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FILMFESTIVAL

COMING SOON TO YOUR SCREENS. On archives, legacies and new waves of Sudanese Cinema

A collaboration between the Sudan Film Factory, Studio Gad, Arsenal - Institute for Film and Video Art and SAVVY Contemporary

November 22-24, 2017

SAVVY Contemporary | Plantagenstraße 31 & Arsenal Cinema | Potsdamer Straße 2


STUDIO by Amjad Abu Alala

FIND HERE THE FESTIVAL'S FULL PROGRAMME

In the 60’s, 70’s and 80’s, Sudan was at the cutting edge of film-making in Africa. Gadalla Gubara, a lesser known pioneer of African cinema, realised over 50 documentary and feature film productions and made some of the continent’s best-known films. He incepted Khartoum’s first film studio, “Studio Gad” and is a founding father of the Pan-African Federation of Filmmakers FEPACI and the FESPACO festival in Burkina Faso. Today Sudan is once again entering a new arena of film-making. The first ever film festival in the country, the Sudan Independent Film Festival (SIFF) has been launched in Khartoum in 2014, showcasing quality Sudanese and international films each year. Focused on independent cinema as a form of artistic expression for social debate and change, it has set out to diversify West­ern cinema paradigms by establishing itself as a platform celebrating African culture and aes­thetics.

COMING SOON TO YOUR SCREENS. On archives, legacies and new waves of Sudanese Cinema digs into the archives and traces the glorious legacy to present-day new waves of contemporary Sudanese cinema.

The first screening of the digitalised version of Gadalla’s first feature film TAJOUJE (1977) in Berlin will mark the opening of the programme on November 22nd at Arsenal Cinema. The Arsenal - Institute of Film and Video Art together with Katharina von Schroeder and Nadja Korinth have, over the past years, realised an extensive project dedicated to the preservation and digitalisation of the film holdings of Gadalla Gubara, produced at Khartoum’s famous “Studio Gad”. The film will be presented by his daughter Sara Gadalla who lives and works as a filmmaker in Khartoum. Gadalla’s final master piece LES MISÉRABLES will be screened on the second night, November 23rd at SAVVY Contemporary in attendance of Sara Gadalla. On the final evening, November 24th we will exit the archive and screen a curated night of five short films followed by a conversation on present-day Sudanese film production, cinematic state of the art and future directions with the curator of the programme Talal Affifi.

PROGRAMME

November 22, 2017 | 9 PM

Arsenal Cinema 1 | Potsdamer Straße 2 | 10785 Berlin

TAJOUJE by Gadalla Gubara / Sudan, 1977 / 90 min / Arabic with English subtitles - Berlin Premiere with Sara Gadalla in attendance

November 23, 2017 | 7 PM

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin

KHARTOUM by Gadalla Gubara / Sudan, 1960 / 24 min / Arabic with English subtitles - with Sara Gadalla in attendance

LES MISÉRABLES by Sara Gadalla and Gadalla Gubara / Sudan, 2006 / 112 min / English - Berlin Premiere with Sara Gadalla in attendance

November 24, 2017 | 7 PM

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin

COMING SOON TO YOUR SCREENS. A cinematic conversation on the present and future of Sudanese Short Films curated by Talal Afifi with the following selection:

EMAN by Mia Bittar / 40 min

NYERKUK by Mohamed Kordofani / 19 min

TASAMI by Tarig Suliman / 7 min

STUDIO by Amjad Abu Alala / 8 min

VEGANIZE by Khalid Salem / 8 min

Talal Afifi 1976, is a Sudanese film curator, creative producer, and the founder and director of Sudan Film Factory, a production house and film culture platform that works since 2010 in empowering and building youth capacities in the field of documentation, filmmaking and freedom of expression. He is the founder and president of Sudan Independent Film Festival since 2014 and art manager of Karmakol International Festival. He is also a member of the executive committee of the Sudanese Writers ‘Union. Previously working in cultural management in Egypt and Sudan, he also managed the production of a variety of documentaries and short films between 2010-2017, in addition to supervising filmmaking workshops and training in Sudan. Afifi is interested in further developing the independent filmmaking industry and supporting new modes of documentary production and presentation.

Gadalla Gubara is one of the less well-known pioneers of African cinema. He ran the first film studio in Sudan and was co-founder of both the Pan-African Federation of Filmmakers FEPACI and the FESPACO festival (Ouagadougou, Burkina Faso). His oeuvre spans feature films, reports, educational documentaries, advertising films and home movies. He documented Sudan’s political and social developments for over 50 years, from independence in 1956 via the phase of socialist government and its policy of modernization all the way through to the proclamation of the Islamic Republic in 1983, equally capturing the obvious deterioration in conditions for filmmaking that went hand in hand with this development.

Sara Gadalla Gubara lives and works in Khartoum. She has directed feature films, documentaries and animated films. She is a long distance swimmer, and has participated in local and international competitions. In addition, she advises NGOs on questions of gender and equal opportunities. Sara Gubara is a graduate of the Academy of Arts in Cairo. Her films have been presented at festivals in South Africa, Zanzibar, and Uganda.

COMING SOON TO YOUR SCREENS. On archives, legacies and new waves of Sudanese Cinema is a cooperation between the Sudan Film Factory, Arsenal Institute for Film and Video Art and SAVVY Contemporary.

Supported by the Cultural Desk of the Sudan Embassy in Berlin.

