HAUthek

Film portrait
Shut up and Sign*Speak
Film portrait
  • Dialogue
  • Film
  • German Sign Language
  • German phonetic language
  • German subtitles
Shut up and Sign*Speak
Film portrait
    “HandStimmeHerz” is this year’s project by Shut Up and Sign*Speak. For this, the group brought BIPOC, deaf*, FLINTA, and queer artists together to develop primarily autobiographical performances over the course of multiple workshops. The programme that has been created from this is a mixture of sign language performance, storytelling, visual vernacular*, spoken word and new, creative flirts between sign language and spoken language. The performance deal with the living realities of deaf people, experiences of racism, toxic masculinity, parenthood and much more - a mixture of the touching, the serious, and the funny. The works were presented on 17 and 18 June 2022 at Festsaal Kreuzberg.  The film profile now being presented as part of No Limits shows excerpts of these very successful evenings and provides insight into the political and artistic work of the group Shut Up and Sign*Speak and also uses additional materials. Afterward, an artist talk with the protagonists will be held where the audience can also take part. The work of Shut Up and Sign*Speak is primarily characterised by the fact that their projects are developed and realised jointly by deaf and hearing persons. In the 12 years since the founding of the group, the focus of the content has shifted: away from the simple sign language translation of the stage text of hearing artists to more long-term and equal collaborations between deaf and hearing persons. This process is increasingly accompanied by awareness work, cultural exchange and the reflection upon queer identity. For this project, HAU Hebbel am Ufer has worked with Shut Up and Sign*Speak for the second time, following a cooperation as part of the #TakeHeart residency funding. *Visual Vernacular comes from ASL (American Sign Language) and designates an art form of physical expression applied from theatre where stories are told by the use of intensive body movement, iconic symbols, gestures and facial expression. It contains elements of poetry and pantomime, but is, however, an independent and unique style for presenting the overall visual complexity of the world.
    Science Fiction is Not Pretend
    RA Walden
    Science Fiction is Not Pretend
    • Film
    • Net Art
    • British sign language
    • German audio description
    • German Sign Language
    • German subtitles
    • English
    • English audio description
    • English subtitles
    RA Walden
    Science Fiction is Not Pretend
    • 2021/2022
    “Let's start with the end of the world, why don't we? Get it over with and move on to more interesting things.”  N.K. Jemisin Slow days, sick days, fog and forgetting. Disobedient bodies, archives, clocks and flows of capital. The fragility of the body is the focus of RA Walden's queer, disabled and transdisciplinary practice. The Berlin artist radically criticises normative ideas about bodies and capacity in an ever-productive capitalist society. Their works always combine social engagement and artistic research The video premiere “Science Fiction Is Not Pretend” shows a barrage of gloomy images of civilisation: The water is burning, the underground is shaking, animals are being turned into mincemeat. Everyday a buffet of horror, a smorgasbord of unearthly delights. Loneliness, promise, desire and fertile ground. Fallible bodies flailing under the weight of the end of the world. Complicit and raging, there is no higher ground. Sometimes there is hope, but sometimes there is only a logbook – a pathetic record keeping. Alongside their video work, RA Walden presents an accompanying interactive website on HAU4, commissioned by HAU Hebbel am Ufer, and made in collaboration with artist Cooper Lovano. This digital environment welcomes visitors to discover references to “Science Fiction Is Not Pretend” on their own. Notes, images and sounds created in the moments between waking and sleeping. “Who is living inside you?” asks the voice in the video, with despair in one hand, the remote control in the other. RA Walden contributed to the “Manifestos for Queer Futures” to the HAU festival “The present is not enough – Performing Queer Histories and Futures” (2019). Their work was also shown that year at the BALTIC Centre for Contemporary Art (Newcastle), SOHO20 (New York) and Tate Exchange: Tate Modern (London). Walden was part of the Shandaken: Storm King (New York) residency programme and was a Fellow at the Berlin University of the Arts between 2019 and 2021. In 2020 Walden participated in the residency programme at Wysing Arts Centre (Cambridge) and appeared at the House of World Cultures (Berlin) and elsewhere. In 2021 they presented a solo exhibition at Kunstinstituut Melly (Rotterdam) and was part of group exhibitions at places such as Galerie im Turm (Berlin, with Bini Adamczak), Galerie Wedding (Berlin), Schwules Museum (Berlin), Kunsthalle Osnabrück, Württembergischer Kunstverein (Stuttgart) and the Museum für Kunst und Gewerbe (Hamburg). Walden will be in residence at La Becque: Switzerland in 2022.
    Quadrat Sampling E-Ecologies #2: Farming Simulator Brandenburg
    The Mycological Twist / HAU
    Quadrat Sampling E-Ecologies #2: Farming Simulator Brandenburg
    • Game
    • Workshop
    • English
    The Mycological Twist / HAU
    Quadrat Sampling E-Ecologies #2: Farming Simulator Brandenburg
    • 2022/2023
    Following its journey of discovery in 2021, the Berlin-based duo The Mycological Twist once again invites audiences to join them on another journey of discovery in HAU3 for shared gaming sessions of “Farming Simulator”, which was purchased more than three million times this year in only two months. The gaming session on 6.11. will be live streamed on HAU4. In a five-hour tutorial and gaming session, the players will spend time together with experts Aurelia Moniak and Trakal on a virtual farm in Brandenburg. The game and its environment are explored with the help of a series of field research tools that have been adapted for a digital landscape. After a shared break, in the “Gaming Session” Anne de Boer and Eloïse Bonneviot will discuss the various aspects of agriculture today and the effects of industrialisation on rural spaces in Europe following the Second World War together with the players and experts while playfully managing the farm. Aurelia Moniak, born in 1989 in Berlin, studied nutritional sciences and agricultural management and has since been working on sustainable agriculture and agricultural communication. She has worked for various actors in the sector – between farms and industrial enterprises, between lobby groups and public media. She is on the lookout for concepts and innovations that improve agriculture for the majority and not just for a few. And this away from the common narratives that prevail in our society about agriculture. In 2022, her team at DRIVE beta won the VDAJ Communications Award for the Youtube format “Hundert Hektar Heimat” (MDR/funk). Trakal (*1988, Dresden) is a filmmaker, writer and participatory artist based in Berlin. Through collaborative process, performative rituals, historical interrogation and psychodynamic research Trakal develops films, texts and installations. Their work deals with the personal and collective impact of neoliberal subject production, post-socialist processes and surveillance technology. Trakal’s work has been shown among others at Museum for Photography Berlin, Museum Folkwang Essen, Cinemateca Distrital Bogotá, Savvy Contemporary Berlin, Gegenwarten Festival Chemnitz, 7th Athens Biennale. 
