2015 MAY 30





PictureThe sphere of the weekly street market and the church at Herrfurthplatz will be intervened by the work of performance art makers from different parts of the world.







Photo Credit: Abnorma Jeanne Butcher

This episode of the Spinne*r_ series is subtitled “Whorfianism”.

A multimedia installation sets up a mise en abîme of non-recording cameras and screens. Important texts for queer studies and aesthetics will be shared to you.

You can help create a web, decide of its pattern, tension and vibrations. The Spinne*r, creature in transformation, invites you as spect*actors to participate in her transformance, a research on languages, performance and hybridity.

Boris Azemar boris-cyb.org



TIME: 16:00-18:00
LOCATION: Katharina-Heinroth-Ufer near Lichtensteinbrücke | Public transport: S5, S7, S9, S75 Zoologischer Garten; Bus 200 Corneliusbrücke; Bus 100, 106, 187 Nordische Botschaften/Adenauer-Stiftung
CURATED BY: Susanne Husse and Andrea Caroline Keppler www.district-berlin.com
Photo Credi: Darius Jurevičius

The anonymous female artist collective Cooltūristės will present a performance called “Rose Mis(s)appropriation – unexpected interaction of Berlin monuments”. It will deal with memory and freedom of thinking. The group will focus on marginalised (forgotten, invisible) monuments and her-storical places and bring them to life through public interactions, readings and mis(s)appropriations.

One of such places is Rosa Luxemburg memorial at the edge of the Tiergarten, marking the spot where her body was thrown into the canal by Freikorps troops. It is not a traditional representation of a hero or female figure as allegory of revolution. The name of Rosa Luxemburg appears in raised capital letters, emphasizing her thoughts, rather than bodily pain. The performance will draw a link between the letters of the monument and letters written by Rosa Luxemburg.

It will not be only this monument – Cooltūristės will make monuments talk. This means virtual dialogue of conceptually related public sculptures and places. Virtual conversation between Berlin’s memorial of Rosa Luxemburg and other public signs related to her ideas or thought-provoking sites will take place during the performance.

Another important aspect of the performance is queering public space. Phallic verticals of buildings and sculptures dominate contemporary public space. They represent straight hierarchical thinking and patriarchal power structures. In order to reclaim public space Cooltūristės will challenge its visual vocabulary and codes using the strategies of mis(s)appropriation.

The main features of mis(s)appropriation are horizontal networking, subversion of norms and masquerade. Missappropriation is a “female” appropriation, the subjection of hard male buildings to soft female materials. Misappropriation is “wrong” appropriation: subjecting architecture to textile, textile to photography, photography to sculpture and vice versa.

Cooltūristės work as a team and often invite other artists, curators, and researchers. Their motto is: “If you are not with us, you are one of us!” Everyone is welcome to join!

“Rose Mis(s)appropriation” is a collaboration project between District Berlin and Grüntaler9.

anonymous artist collective Cooltūristės


   Picture PicturePicture



TIME: 20:00-23:00
LOCATION: Organ kritischer Kunst Prinzenallee 29 13359
ENTRANCE: Donations
CURATED BY: Hector Canonge

PERFORMEANDO (Spanglish word, coined by artist Hector Canonge in the context of Live Action Art) refers to the creation of an event, presentation, act, action, and/or artistic corporal expression. PERFORMEANDO is a project / program focusing on featuring works of performance artists who identify themselves as Latin/o/a or Hispanic living and working in the United States and Europe. PERFORMEANDO was launched in New York City in 2013 featuring local Latin artists in the NYC tri-state area.  In 2014, PERFORMEANDO was presented, for the first time in Berlin with artists coming from different regions in the United States. In 2015 PERFORMEANDO continues with its programming in NYC, Berlin during the Month of Performance Art, and in Argentina, South America.

During MPA-B Anthology, PERFORMEANDO introduces the following artists at Organ kritischer Kunst (OkK). Their work explore issues of territoriality and geographical displacement. An artist talk is scheduled after the performances:
Shawn Escarciga (Mexico-United States), “555.”
Angela Freiberger (Brazil-United States), “Reconstruction of My Native Home.”
José López (Mexico-Germany), “An American Nap.”
Oscar Martín (Spain-Germany), “The artist tries to disappear.”
Verónica Mota (Mexico-Germany) “The Age of Death and Despair.”
Emilio Rojas (Mexico-Canada), “The Lions Teeth.”
Rodolfo Salpietra (Italy-United States), “Freedom Drowning.”

PERFORMEANDO serves as platform for dialogue and exchange, and fosters collaborations based on the premise of experimentation and exploration of Live Action Art in the context of the Hispano-American experience in the United States. The project along with its program presentations in the city and abroad have contributed to a better understanding of the concerns, experiences and creative processes of participating artists. Since 2013, PERFORMEANDO has been presented in collaboration with spaces in the NYC area in Brooklyn, Queens, and Manhattan. In 2014, the program was presented and introduced to worldwide audiences during the Month of Performance Art in Berlin, Germany. For 2015 PERFORMEANDO will broaden its scope reaching out to Latin America to work with artists from various countries who have been making an impact in the development of Arte Acción. The exchange of experiences, ideas, and practices in performance will further contribute to the growth of participating artists and independent art spaces in the Americas.



TIME: 20:00 – 23:00
LOCATION: Meinblau e.V. (MPA-HUB) Haus 5D, Christinenstraße 18-19, 10119
CURATED BY: Tamara Rettenmund www.kornblum-rettenmund.de
Photo Credit: Tamara Rettenmund.

„To untangle a snarl, loosen all jams or knots and open a hole trough the mass at the point where the longest end leaves the snarl. Keep the snarl open and loose at all times and do not pull on the end.“
Ashleys Book of knots

Ungünstige Verstrickungen zwingen zum Innehalten – einige wollen den gordischen Knoten vor lauter Ungeduld zerschlagen, die Klügeren: in Seemannsmanier das Ende des Knäuels nehmen und in Zeitlosigkeit das Wirrwarr auflösen. Bei diesem (fast) unmöglichen Unterfangen steht Ihnen Seilermeister Koch beratend zur Seite.

Aber entsteht der Knoten bei der Arbeit oder die Arbeit durch den Knoten – Anfang und Ende sind nicht auszumachen.

Tamara Rettenmund www.kornblum-rettenmund.de
Amelie HenselDörte Bieler
Yorck Großkraumbach
Yiannis Pappas
Christian Schwister
Janos Freiland
Annika Seibt
Dani Waltenberger
Susanne Hattenbach