Project coordinators: Elena Quintarelli and Laura Klöckner



INSTALLATION

STRICKEN, the Installation by Magda Korsinsky

Opening: Nov 17, 2017 at 7PM | Open: Nov 18-19, 2017 | 2-7PM

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin

Free entrance - donations welcome

ZUR DEUTSCHEN VERSION

This project is based on interviews with Afro-German women whose white grandmothers lived during the times of National Socialism. How do different generations navigate these particular familial ties? Which values are transmitted from one generation to the next? Which are accepted, which criticised, questioned, changed, or rejected? What do Afro-Germans think about the National Socialist pasts of their grandparents? How does this knowledge influence their relationships? And how does it influence these women’s own views of themselves?
The critical confrontation with the heritage of our ancestors, and how we traverse these patterns and entanglements, constitute the core of this interdisciplinary work.

This project is visually constructed through an expansive textile installation. The textiles used are fabrics from the everyday lives of the interview partners: inherited and worn remains of their German familial histories. They are sewn into large webs, like floating screens dividing the room. The interviews show how these Afro-German women question the National Socialist pasts of their grandparents, and reveal both familial intimacy and conflicts.

The inspiration for this work was the book My Grandfather Would Have Shot Me: A Black Woman Discovers her Family’s Nazi Past by Jennifer Teege, who found out as a 38-year-old that she was the granddaughter of Amon Göth, the commander of a concentration camp.

“Whomever is related to Joseph Goebbels, Heinrich Himmler, Hermann Göring or Amon Göth, is forced to confront their familial history. But what about all the others who have simply been loving grandmas and grandpas to my generation?” (Jennifer Teege)

Magda Korsinsky is a visual artist, choreographer and lecturer of Czech-Eritrean heritage. She was born in 1981 in Prague, and grew up in Stuttgart, later studying Visual Art at the UdK Berlin, ENSBA Paris, and AVU Prague. She has worked as an independent artist since ending her “Meisterschüler” in the summer of 2007. Her work has been shown in numerous exhibitions, including at the Haus am Lützowplatz, Gallery Bourouina, Kunstraum Kreuzberg Bethanien, Kunsthaus Dresden, Künstlerhaus Sootbörn, Städtische Galerie Böblingen, and Galerie Dengler und Dengler in Stuttgart. She received the “Screening 2014” award for her screen printing works from the Association for the Development of Visual Artists in Hildesheim. In November 2014, she also received the art prize from the „Neue Kunst hat Freunde“ association in Ahrenshoop. Her choreography works have been included in productions in the Tanztage (Sophiensaele), Maxim Gorki Theater, Uferstudios, and Ballhaus Naunynstrasse.

With kind support of the Senate Department for Culture and Europe, Berlin



FESTIVAL | NORDWIND 2017

Songs of a melting iceberg - Displaced without moving

November 7-12, 2017

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin


Still from Anahís Room, directed by Ivalo Frank

This year’s NORDWIND will explore questions about the unity, fragility and diversity of constructions of identity. In 'Songs of a melting iceberg – Displaced without moving', for the first time, artists and scholars from the Arctic, northern countries, the African continent, Berlin and Hamburg will be invited to work together on artistic projects. In the process, they will try to get away from stereotypes and prejudices and to formulate and exchange their own perspectives and artistic ways of working.

Especially in times when concepts such as ‘nation’, ‘identity’ and ‘cultural origin’ are being exploited by right-wing populist movements, it’s important to reappropriate these terms and resist a one-sided interpretation.

'Songs of a melting iceberg – Displaced without moving' will take place in five different venues in Berlin and Hamburg: SAVVY Contemporary, Silent Green, Studio 1 of Art Centre Bethanien, Galerie Wedding and Kampnagel. The festival’s cooperative partners are the XJAZZ Festival and the KW Institute for Contemporary Art.

Participants at SAVVY Contemporary: Dafna Maimon, Jessie Kleeman and Ivalo Frank, Marja Helander, Jonas Tinius, Frederikke Hansen, Aqqalu Berthelsen aka Uyarakq, Athi-Patra Ruga, Syowia Kyambi, Michèle Magema, Constanza Macras and Adham Hafez, Dávvet Bruun Solbakk, Siegmar Zacharias, Christine Fentz, Ibrahim Mahama, Lana Hansen, Jacob Remin, Nana Adusei-Poku, Laakkuluk Williamson Bathory, DJ Cambel Nomi, Esben Valloe, Inuk Silis Høegh

PLEASE FIND THE FULL PROGRAMME HERE ON THE FESTIVAL WEBSITE: nordwind-festival.de

Artistic direction: Ricarda Ciontos

'Songs of a melting iceberg – Displaced without moving' is a NORDWIND project, funded by Capital City Cultural Fund Berlin, Danish Arts Council, German Foreign Office, Goethe Institute, Finland Institute, Institut français, the Hamburg Foundation for Culture, the Institute for Foreign Relations (ifa), Danse- og Teatersentrum, Heinrich Böll Foundation, Hamburg City Office for Culture and Media, TINFO Theatre Info Finland, Air Greenland, Ubeeqo, Stadtmobil Carsharing, the Norwegian Embassy, the Icelandic Embassy, the Canadian Embassy, the Swedish Embassy, the Danish Embassy, the Finish Embassy

In cooperation with the Kampnagel Hamburg, Silent Green, SAVVY Contemporary, Art Centre Bethanien, KW Institute for Contemporary Art, XJAZZ Festival Berlin, Theatre of Nations Moscow.

