Tuesday, 26. September 2017, 19-21.00 : Open doors working day (free admission)
Friday, 29.September 2017, 20.00 : Final public presentation (free admission)
CON_TEXT IX: The hairy goddess‘ misstory
The day before yesterday. We mourn. The XXI century died, but we keep preparing its funeral. Look at your hands, both hands. On the one hand you have the story of apocalypse. As any story about time, of course it will end in a big climax, bing bang, bow wow wow. Of course the main character of this adventure is God, standing on the shoulders of his army of encrypted angels. On the other hand, there is the flipped version of this story: this one we could call revolution. A revolution reincarnated as a hairy goddess. S/he’s everywhere, everywhere feels as near as nowhere. Immanent in our messy backpacks, roaring in our inner jungles. This version changes the speed of the trains and cars and airplanes through which we perceive the world. Choose a word and hit the road. Mystery. Chaos. Smoke. Animals. Magic. Light another match. This is an ongoing story. It comes in a box delivered by DHL. The sun is the third sign on the road. A long road. On the tip of your fingers.
CON_TEXT is a series of events seeks to address and rethink the format of the ‘reading’. Each of the events in the CON_TEXT series is developed and realised by both an author and an artist from another artistic discipline. Working from the basis of the literary text, its aim is to develop interdisciplinary formats and thereby come to understand ‘the literary event’ as an artistic work in its own right. The usual formats of reading events, as well as the role of literature organisations such as the ‘literature house’, are thus called into question in a dynamic aesthetic manner. CON_TEXT tests artistic approaches and methods that allow the production, presentation and reflection of a piece of art to blend into one. The literary work opens itself up to discourse and process – the reader is not presented with a finished, unvarying product, nor a fixed point of view, but rather a fragile, unstable entity which the reader can become a part of as the ‘text’ is ‘performed’. Production and presentation become one: the event taps into the essence of literature as an art form, drawing off its particular capacity for process. Literature will, in this sense, offer an opportunity to communicate rather than proclaiming apodictic truths.
In total ten events and a final conference will take place. For each event an interview conducted by an expert is published as well as a short film documentation afterwards, in Lettretagebuch. There one can find more information to the event series as well as the participating artists and event dates.
The CON_TEXT project is funded by the Berlin Senatsverwaltung für Kultur und Europa.
Born in 1980 in Fortaleza (Brazil), Érica Zíngano has been living in Berlin since 2014. Her artistic practice crosses the boundaries between poetry and visual arts in different directions, tracing a cartography of strange combinations. As someone who deals with foreign languages on a daily basis and who feels herself to be in a permanent state of linguistic dislocation as a result, Érica is passionate about the phenomenon of the voice, and has been increasingly exploring the enunciation of poems in performative actions and readings. (Or you could infer by this last sentence that Erica was trying to say, in an elegant manner, that Érica’s language problems highlight issues regarding language and communication.) During her time in France last summer, while she was collectively putting into practice the more extreme aspects of post-tuquetism theory, she discovered the poet Christophe Tarkos, who was already waiting for her, whispering in her headphones: “dans quatre mois et on est dedans”.
Tatiana Ilichenko is a visual artist and filmmaker from Russia, currently based in Berlin.
She works with hybrid forms of video and performance and develops projects with a docu-fictional, site-specific and collaborative approach, bringing together very personal perspectives and heterogeneous voices in a polyphonic manner. Their topics revolve around the articulations of radical experiences of loss, gendered violence and oppression; politics and ethics of visual representation; artistic collaboration; love, care and empathy in the realm of politics and activism; social utopias under post-communist condition; self-organized communities and forms of togetherness; and grotesque, celebration and glamour as a resistance form in marginalized and queer communities.
Tatiana studied Art in Context at the Berlin University of the Arts, visual arts and philosophy at Bard College Berlin, film at the Russian national film school in Moscow, and has an extensive background in dance, performance and physical theater. Her projects have been exhibited and screened at different institutions, art and performance events in Berlin and throughout Europe. Besides, she regularly works in political documentary film and various forms of social organization.
Marion Breton, Génération 90. Based in Berlin & born in Paris under the name of Marion — a name her grandpa saw as a bad omen: « Marion? Souillon » / slob/! In response to this initial curse, she sometimes named herself Ablana Thanalba (Hocus Pocus in Hebrew) as if she had to conjure the world and invoke a shared locus (loci, loca, in Latin: uterus) where she develops a special sponge-actor being. She sips and digests all kind of atmospheres and materials: videos, poetry, texts or writings. But, on second thought, she would rather be a slob in her barrel; a barrel where she could pick up and put bits of everyone that she found on her way and realize the conditions of an unproductive life, a Sisyphean reform of inaction.
Tom Nobrega speaks with an accent even when he speaks his own tongue. He uses two hearing aids, has seven titanium nails in his ankle, wears contact lenses and has three artificial teeth. He doesn’t have a home, doesn’t have a cell phone and he is never exactly sure where in the world he is going to be in the next months. He was born in Sao Paulo, Brazil, but has more than one name and nationalities, including the official, affective, and mythic ones. He is a compulsive traveler and does a lot of not exactly useful things, such as making strange utterances in languages that do not exist, losing an unbelievable amount of objects, finding amulets, reading astrological charts, writing poems, making repetitive gestures and playing instruments he cannot play. He is currently committing himself to the Unknown University, a mysterious university without a fixed place that guides his steps even when he is not paying attention to it.
Barbara Marcel (Rio de Janeiro, 1985) is a filmmaker and visual artist based in Berlin, whose works investigate the relations between nature, its cultural histories and colonial imaginaries. In her artistic research PhD at the Bauhaus-University in Weimar, Marcel is investigating the essay-film as a historiographical tool for decolonized thinking with and through images, with the Botanical Garden Berlin-Dahlem and its plants being her current material of study.
Recent exhibitions include: Tropic Matters V240 Amsterdam (solo show, 2017), Omonoia, Athens Biennial (2016); There will come soft rains, GMK Berlin (2016); Vision and Fear Station, Galerie für Zeitgenössische Kunst Leipzig (2015); On Projection, Kühlhaus Berlin (2015); Through the looking screen, 175 Gallery Seoul (2015); Desvenda, Galeria Marta Traba – Fundação Memorial da América Latina, São Paulo (2013); Return to Forever, TZB Gallery of the Czech Centre Berlin (2013).