjanski and Frosina Dimovska are dealing with questions of work conditions, authorship and time, creating participatory performances in elusive formats. The Taking Time Glossary* that they will share with the audience was created from the necessity to recognize and define situations and notions through and with which we navigate as individuals and as a society, in relation to time, ways, and concepts of production, as well as daily challenges.

*inspired by the work Speculative Glossary, published in Maska: the Performing Arts Journal

Dunja Crnjanski and Frosina Dimovska are artists from Novi Sad, Serbia. They are members of Pokretnica collective and co-founders of the organization Practicable – platform for contemporary art and culture, working in self-organization and self-education in the field of contemporary dance and performing arts in Novi Sad. They are co-curators and co-organizers of Pokretnica festival of contemporary dance and performance (since 2017) and members of Per.Art organization, which promotes the work of artists with and without intellectual disability.
 



Kiran Kumār: Epistolary Ancestries (ENG)   

»Epistolary Ancestries« (2016-2021) is an inquiry into a personal filiation of practice, reflected through a corpus of expanded writings that intersects three textual forms: the note, the critical essay and the letter. Drawing from an embodied practice of dance, a plurality of notes (words, dances, images, songs) drift into an essayistic constellation, in turn framed as an open letter to an already dead person. This presentation is a collage of excerpts from the corpus of nine epistolary essays that progressively reframe dance in relation to various contexts: artistic reconstruction, national-cultural identification, feminist modernity, fabulation & historiography, decolonial strategies and critical scientism. Through a perspective of looking-at-from-within, this presentation will describe Epistolary Ancestries, in its own words, sounds, images, and dances.

Kiran Kumār is an interdisciplinary artist, researcher and writer. His work focuses on unpacking understandings of the human body-mind through a trifold practice of dance as art, science and spi/ritual, and on proposals for change that these understandings hold for our world today. Rooted primarily in his somatic practices of Haṭha yoga and traditional Indic temple dancing, his research unfolds through critical, conceptual and artistic inquiries into premodern Indic cosmologies. Following initial study in mechanical engineering at National University of Singapore (2006), he holds an MFA in new media art from City University of Hong Kong (2012) and an MA in dance from Inter-University Centre for Dance Berlin (2014). Recent research fellowships include among others the Academy for Theatre and Digitality.



The Best Symposium (ger/ ENg)
(Guests will be announced soon)

In »The Best Symposium« we come together to evaluate what eludes evaluability. Which subjects and practices of knowledge have formed during the event-series, what remains and can be passed on? Six note-takers have accompanied the lecture art and present their notes in graphics, texts, spatial arrangements, performances. We have also invited two guests who will discuss with us about the heart lectures and their own lecturing practice. We invite everyone interested to join us at the round table in the Kunsthafen, in person or digitally. Registration via: mail@vkunst.eu



Najbolja/ The Best (ENG)

»Where do you see yourself five years from now?« »Performing together on the 26th of November at the Kunsthafen in Cologne.« »But that is six years from now.« »Almost seven.« Zooming past the barriers of time, space and smell, she rushes to the future, much like an immersive multi-platform media experience running off a 64-core processor-powered server generating a hyperrealistic 4D virtual environment world. After all, Google reading your e-mails is a form of collectivity.

She was born many times, notably in Vukovar, Zagreb, Zagreb and Zagreb. She toured in Zagreb, Zagreb, online, once in Skopje and again Zagreb. This summer she toured back to where she started. She took some time off to get rich, but now she is Back. Some say she can be found hiking in the Samobor hills. She is a precarious worker. 


Kunsthafen im Rhenania
Bayenstraße 28
50678 Köln
kunsthafen.com

THE TEAM

Helen Brecht works as a text based artist and researcher. She writes scientific poetic texts for performative readings, theater and for composition and sound art. Her lecture performances have been shown among others at the GTW Conference at Mousonturm Frankfurt and the ArtLab at the Max-Planck-Institute for Empirical Aesthetics. Helen Brecht studied at the Academy for Media Arts Cologne (Diplom 2, writing), at the Giessen Institute for Theater Studies (MA), »Performance Dramaturgy« at the Academy of Dramatic Arts in Zagreb (MA, Erasmus) and the Institute for Media and Cultural Studies (BA). She works as research assistant at the Institute for Theaterstiedies at the RUB and as a freelance dramaturge and as a program curator.
Jascha Sommer studied theatre, literature and scenic research at the Institute for Theatre Studies at the Ruhr University Bochum and the Université Paris X as well as media arts at the Academy of Media Arts Cologne. He works as a performance and media artist as well as programme designer and artistic director for event series, festivals and academies (Cheers for Fears, Impulse Theater Festival, Insert Female Artist Festival et al.). Jascha Sommer also works as a dramaturg and gives workshops and seminars (Theaterwissenschaft Bochum, Folkwang University of the Arts, University Wuppertal).
Nina Gojić is a dramaturge based in Zagreb, mostly active in the independent performing arts scene. She works mostly in dance, devised theatre and cross-disciplinary contexts. She writes texts for and about performance, and likes to think about writing as performance. She also writes letters. In collaborative contexts she develops research-based, process-oriented formats and curiosities. Nina holds MA diplomas in International Performance Research from the universities of Amsterdam and Warwick and Performance Dramaturgy from the University of Zagreb. She was part of the editorial board of Frakcija, a performing arts journal and currently is a member of the editorial board of Movements dance magazine. Also, she is a member of the board of Croatian Screenwriters and Playwrights Guild and of the Keep Dance Autonomous initiative.  

Zrinka Užbinec is a dance artist. She works with choreography crafting it with various mediums and different materials. She is a member of performance collective BADco. and has been one of the coordinators of Experimental Free Scene (ekscena), an independent organisation established to promote contemporary dance and other forms of performing arts in Zagreb. She lives and works between Zagreb and Berlin which inescapably influences her artistic, economic and emotional relationships. She holds an MA degree in Choreography and Performance from the Institute for Applied Theatre Studies, Giessen, and a degree from the Faculty of Economics, University of Zagreb.
Project by




Brecht & Sommer

Contact: mail@vkunst.eu

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