    Everything Will Be Fine
    Tactical Tech
    Everything Will Be Fine
    • Dialogue
    • Film
    • Installation
    Tactical Tech
    Everything Will Be Fine
    • 2022/2023
    Exibition Text How do people react to crises, and what role does digital technology play in this? “Everything Will Be Fine” is an outdoor exhibition by the Berlin-based NGO Tactical Tech in co-production with HAU Hebbel am Ufer. Visitors are invited to enter a unique inflatable structure and follow self-chosen paths to reflect on their own reactions to our mounting planetary crises. From ambitious technological approaches, such as digital twins of the planet, to the spread of conspiracy theories online, digital technologies are seen as both solutions for and amplifiers of our perma-crisis. The experience asks, in what ways are technologies the lens through which we can witness, investigate and explain our own reactions to crisis, and the reactions of others? The exhibition will be held in the forecourt of the Deutsches Technikmuseum and installed in a structure designed by Czech architects Kogaa, presenting the work of over 20 international artists like Paolo Cirio, Marjolijn Dijkman, Disnovation.org, Vladan Joler, Egor Kraft, Agnieszka Kurant, Sybille Neumeyer, Liam Young and others and creating a space for reflection, interaction and discussion. Visitors will be encouraged to examine their personal responses to crisis – from fight or flight to fix or freeze. The exhibition will also feature a full programme of events including tours, workshops and more. On September 15 there will be an evening with curated short films by artists in the exhibition. The screenings will be accompanied by a discussion with curators Stephanie Hankey and Marek Tuszynski. These films will be screened: “CDC Warns”, YOUNG-HAE CHANG HEAVY INDUSTRIES, 5:32 Min.  “Algo-Rhythm”, Manu Luksch, 13:56 Min.  “The Border Interfaced”, Joana Moll, 2:49 Min.  “Choreographic Camouflage”, Liam Young, 8:04 Min.  “These Networks Under Our Skin”, Mimi Onuoha, 5:48 Min.  “Zizi & Me”, Jake Elwes, 4:47 Min.  “New colour”, Egor Kraft, 4:43 Min.  “San Andreas Deer Cam”, Brent Watanabe, 1:48 Min.  “Let Me Fix You”, Dasha Illina, 11:49 Min.   Tactical Tech, founded by Stephanie Hankey and Marek Tuszynski, is an award-winning international non-profit that creates bold and forward-looking experiences and educational interventions that invite people to think and reflect critically about their relationship with technology and how it changes the world they live in. Tactical Tech are the creators of the popular touring exhibition, “The Glass Room,” now shown in over 50 countries.
    Digital Lab #2
    Online Hack Space for Participatory Artistic Strategies
    • Film
    • Performance
    • German Sign Language
    • German simultaneous translation
    • English
    • English live transcription
    Digital Lab #2
    Online Hack Space for Participatory Artistic Strategies
    • 2021/2022
    After launching in 2020, the Digital Lab is back in its second edition. We will discuss the sustainability of our digital performance practice on two levels: What kinds of encounters, approaches and participation do virtual and hybrid spaces allow? And how can we implement projects in a socially and ecologically responsible way? Together, we aim to determine which themes, forms and ways of working are important for independent contemporary, digital performance arts, beyond the pandemic and in the long term. During the Online Hack Space (curated by Jeanne Charlotte Vogt), five groups along with the HAU4 audience will receive inspiration on digital participatory art, exchange ideas with each other and, in various workshops, further develop the ideas presented in their Online Hack Space applications. At the end of the five-day event, the participants present their concepts, after which a jury will select two groups for a subsequent residency. 30.3., 18:00 / HAU4 Digital Lab #2 Opening: (Annemie Vanackere, Anna Krauß, Jeanne Charlotte Vogt, Sarah Reimann) Inspiration: Judith Ackermann Inspiration: Darsha Hewitt Judith Ackermann is a professor of digital and networked media in social work in Potsdam, focussing on digital theatre and post-digital artistic practice. In the Hack Space, she will share exciting examples of how digital artistic spaces and formats can be made more inclusive and participatory. She is also known as @dieprofessor on TikTok, discovering the performative qualities of social media herself. Canadian media and sound artist Darsha Hewitt lives and works in Berlin. In her work of “media archaeology”, she investigates the hidden power structures and ethical dimensions of technologies. Under the title “HOW TO BEAM: Do-It-Yourself Teleportation for Hybrid Times”, Hewitt is currently researching the changing meaning of personal presence in times of increasingly online encounters. As part of the Hack Space, she will share artistic methods and low-tech solutions for breaking down barriers and reinventing individuality and presence in hybrid worlds. Questions may be asked in the HAU4 chat. The video will be available afterwards in the HAUthek. 31.3., 18:00 / HAU4 Inspiration: Lauren Lee McCarthy Inspirations: Marion Siéfert + allapopp and Janne Kummer aka.alaska Media artist Lauren Lee McCarthy also experiments with special forms of co-presence. In her performances, she creates intimate spaces of encounter in which she lets her audience take on the role of service-oriented artificial intelligence or in which she offers individual mini Zoom sessions to take time to appreciate each other. In her talk, McCarthy will show specific conditions for building relationships with the audience and for intimacy and encounter, which go hand in hand with online spaces. Afterwards, theatre maker Marion Siéfert and artists allapopp and Janne Kummer aka.alaska will present two projects that use online space to build a community. With “_jeanne_dark_”, Marion Siéfert uses Instagram as a digital stage in hybrid performance configurations. Her character Jeanne is a 16-year-old who uses Instagram Reels as both a mirror and a resonance chamber to escape her Catholic family and the bullying of her classmates while seeking support from her online audience and followers. The project “The House of Monstress Intelligenzia” by Janne Kummer aka.alaska, alla.popp, Luna Nane & Portrait XO explores the much criticised, structurally discriminatory foundations of artificial intelligence. Following the almost forgotten utopian promise that the net can be a space for a constructive counterculture, they use social media platforms as a medium for collective, artistic and speculative thinking, exploring a queer-feminist dimension of AI. Questions may be asked in the HAU4 chat. The video will be available afterwards in the HAUthek.   30.–3.4. / Gather.Town (internal) Internal programme for the five groups selected by the jury During the Online Hack Space (curated by Jeanne Charlotte Vogt), five groups along with the HAU4 audience will receive inspiration on digital participatory art, exchange ideas with each other and, in various workshops, further develop the ideas presented in their Online Hack Space applications. The practical inspiration will come in the form of talks and presentations by different artists. On Thursday, allapopp and Janne Kummer aka.alaska will start by working with the groups in preparing their skills for others in How-To's for applying our knowledge. On Friday, Christiane Hütter will share various strategies and methods, such as those from the fields of gaming and user experience design, showing us how they can help us rethink theatre practice. She will also discusses the nuances of being a host in online spaces. Finally, media artist Kasia Molga shares her methods for playfully engaging with audiences and raising awareness on issues of resource use and environmental sustainability. Saturday will be spent finalising the concept sketch and preparing the presentation – and an informal closing evening with a walk through forgotten virtual worlds and a listening session. During the Hack Space, the groups are supported by mentors and artists from the collective dgtl fmsnm. Over the course of the event, they will help deal with the participants' and the Hack Space's content-related issues while providing advice and critical feedback. Andara Shastika – Multimedia artist, curator at TERRARISTA TV Sarah Fartuun Heinze – Freelance multidisciplinary artist, writer and cultural educator Philisha Kay – digital art curator and conceptualiser Ulla Heinrich – Curator and developer of digital theatre concepts
    Dance and Transformation
    Encounters and Exchange
    Dance and Transformation
    • Dialogue
    • German simultaneous translation
    • English
    Encounters and Exchange
    Dance and Transformation
    • 2021/2022 · 120 mins.