Media partners: Exberliner, taz – die tageszeitung, TANZ, Theater heute, Zitty, Oak – The Nordic Journal, Ask Helmut, Bpigs - Berlin Independents Guide


CONVERSATION

The Words That Are Missing. On (Soft) Censorship

A discussion with Ana Alenso (together with Cristina Moreno), Jesús Acevedo, and Alby Alamo. Organized by The Institute for Endotic Research

October 28, 2017 | 7 PM

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin

Free entrance - donations welcome


Picture by Ana Alenso

Organized by The Institute for Endotic Research, ‘The Words That Are Missing’ is an inquiry into formations of language in the public sphere. The series focuses on the lack of certain words in the public arena: by way of censorship or because they are not yet there to describe new situations, or phenomena that were overlooked. One can think of the lack of words as a wys of describing precisely the new different formations of a 'we', the movements of people across countries, or the emergence of what was traditionally known as fascism, which now seems to take new and old shapes. At the same time, one can observe how mechanisms of censorship and euphemism make words disappear from discussions, producing an empty spot. In that sense, words are sensors that indicate emerging niches of tensions or alliances, establishing common arenas. At the same way, they can hide what cannot be said by censorship, euphemism or by one’s own self-repression. When looking at public conflicts, words are inevitably at the centre of the discussion.

Taking these points into account, practices related to narration, fiction and wording should be revisited, reappropriated and reimagined to propose new terms. The departure point of these series is embedded in the question: how to gain access to the words that are not there?

In the first gathering called ‘On (Soft) Censorship’ we will introduce a series of different cases which had happened related to art projects in Spanish institutions in Berlin. In this session we will explore how cases of imposed censorship are bound to situations of precarity, which allow techniques of censorship beyond the mere rejection of artworks in a show.

The first case is the exhibition ‘Zwischen den Paradiesen’ in 2016, curated by Cristina Moreno after being awarded a prize by the Spanish Embassy. In this show the work of the Venezuelan artist Ana Alenso was partially removed because it used a Repsol oil barrel (Repsol is the biggest Spanish oil company that operates in Venezuela). Her work deals at large with oil exploitation in her country. The second case looks at Jesús Acevedo’s campaign for the celebration of the 5th centenary of the death of Cervantes. He was commissioned a project by the Cervantes Institute for which he selected a series quotes from the oeuvre of the author. His selection worked as political mottos that can be read nowadays. The former central direction of the Cervantes Institute in Madrid cancelled the project the last minute because it “didn’t fit with the aesthetics” of the organization, against the opinion of the team of Cervantes Institute in Berlin. To complete this presentation, we invited another censored author, again by the Spanish Embassy, Alby Alamo. He was asked to pixelate parts of his video work where genitals appeared in order to keep his work in the exhibition.

Ana Alenso is a Venezuelan artist based in Berlin, Germany. Working across sculpture, photography, installation, sound and video, her current work aims to expose the dire risks in the global oil industry and financial world. Through the use of industrial materials, her work identifies critical states—situations of precariousness and tension—in a poetic register. She holds an MFA in Art in Context from the Berlin University of Arts (2015), an MFA in Media Art & Design at the Bauhaus University Weimar (2012) and a Diplom from Armando Reveron Arts University in Venezuela (2004). Her works have been exhibited at Sixty Eighth Art Institut (DK), Museo de Porreres (ES), Kinderhood & Caracas (DE), Neues Museum Weimar (DE); Nietzsche-Gedächtnishalle Weimar (DE), Ex Teresa Arte Actual (MEX); Centro Cultural Matucana-100 (CH), Museo Alejandro Otero, Espacio Monitor, Gallery Oficina#1 and Gallery Abra (VE) and other diverse locations.

Jesús Acevedo develops his work since the mid 90’s, showing his work mainly in independent spaces. His work has a conceptual and humoristic approach produced with differnt media such as video, spatial interventions, performance, drawing or writing. He has been part of different collectives projects, among them ‘Circo Interior Bruto’, where he was one of the founding members. In 2009 he moved from Madrid to Berlin, where he lives.

Alby Álamo (Las Palmas, 1977) lives and works in Berlin and Canary Islands. He is graduated in Fine Arts and holds a Master´s degree in Art Theory at the Facultad de Bellas Artes de La Laguna Tenerife. His work has been exhibited at the CAAM museum (Las Palmas de Gran Canaria), Junefirst Gallery (Berlin), Centro de Arte La Regenta(Las Palmas), Guasch Coranty Painting Award (Barcelona), Gallery Dom Omladine (Beograd) or Kunstraum Dreieich (Frankfurt). As a curator he co-directs since 2015 Urlaub projects in Berlin. He has been one of the selected curators for "Area60" 2017 programm in the museum TEA Tenerife.



