'Art in Resistance' programme, a part of Urban Heat activities during Spielart festival 2015 includes projects that confront with the concept of nation states, their self-representation, the crisis in the E.U., (colonial) demarcations, and insulation against foreigners; projects that reflect the different protests in recent years, discuss the possibilities and limitations of individual commitment and imagine tangible utopias.
Do you live in Germany and believe that it's not important to you which country other people originally come from? Are you sure about that? (But we aren't!) In order to eliminate any doubt we request that you let yourself be tested. To what extent you are xenophobic, in other words, a chauvinist, we, God’s Entertainment, will test you easily and painlessly with the aid of our scanner. Although xenophobia as well as chauvinism refer to the »ideology of blood and soil,« we don't have to take a blood sample from you. With the help of our devices - the »foreigner scanner« and »personal indicator« – we will detect and reveal even the slightest trace of a concealed nationalism and produce your personal anti-chauvinistic profile.
RESISTANCE SOLO is a performance/installation in which the dancer and choreographer Miguel Pereira exercises, over about 3 hours, the limits of physical and mental resistance. When invited by J-S-F to make an intervention on the concept of »resistance« Pereira chose to work on the limits of both physical and intellectual resistance: resisting solo. Thus, the choreographer reads complex texts continuously whilst simultaneously moving – stretching arms and words, legs and thoughts. What started as an ironic literal way of addressing »resistance«, ended up being a piece on endurance and exhaustion. Miguel Pereira literally embodies our fragile condition of having to be both physically and theoretically fit in order to deal with what’s going on, while it is going on.
Fascinated with the mechanisms of paranoia NOBODY KNOWS MY NAME is part of Ogutu’s first year research at DasArts Master of Theatre Programme. Using different narrative techniques to stage archival material Ogutu interlaces fiction with true events. He draws out the suspiciousness, irrationality and conspiratorial fantasy that characterize the politics of paranoia.
Ogutu’s research began with James Baldwin’s eloquent essay titled PRINCES AND POWERS. The essay describes in great detail a congress of Afro-intellectuals, writers, artists, philosophers and theorists. Held at Sorbonne in Paris in 1956 the congress debated matters of cultural expression and gave momentum to the liberation movements of that time. 59 years since the congress took place, Ogutu Muraya is exploring and examining the legacy of the congress. He pays particular focus to the influence of politics on memory, how events are remembered, documented or discarded in the collective memory.
SOUND OF CRISIS is a documentary concert performance and an ongoing international research project. It tackles and plays with the various political and social realities affected by the European financial crisis.
Driven by the question »What does THE crisis sound like?« Berlin art collective Maiden Monsters put on their costumes and travelled to places where crisis was »happening«. Since summer 2013, the members of the collective have been to Spain, Portugal, France, and Greece, searching for face-to-face encounter, seeking for local musicians whom they could record and asking for relations between personal stories and politics. The collected material is a comprehensive mix of sounds and images, musical pieces, interviews, and documentation of public interventions. By transferring the material into a live performance, SOUND OF CRISIS becomes an agent of heterogeneous news from all over Europe about the crisis.
Eiffel Tower, Godard, Vichy, the Colosseum, Pasolini, the R.A.F., the imperial city of Berlin, and the Deutsche Bank building: ROAD TO KNOWWHERE describes an audio-visual journey through Europe. Two voyagers encounter different people on the journey.
Influenced by the films of David Lynch, Steven Knight and Terry Gilliam, by the dérive of the Situationist International, the car accidents of James Dean and Albert Camus – facts, persons, situations, and noises pass by us, and create the story of the continent. Underway in Rome, Paris, and Berlin ROAD TO KNOWWHERE examines the relationships of politics, power, and image.
Two temporary emergency tents in which two characters live. Ariel and Caliban from Shakespeare's TEMPEST. Or: The Italian performer Silvia Calderoni and Dali (Mohamed Ali Ltaif), a Berber, visual artist, and activist in the Tunisian revolution. Coincidence and necessity have brought them together. They have been through stormy and existential shipwrecks, and are tortured by frustrated demands. They communicate without speaking the same language; they mix Italian, French, and Arabic. Every word, every movement will be filmed by two cameras in the tent. A poetic film will be created, which reflects their intimate look, the wreckage of their desires. It has to do with the right to move about freely. It has to do with the fringes of the Mediterranean Sea. The sea that tens of thousands boat refugees will cross today in their desperate attempt to reach Europe.