    Impulse: The autonomous board (Helga Baert, Martin Schick, Sam Trotman) and Jacob Bilabel (Aktionsnetzwerk Nachhaltigkeit in Kultur und Medien / English: “Action Network for Sustainability in Culture and Media”) Workshop groups led by: AG Work Culture (Zeitgenössischer Tanz Berlin e.V.) Kasia Wolinska, Enrico L'Abbate aka Rilaben and Barbara Greiner, Maximilian Haas and Sandra Umathum, Tischgesellschaft (English: “Table Company”) by Antje Pfundtner in Gesellschaft with Lea Martini & Magdalena Meindl. Host: Nadine Vollmer For many people, working in crisis mode – in relation to both our ecological and social security – didn’t just start with the pandemic. But the collective experience of the past two years has revealed the weaknesses of global, local and social systems. How do we keep going? A fundamental transformation of our working and life worlds seems unavoidable. How can we create resilient, sustainable and mutable structures? What critical forces do we ascribe to dance in political, social and ecological processes, and how can dance initiate real change as a crisis-tested art form? IMPULSE Jacob Bilabel (Aktionsnetzwerk Nachhaltigkeit in Kultur und Medien) The prevailing narrative of 'sustainability means renunciation & prohibition' paralyzes and slows down urgently needed developments. Today more than ever, it is necessary to develop new narratives and experiences that involve the entire society in this generational task and make it possible to experience an ecological transformation also in the arts sector as manageable.    The autonomous board (Helga Baert, Martin Schick, Sam Trotman)  Following the call of the RESHAPE NETWORK to reimagine fairer governance models, the ‘autonomous board’ (Martin Schick, Helga Baert Sam Trotman and many other voices) has built a collective proposal for action underpinned by a new paradigm. Within this idea lies the proposal to create new narratives, common goals, forms of cooperation instead of competition. This paradigm shift can be traced and implemented with the help of the anti-method ‘Governance of the Possible’.  WORKSHOPS AG Work Culture (Zeitgenössischer Tanz Berlin e.V.) hosted by Kasia Wolinska, Enrico L’Abbate aka Rilaben The  workshop invites all participants to experiment with embodying critical practice. We would like to propose individual and collective reflection on needs, expectations, relations, thoughts, emotional reactions that emerge from our lives at work. If making dance - in a variety of ways and roles - is both the sickness and the cure, we invite you to reflect with us on how we can work differently and what is there to be achieved through work, and dance. Let's talk to each other and speak up for ourselves. All bodies are welcome. No dancing required. An online version of the workshop will happen simultaneously and be facilitated by Barbara Greiner. Maximilian Haas and Sandra Umathum This workshop addresses the challenges for artistic production practices in the face of climate change and the need to reduce greenhouse gas emissions as quickly and drastically as possible. However, sustainability is not just a quantitative question of more or less; it demands a qualitative change in the way we live and produce. How are operational ecologies related to aesthetic approaches and ethical responsibilities? How can we transform the modes of production and presentation? And what are the potentials lying in this transformation? The workshop will open the space for discussions, for sharing ideas for action as well as for contributions to rethinking and reorienting human-environment and social relations in times of crisis. Tischgesellschaft von Antje Pfundtner in Gesellschaft mit Lea Martini& Magdalena Meindl Let’s sideline the business cards for a minute to really see what relationships we actually have. We meet each other as cultural workers, all in the same context – dance – but with different intentions. The Tischgesellschaft is inviting you to plough through our respective interests and place them in a new position on the market’s game board: How can we profit from our dissent and different points of view? How can we include present and absent stakeholders into the game?
    Sexual Revolution. Modern Fascism and the Feminist Fightback
    Laurie Penny
    Sexual Revolution. Modern Fascism and the Feminist Fightback
    • Dialogue
    • German
    • German live transcription
    • English
    • English live transcription
    Laurie Penny
    Sexual Revolution. Modern Fascism and the Feminist Fightback
    • 2021/2022 · 90 mins.
    A new sexual revolution has begun, and this one will be unstoppable. This revolution begins wherever women, queer, non-binary and trans people – especially those who do not belong to the White majority society – stand up and refuse to consider their bodies as someone else's property. Our time of crises, thanks to them, is also a time of productive transformation, full of deep and lasting changes in our understanding of gender, sex and which bodies and words matter. In “Sexual Revolution: Modern Fascism and the Feminist Fightback”, Laurie Penny writes infectiously and poignantly about sex and power, trauma and resistance. About the crisis of democracy, the crisis of White masculinity and the reactionary maneuvers of those afraid to lose power. They call for a culture of consent that goes far beyond sex: labour relations, systems of political representation and togetherness also require us to find a logic of continuously negotiated consent in order to heal individual and collective traumas and prevent future ones. After many successful non-fiction books, the author was last at HAU in 2016 to present their debut literary collection, “Babys machen und andere Storys”, also published by Nautilus. Laurie Penny, born 1986 in London, is a book and screenwriter and journalist. They studied English Literature at Oxford and received a Nieman Fellowship for journalism at Harvard. They have written about politics, social justice, pop culture and feminism in the Guardian, New Statesman, Time, New York Times and Vice, among others. As a screenwriter, they have worked on the series “The Nevers”, “The Haunting of Bly Manor” and “Carnival Row”.