BOOK LAUNCH

Stone Theatre: A conversation between Camila Sposati and Diedrich Diederichsen

October 20, 2017 | 7 PM

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin

Free entrance - donations welcome

Brazilian artist Camila Sposati will talk with Diedrich Diederichsen about her project Earth Anatomical Theatre (2014), a conical and subterranean anatomical theater based on a 16th century theater in Padua, and constructed on Itaparica island in Bahia, Brazil. The work established an intense dialogue with Itaparica’s Island in all of its spheres, demanding unorthodox negotiations with the geographic conditions, the island’s authorities and the local community. Throughout the process of collaboration with local workers, authors, dancers and musicians, Sposati took the theater space as a platform for experimentation. With Diederichsen she will talk about her use of materials, the ethics of art and how to work as an artist in a place (and on things) one is not part of.
‘Stone Theatre’ records the long and troubled history of the construction of the Anatomical Theatre of the Earth by the artist Camila Sposati during the 3rd Biennial of Bahia (2014). Placing the project in relation to earlier research and works, Stone Theatre brings out the specificity of the artist’s thought and gives a comprehensive introduction to Sposati’s layered practice.

Anatomical Theatre of the Earth was a wooden construction based on the form of a small circular arena with the stage in the center and around it the seats for the audience watching the scenic performances. In form and concept it referred to the Renaissance amphitheaters where the first dissections of human and animal corpses, in front of curious and astonished looks, took place. The theatre was however not built on the ground, but excavated in it to a depth of nearly six meters, behind the still standing façade of a colonial house in ruin, on the island of Itaparica, next to Salvador. Sposati intended not only to create a space for theatrical experiences, but also - and above all - a framework that would lead the public to leave the surface of the world and down, literally, into the immemorial depths of the Earth’s inside.

"The hole is an image and also a vacuum that makes us question and feel a belonging to the Earth, the experience of being alive, vitality," explains the artist, about the project that was started far from Bahia, in Turkmenistan, where Sposati researched "holes" produced by nature and also by the exploitation of man in the Soviet era.
“Teatro Anatômico da Terra is not configured as an illustration or summary of those experiences. Its very existence proposes a staging of the drama of the Modern based on each of its acts: geologic layers, an archaeology of the species and of civilization, a brutal increase in scale, the eruption of a new time in space and, under the Bergsonian perspective, the confrontation with the void (that which nature abhors, the horror vacui) and the need for another form of energy that is able to fill it.” writes the curator and art critic Marcelo Rezende in one of the texts in this book that both analyses the challenging work of Sposati and questions the reader about the relations between art, nature, history and thought.

Camila Sposati was born in Sao Paulo and has been living and working between Brazil and Europe for many years. Her works investigate transformation and energy processes, using methods that often approach scientific research methodologies. She has examined processes on microscopic and global scale, such as the growth of crystals in laboratories and the geological effects on the Earth’s crust on different sites. In her work, Sposati juxtaposes material and historical processes in order to challenge official time and its significations.

Sposati’s research has taken her to the Amazon, the dry backlands of Northeast Brazil, Turkmenistan, Uzbekistan, the United Kingdom, France, Holland and Japan. Her work has been supported by the Brazilian Ministry of Culture, Goldsmiths College, Goethe Institut, Mairie de Paris, British Council, University College London, Arts Catalyst, Tokyo Wonder Site, Centro Cultural Montehermoso Kulturunea. She exhibited ao at the 10th Mercosul Biennale, Porto Alegre?(2015), CCBB Centro Cultural Banco do Brasil, Rio de Janeiro (2015), 3rd Bahia Biennale, Salvador (2014), Instituto Tomie Ohtake, São Paulo (2013), Eleven Rivington Gallery, New York (2013).

Diedrich Diederichsen is a writer, cultural critic and intellectual who works continuously on pop-music, contemporary art, modern composition, cinema, theater, design and politics. He was the editor of musicl journal such as “Sounds” and “Spex.” Diederichsen has taught in numerous university, amongst them ath the Merz-Academy in Stuttgart, the Art Center in Pasadena, HfG in Offenbach, Bauhaus-Universität in Weimar, Washington University in St. Louis, Städelschule Frankfurt. Since 2006, he is Professor for Theory, Practice, and Communication of Contemporary Art at the Institute for Art History & Cultural Studies at the Academy of Fine Art, Vienna.

His texts appear in several magazines, dailies and journals in the German speaking world (“Texte zur Kunst”, “Theater heute”, “Cargo”, “Die Zeit”, “tageszeitung”, “Süddeutsche Zeitung” and many others). His most recent books include Körpertreffer – Zur Ästhetik der nachpopulären Künste (Adorno Lectures), 2017; Über Pop-Musik,2014; The Whole Earth: California and the Disappearance of the Outside, 2013. For a complete list of publications visit: diedrich-diederichsen.de

STONE THEATRE, 2016

Edited by Falke Pisano, Marcelo Rezende and Camila Sposati

With essays by Camila Sposati, Falke Pisano, Frédérick Keck, Marcelo Rezende, Paulo Rosenbaum and interviews with Andrea Sella and Juraci Dórea.

Design: Åbäke

Publishers: Revolver (English) / Iluminuras (Portuguese)

27 € as retail price



LISTENING SESSIONS

UNTRAINING THE EAR: N°1 with Tara Transitory aka One Man Nation

A project by SAVVY Contemporary, Deutschlandfunk Kultur and CTM Festival
2017-2018

October 13, 2017 | 7 PM

SAVVY Contemporary | Gerichtstraße 35 | 13347 Berlin

Entrance Fee: 6 EUR

It is a herald, for change is inscribed in noise faster than it transforms society... Listening to music is listening to all noise, realizing that its appropriation and control is a reflection of power, that is essentially political. -- Jacques Attali, Noise: The Political Economy of Music, 1985.