ARCHIVE is an artistic exploration of the conflict between Israel and Palestine. Arkadi Zaides uses documentary film material from volunteers from B'Tselem (The Israel Information Center for Human Rights in the Occupied Territories). In 2007 the organization began to distribute video cameras to Palestinians in especially violent areas so that with these cameras they could film the human rights violations and everyday life under the occupation, and thus be able to make this material available to the Israeli and international general public. Arkadi Zaides directs the viewer to the bodies of the Israeli settlers and soldiers – the Palestinians behind the cameras may not be visible, but they determine the audience's perspective. It is important to him to pose universal questions, beyond the local position: What potential for violence is embedded in the individual human body? And what price does the community pay to control other people?
TRANSIT MONUMENTAL puts the spotlight on an objet trouvé, a found object – a monument 10 meters long and weighing 500 kilograms – in order to examine very closely the presentation forms and utopias of a European nation. Inspired by the old-fashioned tradition of official gifts from a country and with the self-imposed contract to offer this monument to different representatives and groups in Poland, the group K.A.U. from Gießen and the Polish director Małgorzata Wdowik will travel with this found object through different regions, from Munich all the way to Warsaw. Free and independent, festivals and ceremonies will be staged together with the local population along the travel route between village pubs and sports grounds, and will be filmed and sent every day to SPIELART as road movie messages. Those who stay in Munich can continuously experience the current events. Upon their arrival in Warsaw, TRANSIT MONUMENTAL will stage a »territorial congress« involving the controversial march Marsz Niepodleglosci on the Polish day of independence with the monument in the background. At Theater Komuna //Warszawa representatives from different Polish political parties are supposed to decide whom this march as a symbol of the Polish national identity should belong to. On October 30 the farewell party for TRANSIT MONUMENTAL will be held as part of the ART IN RESISTANCE program in collaboration with the German Polish Society, Munich. The subsequent congress on November 7 will be shown in Ampere Munich in a live broadcast with a simultaneous translation.
History is not only made, it is also written – and as a rule it's not written by the poor and oppressed but by those who are usually not opponents of the ruling classes. To contrast the »history of the rulers« with a »history of those who are ruled« was the intention of the author Heinz R. Unger and the band Schmetterlinge (»Butterflies«) when they presented their PROLETENPASSION (»Proletariat Passion«) at Wiener Festwochen in 1976. The last 500 years are told as a history of class struggles in 65 songs, and the victory of the working class is not necessarily at the tentative end of these struggles. Barely 40 years later the director Christine Eder, working with Heinz R. Unger, Gustav, and Knarf Rellöm, started examining the history of the proletariats anew and updating it, including the present-day worldwide protests, from Occupy to Gezi: When will the revolution come? Will it come at all? Can we still read history as a sequence of class struggles? PROLETENPASSION 2015ff. examines classic Marxist conceptions of history from a post-Marxist, contemporary perspective.
What if we didn't elect politicians because they promise us something, but if we would vote them out of office if they didn't do their job? What would a system look like where political parties and professional politicians didn't play a role anymore? In view of the general disenchantment with politics, Christophe Meierhans thought about this. He thought about it a lot: In collaboration with political scientists and lawyers he worked out a complete constitution for an entirely different political system, based on the ancient practice of ostracism. In 350 articles he designs social structures that are based on the participation, rotation, and political responsibility of every citizen. He explains this political system in a lecture and welcomes comments from the audience. Because his project provokes extremely interesting questions of how our society functions and how we want to live. It opens up, in the protected space of a theater, avenues of thought concerning the fundamental nature of representation, justice, and the political decision-making process.
The police in London call him an extremist, the National Health Service describes him as »extremely psychologically confused« and has diagnosed him with a »borderline personality disorder.« He has been branded by the courts as »a genuine and present danger.« He himself prefers the term »mental.«
MENTAL is an autobiographical one-man performance that takes place in a bedroom for an intimate audience. The artist-activist the vacuum cleaner lived for more than ten years as an outlaw and patient. He gained access to all of the data the British government has collected on him with the aid of the Data Protection Act. Now he will report, based on the psychiatric files and police data, on his illness, suicide attempts, stigmatization, political actions, and the state's observation of him.
October 23 - November 7, 2015