    The House of Monstress Intelligenzia
    allapopp & Janne Kummer aka.alaska
    The House of Monstress Intelligenzia
    • Net Art
    • Performance
    • English
    • With German surtitles
    allapopp & Janne Kummer aka.alaska
    The House of Monstress Intelligenzia
    • 2021/2022
    Artificial intelligence (AI) − the attempt to endow computers with intelligent behaviour and autonomous decision-making processes − has entered almost all areas of life, from cancer research to voice and face recognition in smartphones and virtual assistants like Amazon Alexa. This is very impressive and extremely useful in many areas, but the algorithms of AIs and their databases are produced by humans. And all humans have prejudices. So AI applications become racist, ableist, homophobic, FLINTA* (women, lesbian, intersex, non-binary, transgender, agender)- and xenophobic. The hybrid performance “The House of Monstress Intelligenzia” creates a digital space for collective reflection on how a glitchy, queer-feminist AI could function, look and feel. Can glitches, supposed errors in the system, serve as the basis for the data? The project starts on the HAU Instagram channel. For a month, pictures and videos of the research will be shared here, everyone can join in. The Discord Channel of “The House of Monstress Intelligenzia” is now online – feel free to join! It is a space for knowledge exchange, information & skill sharing and community building – all about machine learning & Queer-, Data- and Glitch Feminism. On March 4, an online lecture with allapopp & Janne Kummer aka.alaska and guests Buse Çetin, Emily Martinez and Luna Nane will present the results of research at HAU4.
    Quadrat Sampling E-Ecologies
    The Mycological Twist
    Quadrat Sampling E-Ecologies
    • Game
    • Workshop
    • English
    The Mycological Twist
    Quadrat Sampling E-Ecologies
    • 2021/2022
    The Mycological Twist would like to invite you on a quest at HAU3 and organises joint gaming sessions of “No Man’s Sky”. In this game a player can explore a seemingly infinite amount of planets, each with their own unique ecologies. Even after countless hours of play, new things can always be discovered. “Quadrat Sampling E-Ecologies” will consist of two different sessions: In an “introducing workshop” the game and its environment are explored. This will be done through a series of field research tools that have been converted for a digital landscape. In the “gaming session” Eloïse Bonneviot and Anne de Boer invite experts to join them to provoke a different view on the game, and enable a critical reflection onto the narratives and visuals they encounter together with the players. On the background to the production: As personal computers are becoming more and more capable of running visually advanced video games, a myriad of worlds is opening up to audiences around the globe. This domain no longer belongs to the stereotypical, mostly male-youth gamer, but rather becomes a social space for rather diverse groups to meet and explore together. These spaces are becoming the next Social Media. While traditional social media connects us through a performativity of the everyday, navigating games engages us with intense sensations through the temporary emotional embodiment of the avatar. As a player you are both the creator and spectator of the narrative, and even better, you can actively enjoy these narratives with others. Even though these multiplayer games are played by a large number of players, the progression of the gameplay follows similar patterns throughout; kill this, conquer that, become the best, capture it all. A linear quest that dictates the way these spaces operate as well as the audience it attracts. The tropes they endlessly reproduce mirror contemporary constructions of prejudice, power struggle and underlying ideologies. Each game has different problems that demand different explorations and questions to be asked. The two artists Eloïse Bonneviot and Anne de Boer have already been part of the HAU festivals “Spy on Me #2 + #3” and were most recently represented at the 7th Athens Biennial. “Quadrat Sampling E-Ecologies” also takes place in cooperation with the Fritz-Karsen-Schule from Berlin-Neukölln. HAU invites a class to play and discuss together at HAU3.   Danielle Brathwaite-Shirley works predominantly in animation, sound, performance and video games to communicate the experiences of being a Black trans person. Brathwaite-Shirley’s practice focuses on recording the lives of Black trans people, intertwining lived experience with fiction to imaginatively retell trans stories. Spurred on by a desire to record the “History of trans people both living and past” their work can often be seen as a trans archive. The work has been shown at Albright-Knox Art Gallery, David Kordansky Gallery, Quad Gallery, Arebyte Gallery, Science Gallery, Barbican Centre and Tate Modern. During the 3hd 2020 festival by Creamcake, Danielle shared their film and interactive performance “We Are Here Because of Those That Are Not” on HAU4. Xenia Chiaramonte is a jurist and a socio-legal scholar. In 2019, she published her monograph “Governare il conflitto: La criminalizzazione del movimento No TAV” [“Governing conflict: The Criminalization of the No TAV Movement”], which analyses the criminalization of one of the most longstanding and high-profile environmental movements in Western Europe. In her research, she developed a deep ethnographical approach blended with a theory-oriented vision. Ahmed Isam Aldin Ahmed is a visual artist, designer and blogger from Khartoum. He studied physics at the University of Khartoum and graphic design and photography in Cairo, Visual communication at Weißensee Kunsthochschule Berlin. His practice focuses on immigration and psychology, as well as the processes of revolutions, de-colonial design, and technology. He has participated in various exhibitions between Khartoum, Cairo, and Berlin, and is currently studying Media Art at UDK Berlin. Barbara Marcel is a Brazilian artist and film-maker. Her works explore historical views of nature and how these relate to colonial imagery.
    The Walks
    Chargeable
    Rimini Protokoll (Haug / Kaegi / Puschke / Wetzel)
    The Walks
    • App
    • Audio walk
    • German
    • English
    • French
    • Italian
    • Romanian
    • Spanish
    Rimini Protokoll (Haug / Kaegi / Puschke / Wetzel)
    The Walks
    • 2021/2022
    “The Walks” is an app with a collection of audio walks – presented on HAU4 − whose stories and soundscapes are global in scope. After Alpbach, Borgia/Catanzaro, Bucharest, Cleveland, Dresden, Hamburg, Milan and Saarbrücken now it’s Berlin’s turn to show the HAU co-production. Each walk is a short audio experience for a specific place in your city and an invitation to rediscover and interact with your environment.  “The Walks” connects people around the world in a local experience via the fundamental human action of walking. Walking in public gained new meaning with the COVID-19 pandemic. An ancient, daily ritual became an integral part of the new normality. People meet, walk, stroll through neighborhoods, play in landscapes, and perceive their environment anew with every stride. “The Walks” understands walking as a theatrical scenario – an audio-guided walk in parks, a staged walk in supermarkets or timed interactions on riverbanks. In every city, voices, sounds, and music turn familiar places into sites and landscapes into stages step by step through storytelling, dialogical situations, choreographic discoveries, or musical and rhythmic variations on walking. The title of every walk indicates where or how to do it: “Walk for a cemetery,” “Walk along the water,” or “Walk for a traffic island.”
    Loulu
    onlinetheater.live
    Loulu
    • App
    • Game
    • Net Art
    • German
    onlinetheater.live
    Loulu
    • 2020/2021 · approx. 90 mins.
    • 2021/2022 · approx. 90 mins.
    • 2022/2023 · approx. 90 mins.