With the UNTRAINING THE EAR LISTENING SESSIONS we propose exercises to decipher sound beyond its contextual affiliation of geography, genre, and valences of identity. It is an attempt to press II [pause] to the daily storm of sonic vibrations, and voice a call to examine and explore the auditory beyond the hearing and start to LISTEN.

In this new series of of sonic encounters, each session will involve a curated auditory experience which suggests a voyage into a specific mode of listening proposed by an artist. Artists will to take part of SAVVY’s sonic exploration and understanding of sound based exercise-performance and an allegorical conversation appertaining to the theme of choice. Collectively, in order to understand, to question and possibly contextualize how we listen to the world today we (the space, the performers, the moderators and the audience) will sonically and rhetorically navigate through the proposed theme(s) to hear beyond our ears, and to hear canons found in sound.

Each session will be a conscious inquiry into the process of listening, an inquiry into how our listening is shaped, constructed or altered through filters of society, politics, economics, cultures and narratives. The sessions become a collective exercise in which, through a discussion and a performance, we ask the artists, moderators, listeners, and ourselves - as an art space - to (un)train and (re)train, (de)construct and (re)construct the process of normative hearing and give space for non-normative listening.

The unfolding process of the series will allow us to navigate through, explore within - and reflect on various topics. We will touch upon the re-representation of the marginalized and suppressed sounds, voices and noises. We will champion her and their stories by amplifying nonlinear and non-binary sounds and noises. We will question and challenge the power and politics of sound technologies, production aesthetics and the precepts/presets within the global narratives. The sessions will allow us to re-represent and re-position musics from the world.

For the first session of our new series UNTRAINING THE EAR we have invited Tara Transitory aka One Man Nation. Tara Transitory creates spatial and bodily sonic relationships with the listeners to enable listening through various bodies: the self, space, machines, movement, the collective body and the ultimate body of reverie.

She works with sounds to create various physical and material states of trance within and without the process of embodied listening. Through the process of arriving at and of being in, till falling out of a trance, the sounds of the various bodies may intersect. Thus they become one common body, a common body as a resonant space. In that sense, a singular body consisting of all forms of bodies becomes nodes of ethereal sources that Tara Transitory annexes to her own performance practice. With Tara Transitory we enter SAVVY Contemporary with an understanding of individual bodies and their singularities - specifically their singular (sound) identities - however, through experiencing the performance we become communitas.

Tara Transitory aka One Man Nation transforms research on gender+noise+ritual, into experiences that straddle the boundaries of art, music, and performance. Her act is of a shape-shifting nature, morphing between interventionist, performative and ritualistic/trance-like practices, defying any form of characterization under an umbrella of genre or label.

WARNING: Strobe lights are used during this performance which might trigger seizures for people with epilepsy.

READ THE FULL CONCEPT OF UNTRAINING THE EAR HERE.

PRESENTED BY SAVVY Contemporary, Deutschlandfunk Kultur and CTM Festival

CURATION Kamila Metwaly

CO-CURATION Marcus Gammel and Jan Rohlf

PRODUCTION Abhishek Nilamber and Beya Othmani

COMMUNICATION Jasmina Al-Qaisi, Anna Jäger and Elsa Westreicher

RESEARCH ASSISTANCE Gwen Mitchell

SUPPORTED BY Musicboard Berlin

MEDIA PARTNER Norient



BOOK LAUNCH

Witnessing the Transition: Moments in the Long Summer of Migration

An e-book project in collaboration with refugees, migrants, and students of Humboldt Universität zu Berlin

Launch with the editors and authors, joined by Arjun Appadurai and Bonaventure Ndikung

July 19, 2017 | 7 PM

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin

The so-called refugee crisis turned out to become, as we now call it, a long summer of migration in 2015. Following earlier movements across European borders, the arrival of a large number of refugees and migrants changed the realities in Berlin, Germany, and Europe in significant ways. Since then, local, national, and European politics in reaction to these movements increasingly polarize between hospitality and hostility. The e-book project brought together professors and students as citizens and scholars who got involved in everyday personal, empirical, ethnographic encounters with these moving realities. The authors document our common efforts to bear witness of the social, cultural and political transition resulting from these processes in Berlin and beyond.

With readings, discussions and comments by the editors Gökce Yurdakul, Regina Römhild, Anja Schwanhäußer, Birgit zur Nieden, and the authors Jelena Jovicic, Josefine Sarkez, Anne Van Wetteren, Michael Westrich.

Followed by a discussion with Arjun Appadurai (New York University & Humboldt Universität zu Berlin) and Bonaventure Soh Bejeng Ndikung (SAVVY Contemporary)

>>>FACEBOOK EVENT



BOOK LAUNCH

Hassan Khan: Twelve Clues

July 14, 2017 | 7 PM

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin

Join us for the Berlin Launch of Hassan Khan's latest novella Twelve Clues - with an introduction by Antonia Alampi and a reading from the book by Anselm Franke - followed by a conversation with the author.

"Twelve Clues" is a fast paced freaked out little tale of secret societies; shimmering orbs; charismatic silverbacks; murderous sociopaths; smooth operators; love triangles and converted AI weapon systems. FIND OUT: Why is X stuck in his hotel room in Beirut? Who are The Holy Idiots Society (T.H.I.S)? How will Anna and Ida's relationship develop? Will the hybrids or the primes rule the world? And most importantly-Why does Carlo Bucci love his white suits?

