THURSDAY, MAY 15
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PUBLIC MEETING WITH THE ASSOCIATION FOR PERFORMANCE ART IN BERLIN
Meet the organisation behind the MPA-B to explore the current identity of institutions in general and the future of performance art in Berlin in particular. We will present ourselves and discuss how to develop horizontal strategies in order to react more advantageously to the flat global ghetto of world capitalism. Looking at some of the values that are attributed to art institutes such as participation, responsibility and historical awareness, we all feel the need to stand up to get some air. Now that we have the Verein, we’re looking forward to meeting old and new members for our first public meeting. This is the meeting to determine future directions for APAB to move in. So if you are a member already or wish to become one, this is one you really want to attend.
Q: If the formation of an Association for Performance Art in Berlin means to enter the political arena and to take up responsibility as a legal person, how then can such a new institution embody the empowerment it attempts to offer its members?
By no means, this question contains new thoughts or values attributed to institution building but rather focuses on the complex collaborative structures, inherent to every art institution. For us, re-thinking the role of the art institute is a pertinent artistic endeavour within a growing financialization and virtualization of all human communication. As such, the Association poses the question on the position of authorship as a cultural phenomenon, centered on the notion of property.
One way to tackle this enormous vision of embodiment and empowerment within the enclosure of a “common” institute is to look at potential power relations shaped by the distribution of collectively produced value (found in examples such as MPA-B). In keeping with the core elements of performance art – process and transformation -, the Association might even be an essential concept to ensure a higher standard of artistic social responsibility.
WHERE: MPA-HUB, Holzmarktstraße 25, 10243
CURATED BY: CIA & FBI
PERFORMING THE REVOLUTION: MAYDAN AS LIFE/ART
PERFORMANCE / LECTURE
Sergei Kleyn is a polymedia artist from Ukraine. For the first two months of the Ukrainian revolution he was on the Maydan as an independent observer/participant. “Performing the Revolution: Maydan as a Performance” is a lecture performance resulting from this experience.
There are two main directions, the most obvious dealing with the use of methodology and legacy of performance art on the Maydan. E.g.the Square of Independence is surrounded by internal troops soldiers. Artists and civilians use this to inform them on culture, art and politics .
As the troops have no right to move or to talk, they become the ideal audience. Poems were recited; mirrors were held up to reflect the soldiers faces, their shields were used as backdrops for film projections. The second part will concentrate on how and to what extent political technologies could be perceived as performance.
Sergei will analyze the government/FSB “werewolf” techniques: the use of groups of provocateurs, dressed to resemble radical protesters, triggering violent scenarios (also filmed and shown to discredit the protest movement and justify the police brutality). Kleyn will also present his research of how various groups capitalize on protesting resource, using theatrical/Hollywood techniques to create false martyrs and victims to heat up the socium. E.g.: the famous “kidnapping”/“torture”/”crucifixion” of D. Bulatov, allegedly faked. Political capital earned, the “performer” was (as of March 2014) appointed Minister of Sports in the interim government. What are the borders of performance, where is it seen outside of art? How can its techniques be used for a resistance? These are the questions asked and possibly answered in Sergei Kleyn’s lecture. All power to the Imagination!
Photo Credit: unblind/Julia Gebauer
SCHLEIER DER MAJA (Veil of Maja)
NIGHT PERFORMANCE ART WALK
Lia Bergaue closes with “Veil of Maja”, under the collective “culture cura”, the circle of a series of performances that deal with the transformative power of ritual acts and the possibility of “Performance Art (as) Therapy”.
Her work is focussed on how to overcome cognitions & brake crusts – both individual and socio-cultural. Walk with Lia Bergaue from dusk till dawn under the curtain of night to meet MAJA, the Grand Delusion of the Mind. You can expect: bonfire for burning bias, veils for all participants, a digging on the terrain and a 1000-year-old technique to feed your demons with love. Change your thoughts as clothes!
TIME & LOCATION: to be announced on the day on the Zona Dynamic Facebook page and website
CURATED BY: Vincent Chomaz & ZONA DYNAMIC: Edgar Khandzratyan, Elisa Schönherr
Photo Credit: Ian Deleón
VOYEURS /// ALL THAT IS SOLID MELTS INTO AIR
Ian Deleón’s practice largely concentrates on engaging the colonial history of Latin America and the Caribbean, focusing on the use of agriculture and economics in the past and the present to observe, justify, and criticizes the present-day oppressive conditions in the region. ALL THAT IS SOLID MELTS INTO AIR will incorporate Caribbean agricultural exports as possibilities for performative moments.
In VOYEURS, performers don’t act directly in front of the public. They are entrapped within the exhibiting apparatus, a closed white cube of 8m³ (2m by 2m by 2m) from which spectators are excluded. And if they are not inside the cube, they are forced outside of it. They can surround it, move around it, sit next to it, stand far from it, look at it, come closer and maybe peep in it – or do none of the above. It is their choice.
For MPA-B 2014, through a series of performances and performative interventions set in the public space, VOYEURS explores the accidental interactions that can arise from the accidental encounter between the work and its possible audience; thus focusing on the public as the – or a – performer and the idea of the audience as a canvas for action and reaction.
Ian Deleón (US/BR) www.iandeleon.com
Voyeurs runs on May 1, 2, 8, 10, 15, 16, 17, 22, 23, 24 and with a closing finissage on the 27