    The successful influencer Frida becomes the victim of a shitstorm on the social network Vire. Searching for help, she turns to the players who quickly find out that this shitstorm did not happen randomly; it was planned and carried out by a radical right-wing network that uses skilled digital media strategies to permanently influence the social discourse on topics such as feminism, gender, LGBTIQ+ visibility and diversity to bring about racist and sexist policies. The lifestyle influencer Loulou becomes particularly conspicuous here as she reflects sadly on becoming a mother, the fast pace of society and the topic of home. What connections are there between Loulu and the network that is attacking Frida so savagely? Together with Frida and with the help of the internet specialist Robin, the players set off on the search for the strategy manual of the radical right-wing “movement” and slip deeper and deeper into the core of the network… This first project between onlinetheater.live and HAU Hebbel am Ufer is a free smartphone app that invites the players to take part in an interactive fiction. The single player game makes manipulation tactics and attempts to shift the discourse by “new right-wing” networks tangible and demonstrates that social platforms on the internet can be the perfect breeding ground for targeted radicalization. Recommended for people aged 18 and over
    Still Not Still (scenes for camera)
    Ligia Lewis & Moritz Freudenberg
    Still Not Still (scenes for camera)
    • Film
    • Dance
    Ligia Lewis & Moritz Freudenberg
    Still Not Still (scenes for camera)
    • 2020/2021
    It is reasonable to situate the world on the verge of sense and NON-sense You go round and round and then you stop and you fall to the ground What is deader than dead?  (Ligia Lewis) Full of dark humour and surrealist imagery, Ligia Lewis’ new work “Still Not Still” evokes with poetic force a unique theatrical language, disrupting any fantasy of historical progress. The choreographic composition for seven performers deals with the centuries-old and ongoing exclusions of black and non-white people from the historical record. Can a history full of bad faith, gaps, and holes, particularly for those that fall outside its purview, be left to the past? Inspired by the image of an 8th century Black Madonna in Italy as well as a 14th century French “complainte” (lament), “Still Not Still” addresses these voids as “lacuna” – dark cave –  that have given those of us outside the privileges of white identity an ignorant self. She turns to the dark cave of the theatre space and negotiates the past within it to make another future possible. At the same time tragedy and comedy, the dance piece makes use of the playful, expressionless expressivity and dry, black comedy of “Deadpan”. Lewis designs a world outside of time in which dark gaps are tracked down and stasis is set in motion with the creative power of fictionalisation. Given history is fallible and insufficient, and overdetermined by its victors, what might emerge once it is laid to rest? “Still Not Still” takes shape as a prolonged lamento and offers a musical-performative reclamation, as a formal response to history. “Still Not Still” was originally planned for April 2021 as a dance premiere on the HAU1 stage. Due to the current situation, it is not possible for HAU and the artist to present this work live. Instead, a cinematic experience has been created until the production can be seen live.
    ORI CLEANSE
    Ricardo de Paula
    ORI CLEANSE
    • Film
    • Dance
    • Brazilian Portuguese
    • English
    • French
    • With English subtitles
    • SDH
    • Spanish
    Ricardo de Paula
    ORI CLEANSE
    • 2020/2021
    MIMIMI Space is an experimental, interdisciplinary format that creates a space for artistic engagement with racism, a laboratory for self-reflection and healing. The Black body is at the centre of the project, with its inscribed history, memories and experiences. The knowledge of the historical origins of racist structures and the philosophies and ways of thinking that determine them creates the basis for looking ahead. With an awareness of the past and a vision for the future, MIMIMI Space questions the present. MIMIMI Space consists of two parts:  The first part took place December 5-7 2020 at HAU4 and can still be watched there. Three encounters in different formats – a shared meal, performance, improvised dance –illuminate different perspectives on the Black body and relate them to each other. The events are framed by films and objects documenting de Paula's artistic work. In always new ways, he points out the urgency of dealing with racism. “ORI CLEANSE” is the second part of the project. The dance performance is a political statement, a self-empowerment and purification. It is a step towards a decolonised future in which all people are free subjects. The six dancers with very diverse biographical and dancing backgrounds develop new ways of thinking, being and acting on stage, determine themselves the images and ideas they have of themselves and what they want to awaken in others. They show an overwhelming belief in the power of their bodies, their community and solidarity, which gives hope for healing and the beginning of a new era. A source of strength lies in nature, in the awareness for oneself and every other life. In this context, treating yourself and your own body well is a step towards a holistic way of thinking that avoids exploitative structures. The universe, Olorum, stands here for the connection with a larger context. From the vastness of the universe shines the vulnerability and magnificence of life on earth without borders. The dancers orbit each other like stars and refer to something that goes beyond us humans, connects us and makes empathy possible.
    Über die Kette des Versagens, die Bedingungen des Terrors und den rassistischen Normalzustand
    Initiative 19. Februar Hanau
    Über die Kette des Versagens, die Bedingungen des Terrors und den rassistischen Normalzustand
    • Dialogue
    • German
    Initiative 19. Februar Hanau
    Über die Kette des Versagens, die Bedingungen des Terrors und den rassistischen Normalzustand
    • 2020/2021
    19 February is the first anniversary of the racist attack in Hanau. Alongside an official memorial event on the day itself with the federal president and the minister-president of Hessen, the Initiative 19. Februar Hanau, which consists of relatives, survivors and affected persons, also extends an invitation to an act of collective mourning and remembrance on 14 February. HAU will be streaming the event live from Hanau: “We mourn and remember Ferhat Unvar, Hamza Kurtović, Said Nesar Hashemi, Vili Viorel Păun, Mercedes Kierpacz, Kaloyan Velkov, Fatih Saraçoğlu, Sedat Gürbüz and Gökhan Gültekin. (…) One year later, we say ourselves what will not be said (at the official commemoration): We speak about the failure of the authorities before, during and after the crime, about the slowness of the offices in providing support and assistance, and even in identifying the most serious problems – the coldness of the bureaucracy. We talk about the inexcusable misconduct of the security forces on the night of the crime, about the unwillingness and sloppiness of the public prosecutor's office and the police in the investigations, in the pursuit of leads, in taking new threats seriously, in our protection. We are talking about the recurring disrespect and degrading gestures of officials, representatives of authorities and police towards relatives and survivors and even towards the dead. We are talking about the normal state of institutional racism. One year later means for us, we accuse.” 19feb-hanau.org