For every book launch of 'Twelve Clues', Khan has invited someone he knows living in the city to make their own selection of passages to be read. Every reading has thus been very different: writer and e-fllux journal editor Brian Kuan Wood's reading in New York an evenly paced selection of some of the little mysteries that populate the novella, while critic Kaelen Wilson-Goldie's intense delve into the plot in the Beirut reading emphasized how certain threads came together in a specific narrative drive, finally sociologist Amro Ali's high-speed read in Alexandria gave it a strongly political twist. In Berlin, we are thrilled to hear the rhythms and roads, which curator and critic Anselm Franke will find in the book.

We still remember dearly Khan's performance in March at SAVVY Contemporary during the MaerzMusik Festival on Julius Eastman. Thus we are especially looking forward to the musical component of the reading that will entail his piece 'Club Gamelan.'

With artworks by Antonina Baever, Bonnie Begusch, Sacha Beraud, Veronica Gerber Bicceci, Clare Butcher, Hannah Fitz, Ericka Florez Hidalgo, Shahab Fotouhi, Patricia Boyd, Tomas Maglione, Cerrajero Rodriguez, Martine Syms.

Cover Design and text layout: Engy Aly

Editorial Support: Jenifer Evans

Hassan Khan is an artist, musician and writer. He lives and works in Cairo, Egypt.

Hassan Khan: Twelve Clues

Sommerakademie im Zentrum Paul Klee and Mousse Publishing

2016

ISBN 978886749-236-7


SYMPOSIUM

Towards a Phenomenology of the Unknown

June 27, 2017 | 3-8 PM

SAVVY Contemporary at silent green | Gerichtstraße 35| 13347 Berlin


© Ivana Franke, Photographer: Kristina Lenard

The symposium 'Towards a Phenomenology of the Unknown' -a collaboration by Ernst Schering Foundation and SAVVY Contemporary- aims to explore the experience of seeing the “unknown” on a phenomenological level, while also shedding light on its transformative potential. The symposium is part of the project “Retreat into Darkness. Towards a Phenomenlogy of the Unknown” by the Berlin-based artist Ivana Franke. With Ivana Franke, vision scientist Bilge Sayim, curator and art historian Elena Agudio, artist and author Patricia Reed, science historian Jimena Canales, and Sylvia Pont, leader of the Perceptual Intelligence Lab in Delft.

How do we perceive and experience entities and events that we cannot properly categorize – how does the unknown as a subjective experience come about? What is the relationship between the unknown and the known within visual perceptual experiences, between the visible and the legible? What is the significance of the experience of the unknown in our lives, and what is its function in society?

These and other questions will be discussed by the speakers out of their various backgrounds. The symposium will provide a glimpse into this fascinating, little investigated aspect of human experience, while letting the audience engage in a scientific and artistic voyage into the mysteries of perception and the human mind – into how we fundamentally encounter and shape the world around us.

Please find the PROGRAMME HERE.

Kindly register by June 19 at anmeldung@scheringstiftung.de.



SECOND ROUND: LONG NIGHT OF IDEAS

CRACKING THE SURFACE. Decanonisation as Method

June 3, 2017 | 6 PM - June 4, 2017 | 6AM

SAVVY Contemporary c/o silent green, Gerichtstraße 35, 13347 Berlin


As part of the Long Night of Ideas, SAVVY Contemporary proposes a series of music, performances, lectures, dances, talks and video-screenings dedicated to an exploration of the idea of 'decanonizing as method'.

With: The SWAG, Zwoisy Mears-Clarke, Shailja Patel, Guillermo Galindo, Köken Ergun, Adania Shibli, Qudus Onikeku, Petina Gappah, Isabel Lewis, Ricardo Domeneck, Albert Silindokuhle Ibokwe Khoza, Jodie Judy Lu, Vaginal Davis, Simone Zeefuik, Edivaldo Ernesto & Eva Georgitsopoulou

S C H E D U L E

18:00 - 18:10 Introduction by SAVVY Contemporary

18:10 - 18:15 Music | The SWAG

18:15 - 18:35 Performance | Zwoisy Mears-Clarke

18:35 - 18:55 Performance | Shailja Patel

18:55 - 19:15 Lecture | Adania Shibli

19:15 - 19:35 Performance | Jodie Judy Lu

19:35 - 19:50 Music | The SWAG

19:50 - 20:35 Dinner Break & Tour through our current exhibition by artist Janek Simon in dialogue with Joanna Warsza

