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.
Tanja Šljivar & Tamara Antonijević
The Hag Theory & How to Spin an Endometrium
10:00 / 13:00 / 16:00
7 anxieties and the world19:00
Die Stadt mit der Zunge betreteN20:30
Some anxieties in the art of lecture
Dunja Crnjanski & Frosina Dimovska
Taking Time25.11. 21.00
Epistolary Ancestries26.11. 11:00
The Best Symposium
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.
Zentrum für zeitgenössische Kunst e.V.
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: firstname.lastname@example.org
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.
Raum für Kunst & Diskurs
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: email@example.com
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