    Letters from the Continent
    Virginie Dupray, Faustin Linyekula / Studios Kabako
    Letters from the Continent
    • Film
    • Dance
    • German subtitles
    • Various languages
    • With English subtitles
    Virginie Dupray, Faustin Linyekula / Studios Kabako
    Letters from the Continent
    • 2020/2021
    The film “Letters from the Continent”, co-produced by HAU, was conceived and shot in May and June 2020 and features 21 artists who live and create in Cape Town, Dakar, Lagos, Maputo, Moroni, Tunis, and other cities. Filmed during the Covid-19 pandemic it reflects on how for many people there has always been some sort of crisis, either in the form of health, political or, above all, economic crisis and how the handling of it makes them everyday heroes of their lives. From the place they live and dream, each of them speaks and dances about their difficulties, worries but also their survival strategies and hopes. More than ever, they reaffirm the urgency to create, here and now, against all odds. These 21 letters, these 21 self-portraits introduce a new generation of dancers, choreographers, performers and actors who juggle with their surroundings to better invent and share stories of the African continent in full mutation. With: Fatoumata Bagayoko (Mali, sent from Bamako) Collectif d’Art-d’Art / Michael Disanka & Christiana Tabaro (DR Congo, sent from Kinshasa) Cie La Mer noire / Alioune Sow, Khoudia Touré, Kirsner Tsengou Dingha & Pierre-Claver Belleka aka Dexter (Senegal, Liberia, Republic of Congo, sent from Dakar) Hamdi Dridi (Tunisia, sent from Montpellier / France) Didier Ediho (DRCongo, sent from Kinshasa) Chourouk El-Mahati, Moad Haddadi, Mohamed Lamqayssi (Morocco, sent from Belfort / France) Kaïsha Essiane (Gabon, sent from Libreville) Marcel Gbeffa (Benin, sent from Gaborone / Botswana) Qondiswa James (Republic of South Africa, sent from Cape Town) Samwel Japhet (Tanzania, sent from Dar-es-Salaam) Jeannot Kumbonyeki (DR Congo, sent from Kinshasa) Souleymane Ladji Kone (Burkina Faso, sent from Ouagadougou) Seifeddine Manai (Tunisia, sent from Tunis) Judith Olivia Manantenasoa (Madagascar, sent from Antananarivo) Dorine Mokha (DR Congo, sent from Lubumbashi) Abdoul Mujyambere (Rwanda, sent from Kigali) Salim Mzé Hamadi Moisi (Comoros, sent from Moroni) Nagham Salah Othman (Sudan, sent from Cairo) Germaine Sikota (Togo, sent from Lome) Maria Tembé (Mozambique, sent from Maputo) Westsyde Lifestyle / Ambrose Idemudia Joshua, Daniel Emmanuel Olajuwon, Ordia Eromose & Osokoya Yemi (Nigeria, sent from Lagos)
    Online discussion and launch of pARTisanka
    “Your Past Is Our Future?”
    Online discussion and launch of pARTisanka
    • Dialogue
    • Belarusian
    • Belarusian simultaneous translation
    • German
    • With German simultaneous translation
    “Your Past Is Our Future?”
    Online discussion and launch of pARTisanka
    • 2020/2021
    On 13 January, we presented a pilot of our programme “‘Я выхожу!’ – Berlin meets Minsk” with an online discussion on the current situation in Belarus. A big part of the further planned programme had to be postponed due to lockdown. As part of the event, a new issue of the magazine pARTisanka, edited by Tania Arcimovich, will be published in cooperation with HAU Hebbel am Ufer. Tania Arcimovich is an author, director and curator from Minsk. She studied theatre at the Belarusian State Academy of Arts in Minsk and completed her master's degree in cultural studies at the European Humanities University in Vilnius. Since 2014, she has been curating exhibitions and realising cultural and educational projects together with the likes of the Gallery for contemporary art, Lohvinau Publishing House and international theatre forum TEART. From 2016 to 2019,  Arcimovich taught at the European College of Liberal Arts in Belarus. She is also the co-founder of the ziErne Performative Practices Platform and publisher of the magazine pARTisan / pARTisanka. Currently, she is a doctoral candidate at the International Graduate Centre for the Study of Culture (GCSC) at the Justus Liebig University Giessen. Olga Shparaga is a philosopher currently living in exile in Vilnius, where she works closely with Svetlana Tikhanovskaya. She studied philosophy in Belarus and Germany, taught philosophy at the European Humanities University in Vilnius from 2001 to 2014, and was editor of the journal Novaja Eŭropa (“New Europe”) from 2006 to 2014. Since then, she has been a professor at the European College of Liberal Arts in Belarus. Shparaga has been a member of the feminist group of the Coordinating Council of the Opposition since its inception. Among her works are the pamphlet “Belarus! The Female Face of the Revolution”, published by edition.fotoTAPETA, and in 2021, Suhrkamp will publish her new book “Die Revolution hat ein weibliches Gesicht – Der Fall Belarus” (“The Revolution Has a Female Face – The Case of Belarus”). Katja Artsiomenka is a journalist and freelance writer for radio. She studied journalism in Belarus and Germany and in 2016 received her PhD from the Dortmund Institute of Journalism. Since the winter semester of 2019-20, she has been a professor of journalism at the University of Applied Sciences for Media, Communication and Management (HMKW) in Cologne. Her journalistic work has won awards such as the European Civis Media Prize for Integration and Cultural Diversity.
    A podcast by Sarah Fartuun Heinze and HAU Hebbel am Ufer
    Artistic Manoeuvres for the Digital Present
    A podcast by Sarah Fartuun Heinze and HAU Hebbel am Ufer
    • Dialogue
    • Podcast
    Artistic Manoeuvres for the Digital Present
    A podcast by Sarah Fartuun Heinze and HAU Hebbel am Ufer
    • 2020/2021
    In the three-part podcast series “Artistic Manoeuvres for the Digital Present”, theatre maker and journalist Sarah Fartuun Heinze speaks with participants from the digital lab (online hackathon and residencies) at HAU Hebbel am Ufer. What's it about? The theatre of the future – which, of course, is digital. Right? #1: Online Hackathon A glimpse behind the scenes of #HAUonline – Hackathon: How did the idea come about? What is a hackathon, anyway? How can we imagine what a digital residency looks like? A conversation with HAU dramaturge Sarah Reimann, Ulla Heinrich from dgtl fmsmn and Christiane Hütter about theatrical, and especially digital, spaces for potential. #2: Residencies for the Digital Lab In the second episode, Sarah Fartuun Heinze meets not just the residents themselves – she also gets to know their own visions of the theater of the future. A conversation with the resident artists from the projects “Bodies of Resistance” (Paola Bascon), “The Feeling is Mutual” (Sofia Insua) and “Pixelrave” (Derin Cankaya). #3: The Future of Digital In the third and final podcast episode, In the third and final episode, we take stock of the project as a whole and look towards the future: What could and should they look like, these artistic maneuvers for the digital present?