20:35 - 20:50 Music | The SWAG

20:50 - 21:15 Film | Köken Ergun

21:15 - 21:35 Lecture Gabi Ngcobo

21:35 - 21:55 Performance | Edivaldo Ernesto & Eva Georgitsopoulou

21:55 - 22:15 Literature | Petina Gappah

22:15 - 22:20 Music | The SWAG

22:20 - 22:40 Performance | Isabel Lewis

22:40 - 23:00 Performance | Albert Silindokuhle Ibokwe Khoza

23:00 - 23:20 Lecture | Simone Zeefuik

23:20 - 24:00 Lecture | Guillermo Galindo

24:00 - 24:05 Music | The SWAG

24:05 - 24:25 Poetry and Lecture | Ricardo Domeneck

24:25 - 24:45 Performance | Qudus Onikeku

24:45 - 01:10 Performance | Vaginal Davis

01:10 - 01:40 Music | The SWAG

DJ SETS

01:40 - 03:20 Nico Adomako

03:20 - 04:50 DJ MoLateef

04:50 - 06:20 DJ Pambam

After last year’s challenge of UNLEARNING THE GIVEN, the task that lies ahead of us seems to be D E C A N O N I S A T I O N - that possibility of unmasking and revealing the inner workings of the canon, whether from the West, East, North or South, as the paradoxes of canon formation and maintenance. Decanonisation should be the possibility of elastifying the canon, by bringing in works from indigenous people, PoC, LGBT, other geographies and not seeing these new additions only through the eyes of those works that already inhabit the canon, but also the possibility of reviewing, rejecting and declassifying some works that were thought to have been canonized. By so doing, one achieves an ultimate flexibility and elasticity of the canon that is akin to a non-canon. Decanonisation should be the dismantling of hierarchical structures that produce canons, and strive at eliminating the emergence of parallel canons. Needless to say, that ‘the canon’ that is synonymous to ‘the western canon’ becomes redundant.

Decanonisation as method must be understood both in the sense of the destabilization of existing canons, and of stunting the growth of new ones. Decanonisation is de-erasure, that is the ability to make re-appear, re-write, re-articulate and re-phrase that which was erased, but not in relation or reaction to an existing canon, but in relation to topics, themes, subjects at stake. Decanonisation is a flux or flexibility of rank and files, a situation in which no one is in there to stay and is at any time interchangeable, depending on the social, political, economic and ethical issues at stake.

Decanonisation as method is choosing embodied practices as mediums and formats of discourse and knowledge, delinking from the conventional referencing phenomena and proposing a more phenomenological approach of dealing with histories, memories, cultures, sciences, religions and knowledges at large. The proposal of decanonisation as method is thus a proposal for what might be a global museum of self-reflexivity, whereby the idea will not be to create another or parallel canons, or place them side by side, or universalise the Western canon, but to decanonise the notion of the canon as a whole.

We would like to use this opportunity to think together how artistic practices can respond to the urgent need for a decanonisation of knowledge and imagine alternative forms of cultural and political praxis.

CRACKING THE SURFACE. Decanonisation as Method is a SAVVY Contemporary project based on a concept by Bonaventure Soh Bejeng Ndikung, published in Mousse Magazine 58, April-May 2017.

The events take place in the context of the Long Night of Ideas in cooperation with Auswärtiges Amt: www.menschenbewegen.jetzt.



BOOK TALKS

RACISM(S) AND THE CITY: Neoliberalism and (Post-)Colonial Urbanities

Discussing two recent books with Noa Ha, Giovanni Picker and Kathy Ann Tan

May 18, 2017 | 7pm

Free entrance - donations welcome

How do race and racism(s) intersect with urban life, structures and infrastructures in the 21st century? How are experiences and questions of urban development, displacement and the use of public space imbricated in the making and perpetuation of racial hierarchies? How do critical race and postcolonial studies address urbanity in its various articulations and expressions? Urban scholars
Noa Ha and Giovanni Picker will engage these and related questions along with literary scholar Kathy-Ann Tan. The discussion will depart from two recent books: “Street Vending in the Neoliberal City. A Global Perspective on the Practices and Policies of a Marginalized Economy”, edited by Kristina Graaff & Noa Ha [Berghahn Books 2015] and “Racial Cities: Governance and the Segregation of Romani People in Urban Europe”, by Giovanni Picker [Routledge 2017].

Dr. Noa Ha received a doctorate in Architecture from Technical University Berlin and is currently a coordinator of an international graduate program at its Center for Metropolitan Studies. Her research interrogates the production of urban space from a feminist, de-colonial, critical race theory perspective and was funded by the Rosa-Luxemburg-Foundation and the Technical University Berlin. Currently she is conducting a study on postcolonial urbanism in Europe and the spatial production of Asian diasporas in European cities. Publications among others are: Straßenhandel in Berlin. Öffentlicher Raum, Informalität und Rassismus in der neoliberalen Stadt. Bielefeld: transcript Verlag (2016). Street Vending in the Neoliberal City. A Global Perspective on the Practices and Policies of a Marginalized Economy. Graaff, Kristina und Noa Ha (Hrsg.). New York: Berghahn Books (2015). „Wer ist in der Stadt? Rassismus und Stadt. Zülfukar Çetin im Gespräch mit Noa Ha“, in: Gespräche über Rassismus – Perspektiven & Widerstände. Zülfukar Çetin und Savas Tas (Hrsg.), Berlin: Verlag Yilmaz-Günay (2015). „Kritisches Weißsein“, mit Andreas Schneider, in: Handbuch Kritische Stadtgeographie. Bernd Belina, Matthias Naumann und Anke Strüver (Hrsg.). Münster: Westfälisches Dampfboot (2014). „Perspektiven urbaner Dekolonisierung: Die europäische Stadt als ‚Contact Zone‘“. In: s u b \ u r b a n. zeitschrift für kritische stadtforschung. Bd.2, Heft 1 (2014). )

Dr. Giovanni Picker is an urban sociologist, currently Marie Curie fellow at the University of Birmingham School of Social Policy. He is the author of Racial Cities: Governance and the Segregation of Romani People in Urban Europe. His main interests lie in the multiple intersections of race, neoliberalism and European cities from a historical and global perspective. He was Junior Fellow in Sociology at the Central European University Institute for Advanced Study, postdoctoral researcher at the Higher School of Economics, and Lecturer at the European University Viadrina.