    Joana Tischkau, Anta Helena Recke, Elisabeth Hampe, Frieder Blume
    Deutsches Museum für Schwarze Unterhaltung und Black Music
    Joana Tischkau, Anta Helena Recke, Elisabeth Hampe, Frieder Blume
    • Dialogue
    • Installation
    • Music
    • Performance
    • German
    • English
    Deutsches Museum für Schwarze Unterhaltung und Black Music
    Joana Tischkau, Anta Helena Recke, Elisabeth Hampe, Frieder Blume
    • 2020/2021
    The “Deutsches Museum für Schwarze Unterhaltung und Black Music” (German Museum for Black Entertainment and Black Music) is Germany’s leading museum for black culture, popular music and history. It houses a comprehensive archive of vinyl records, magazines, autographs and memorabilia that are exhibited at a vibrant location for the communication and discussion of black history. A digital tour of the museum immerses the visitor into a movement that brings together stars from Mola Adebisi to Tic Tac Toe all the way to Sydney Youngblood. In their juxtaposition they gain a new visibility, so that similarities and differences in the staging strategies of the stars as well as the reception of the German audience are under discussion. Joana Tischkau, Anta Helena Recke, Elisabeth Hampe und Frieder Blume return to HAU Hebbel am Ufer after their residency two years ago. and present a newly developed, discursive as well as performative schedule of online programming with local guests as an exhibition for Berlin. PROGRAMME Friday, 11.12. 19:00 Opening with Jana Pareigis (Journalist / ZDF moderator) “Unboxing: Tic Tac Toe” Lecture by Dominik Djialeu (BERRIES Kollektiv) Live stream / available until 11.02. German   Saturday, 12.12. 19:00  Digital Tour of the Exhibition Online Premiere / available until 12.01. German 19:00  “Rassistische Imagination der Deutschen bzw. der Deutschen Schlager-Hörer:innen” Lecture by Julio Mendívil (Professor for Ethnomusicology) Afterwards: Talk with Randolph Rose (Singer and actor) / Moderation: Matthias Dell (Journalist)  Live stream / available until 11.02. German Sunday, 13.12. 12:00 “I Got Ants in My Pants and I Need to Dance. Geschichten aus dem Funkadelic” Memories of ex-operator Kerim Saka with clips by Rico Sparx (DJ Eddy Action) from the Funkadelic (FFM) Taped by Erol Nagel (DJ Feedback) 1986 Podcast / available until 11.02. German Tuesday, 15.12. 19:00  “Heute so, morgen so – Deutsche Musikgeschichte revisited” Reaction Video with Megaloh (EMI) & Amewu (Buback) Live stream / available until 11.02. German     Wednesday, 16.12. 19:00  “Black Voices – White Producers” / Talk with Lori Glori (Singer & Composer) & Sarah Farina (DJ & Producer) Live stream / available until 11.02. English Team Digital Tour Direction: Hai Anh Trieu. DOP: An Nguyen. Cut and Color Grading: An Nguyen. 1. AC: Tung Le. Light and Sound: Maximilian Wegner. Stage: Dominik Stillfried. Grip: Hannes Höber.
    The Chap Live At Home
    The Chap
    The Chap Live At Home
    • Film
    • Music
    The Chap
    The Chap Live At Home
    • 2020/2021
    At the end of an awful year, The Chap have made a very good film. A unique, exhilarating and multilayered take on that questionable cultural legacy of 2020: the self-isolation concert video. In the process, the band underwent a self-taught crash course in syncing and editing over ten hours of video and audio material into an exciting one hour nine-screen lo-fi blockbuster. They learned a lot about Go-Pro cameras and about integrating showers, kitchen sinks and Spaghetti Bolognese into a dynamic rock performance. And they realised how much they had been missing spending time and performing together. As one would expect from The Chap, “The Chap Live At Home”, is an emotional journey joining pop songs with rock power, disco moves with noise improv bursts, sadness with silliness, friendship with separation, home improvement with great-looking shorts. Watch the trailer here. Upon releasing their seventh full-length album, “Digital Technology”, in January 2020, The Chap managed to play a short 7-date tour of Germany before you-know-what forced them to cancel all further touring. So when they were asked to appear at this year’s edition of the Contemporary Art Festival of León (FIACmx), Mexico, they jumped at the chance to create something very special: a video version of that current live set, made up of songs from “Digital Technology” as well as a few key Chap classics. Since some members of the Chap live in London and others in Berlin, getting together in front of a camera to perform a “normal” gig was impossible. Instead, on 5 November 2020, at 9pm Central Mexican Time, a small, socially-distanced live audience in León were treated to a nine-screen visual extravaganza that’s part musical video conference, part rock concert movie: for the video, wearing Go Pro cameras on their heads, each half of the band performed the instrumental tracks while filming each other. They then filmed themselves performing the vocals in domestic or outdoor settings. Much more than the usual recorded live performance in a non-distinct room we have become accustomed to, this multi-perspective film tells the weird domestic story of all of us right now – via The Chap’s freakish intensity and edge. 
    With Paul B. Preciado, Maria Galindo, María Berríos and Nathalie Anguezomo Mba Bikoro
    Intentional Mutation
    With Paul B. Preciado, Maria Galindo, María Berríos and Nathalie Anguezomo Mba Bikoro
    • Dialogue
    • English
    Intentional Mutation
    With Paul B. Preciado, Maria Galindo, María Berríos and Nathalie Anguezomo Mba Bikoro
    • 2020/2021
    The Covid-19 crisis has accelerated the epistemological shift that we were already going through, with the danger of a proliferation of new forms of biopolitical control, through medical, pharmacological devices as well as cybernetic surveillance. But together with new forms of control and intensification of racial, sexual and gender forms of oppression, the position of the patriarchal and colonial hegemonic subject is being questioned as never before and a multiplicity of processes of emancipation and becoming subject of those that have been objectified in the position of non-human by the colonial and patriarchal history is taking place. It is important to recognize these processes not simply as riots, but as a somatopolitical revolution, a transversal process of emancipation of living bodies against the political systems of extraction and distribution of energy and life on the Planet.  We would like to invite you to be part of this debate addressing the crucial role that the critique of colonial history, anti-racist discourses and practices, the critical relationship between gender, sex, sexuality, race and class forms of oppression, but also the need for interconnectedness of contemporary struggles will play in the current political mutation. Maria Galindo is an artist, performer, activist, writer and cofounder of the Bolivian collective Mujeres Creando. She brings the subaltern practices and knowledge of indigenous women into dialogue with the political and literary traditions of anarchism, punk and nonwhite feminism. The sociologist, writer and curator María Berríos explores issues traversing art, culture, and politics, focusing on Latin America, with a special interest in collective experiments of “Third World” alliances and their exhibition formats. She is part of the curatorial team of the 11th Berlin Biennale. Nathalie Anguezomo Mba Bikoro merges installations, sonic radio, live art performances, film & archives. Her work analyses processes of power and fictions in historical archives critically engaging in migrational struggles. Most recently she co-curated the programme “Radical Mutation: On the Ruins of Rising Suns” at HAU. Paul B. Preciado is a philosopher, curator and a pioneer in the fields of gender studies and philosophy of the body. His books, such as “Testo Junkie. Sex, Drugs, and Biopolitics in the Pharmacopornographic Era”), are considered key works of European queer and trans activism.  
    Opening of “Radical Mutation”
    Nobody Knows the Trouble I’ve Seen
    Opening of “Radical Mutation”
    • Dialogue
    • Music
    • Performance
    • German
    • English
    Nobody Knows the Trouble I’ve Seen
    Opening of “Radical Mutation”
    • 2020/2021
    The opening night of “Radical Mutation: On the Ruins of Rising Suns” reflects on the forging of bridges between historical struggles for equality, anti-racism and representation in arts/culture and current efforts for radical change in cultural spaces. It features a musical prologue by Lamin Fofana and a conversation between Nyabinghi LAB (Nathalie Anguezomo Mba Bikoro, Saskia Köbschall, Tmnit Zere) and Wearebornfree! Empowerment Radio (Moro Yapha Bino Byansi Bjakuleka, Muhammed Lamin Jadama), discussing visions of cultural realities that deeply reflect our complexities and become spaces for alliances, recovery and healing. The conversation is followed by a key note and performance by actor and comedian Idil Nuna Baydar. Through her famous fictional character Jilet Ayşe, an 18 year old Turkish girl from Neukölln, she performs a is a brilliant social satire that dimantles racist stereotypes, structural discrimination and the notion of integration. The String Archestra will perform fragments from Florence Price (Quartet in G-Dur 1936) and Fela Sowande (African Suite 1951–1952) to retrace the histories of composers from the Black Diaspora, whose music became entangled with narratives of liberation movements. The String Archestra is a chamber string ensemble created in 2016 in Berlin to empower musicians of color in classical music and to recognize composers who have been overlooked in music history because of their ethnicity and gender. Musical Prologue: Lamin Fofana Introduction: Nyabinghi LAB (Tmnit Zere, Nathalie Anguezomo Mba Bikoro, Saskia Köbschall) and Wearebornfree! Empowerment Radio (Moro Yapha Bino Byansi Bjakuleka, Muhammed Lamin Jadama) Performance: Idil Nuna Baydar as Jilet Ayşe Music: String Archestra
    Collectivize Facebook
    Jonas Staal & Jan Fermon
    Collectivize Facebook
    • Dialogue
    • English
    Jonas Staal & Jan Fermon
    Collectivize Facebook
    • 2019/2020
    • 2020/2021
    With more than two billion users, Facebook influences our social, economic and political life in ways never before seen. Facebook infringes upon the right to self-determination of peoples and individuals in various ways. The corporation instrumentalizes users as neo-feudal data workers, selling their information to third parties. Facebook is used in various surveillance capacities that infringe upon privacy and further impacts democratic elections in disproportionate ways, of which data capture and targeted campaigns of Cambridge Analytica are a recent example. And the corporation has willfully advised authoritarian regimes such as that of Duterte in the Philippines. As part of “Spy on Me #2 – Artistic Manoeuvres for the Digital Present – Online Programme” the artist Jonas Staal and the lawyer Jan Fermon published the collective action lawsuit to force legal recognition of Facebook as a public domain that should be under ownership and control of its users. Staal and Fermon invite the public to join their lawsuit against Facebook that will be submitted to the United Nations Human Rights Council in Geneva coming September 2020. On 26 March 2020 at 19:00 the launch of the campaign took place. From this moment onwards, all information about the campaign and the possibility to join the collective action lawsuit as well as the indictment itself can be found online at collectivize.org. Find an introduction on Youtube and HAU3000. On 9 June 2021, the pre-trial will take place on site and via livestream at the Theatre Rotterdam. With contributions by Quinsy Gario, Clara Balaguer, Jan Fermon, Jonas Staal and others. “Collectivize Facebook” encourages the imagination to picture how Facebook – as well as other multinational companies – could be run as common property in the public interest.
    HOT MESS *virus version*
    dgtl fmnsm
    HOT MESS *virus version*
    • Chat
    • Dialogue
    • Music
    • Performance
    • Workshop
    dgtl fmnsm
    HOT MESS *virus version*
    • 2019/2020
    The international network dgtl fmnsm have been presenting feminist, queer and tech-positive perspectives on technology narratives since 2016. Planned as “HOT MESS” in digital space and at HAU2 studio, the creators have developed “HOT MESS *virus version* for “Spy on Me #2 – Artistic Manoeuvres for the Digital Present – Online Programme” with over 15 artistic contributions. To be seen on March 19–22 and 27. “HOT MESS *virus version* is an interactive project, inspired by the often chaotic order of our desktops, of our thought constructs and frivolous digital repositories. All the data, the documents, the suffering and joy, the private and the public, these complex overlapping worlds, are hidden behind small symbols, permeating us as hyper-individualized beings in capitalist work and life cultures. “HOT MESS” attempts a loving and critical devotion to these user interfaces and resigns with relish to the long lost possibility of reducing data volumes or preventing their misuse. With online performances, talks, technological rituals and laboratories of counter-speculation, dgtl fmnsm examines the remaining possibilities of disentangling the data volume in the depths of our devices until they finally overheat and what we call reality finally collapses. Because: Technology is not neutral and only a feminist AI can save us. Friday, 20.3. 12:00     A place taking manual (virus version) Die Blaue Distanz (Anna Erdmann & Franziska Goralski) Platform: Instagram 13:00               “The water we drink first runs through the veins of the servers” Virtual Tour by Die Blaue Distanz 15:00–18:00 Workshop “#alieneffect” Facefilter Workshop for Beginners by Alla Popp 19:30 “IRL * URL – Extended Edition” Video Screening and Artist Talk with Tabitha Swanson 20:00 “GLEAM, LIVE OFFLINE : HOT MESS///” A show with Tiara Roxanne, Maque Pereyras, Biitsi, Anna Zett, American Artist, Nicole Killian, Xene Sky, Jamila Woods 23:00 Late Set Tadleeh (live) also on Soundcloud Saturday, 21.3. 13:00              “MELT DOWN” Meltionary (Loren Britton, Isabel Paehr) Platform: http://meltionary.com/dgtlfmnsm/. 14:00           “Cognitive Boot Camp vs. Multiverse Hack: Ten Easy Steps on How to lose your Reality System“ OMSK SOCIAL CLUB & Mycological Twist 17:00        “How are we still? Who are we kidding in a 21th-centuries-fearful-dream? A Telegram Trip” with Katharina Klappheck Platform: Telegram Chat Sunday, 22.3.               21:00      “Sonic Hibernation Short Story” Platform: Facebook   Friday, 27.3. 16:00 Zine Workshop “Algorithms of Late Capitalism” 18:30 Talk “Future Tense: AI From the Margins” Nakeema Stefflbauer B2B Nushin Yazdani 20:00 VR Performance “Under_the_Sun_2120” Alla Popp 21:00 Talk “REDEFINE” Ash Baccus-Clark 22:30 DJ Set “Happy New Tears” Sonic Hibernation