Prof. Dr. Kathy Ann Tan received her PhD and Habilitation in North American Literatures and Cultures from the Eberhard Karls University of Tübingen. Her research and teaching interests lie in the fields of 18th to 21st Century North American Literatures and Cultures, Postcolonial Studies, Critical Race Theory, Citizenship Studies, Gender and Queer Studies, Language Poetry and Visual Cultures. She is currently a guest professor at the John F. Kennedy Institute for North American Studies at the Freie Universität Berlin. Her second monograph, Reconfiguring Citizenship and National Identity in the North American Literary Imagination (Detroit: Wayne State University Press, 2015) investigates the configurations and articulations of U.S. and Canadian citizenship that are enacted, renegotiated, and revised in modern literary texts, particularly during periods of emergence and crisis. Her current research project, The Aesthetics of Decolonization: Performance, Affect and Visual Perception, explores how dominant narratives of western modernity are complicated, challenged and re-negotiated in performance and visual cultures (visual art, site-specific performances, museum interventions, etc.), cultural practices, and social formations.


LONG NIGHT OF IDEAS

CRACKING THE SURFACE. Decanonisation as Method

May 12 & June 3, 2017 | 6pm

SAVVY Contemporary c/o silent green, Gerichtstraße 35, 13347 Berlin


As part of the Long Night of Ideas, SAVVY Contemporary proposes a series of music, performances, lectures, dances, talks and video-screenings dedicated to an exploration of the idea of 'decanonizing as method'.

With: Niv Acosta, Marwa Arsanios, Tsong-Zung Chang, Eli Cortiñas, Igor Eskinja, Hu Fang, Tsitsi Jaji, Alanna Lockward, Ana Mendes, Julia Morandeira, Ladan Osman, Shailja Patel, Ahmed Soura, The SWAG and Joanna Warsza.

SCHEDULE

KUPPELHALLE (UPSTAIRS)

06:00 - 06:15 Introduction by SAVVY Contemporary

06:15 - 06:35 Intermezzo | The SWAG

06:40 - 06:55 Dance Performance | Ahmed Soura

07:00 - 07:25 Reading | Tsitsi Jaji

07:30 - 07.50 Talk | Tsong-Zung Chang

07.55 - 08:10 Intermezzo | The SWAG

08:15 - 08:30 Reading | Ladan Osman

08:35 - 08:55 Talk | Marwa Arsanios

09:00 - 09:30 Dinner Break & Guided Tour through our current exhibtion

09:40 - 10:40 Dance Performance | Niv Acosta

10:45 - 11.10 Talk | Hu Fang

11.15 - 11.40 Talk| Julia Morandeira

11:45 - 00:30 Intermezzo | The SWAG

SAVVY CONTEMPORARY (DOWNSTAIRS)

07:00 - 08:30 Film | Allen Report: Retracing Transnational African Methodism (Alanna Lockward), 2016, 76mins, Dominican Republic. Introduction by Siddhartha Lokanandi+ followed by a discussion

09:00 - 09:30 Guided Tour | EVERYTHING IS GETTING BETTER. Unknown Knows of Polish (Post-) Colonialism with curator Joanna Warsza

09:45 - 10:15 Film | The Most Given of Givens (Eli Cortiñas), 2016, 3 channel video, HD/ found footage, 9 min. Followed by conversation with the artist.

06:00 - 24:00 Durational Performance | Ana Mendes

After last year’s challenge of UNLEARNING THE GIVEN, the task that lies ahead of us seems to be D E C A N O N I S A T I O N - that possibility of unmasking and revealing the inner workings of the canon, whether from the West, East, North or South, as the paradoxes of canon formation and maintenance. Decanonisation should be the possibility of elastifying the canon, by bringing in works from indigenous people, PoC, LGBT, other geographies and not seeing these new additions only through the eyes of those works that already inhabit the canon, but also the possibility of reviewing, rejecting and declassifying some works that were thought to have been canonized. By so doing, one achieves an ultimate flexibility and elasticity of the canon that is akin to a non-canon. Decanonisation should be the dismantling of hierarchical structures that produce canons, and strive at eliminating the emergence of parallel canons. Needless to say, that ‘the canon’ that is synonymous to ‘the western canon’ becomes redundant.

Decanonisation as method must be understood both in the sense of the destabilization of existing canons, and of stunting the growth of new ones. Decanonisation is de-erasure, that is the ability to make re-appear, re-write, re-articulate and re-phrase that which was erased, but not in relation or reaction to an existing canon, but in relation to topics, themes, subjects at stake. Decanonisation is a flux or flexibility of rank and files, a situation in which no one is in there to stay and is at any time interchangeable, depending on the social, political, economic and ethical issues at stake.

Decanonisation as method is choosing embodied practices as mediums and formats of discourse and knowledge, delinking from the conventional referencing phenomena and proposing a more phenomenological approach of dealing with histories, memories, cultures, sciences, religions and knowledges at large. The proposal of decanonisation as method is thus a proposal for what might be a global museum of self-reflexivity, whereby the idea will not be to create another or parallel canons, or place them side by side, or universalise the Western canon, but to decanonise the notion of the canon as a whole.

We would like to use this opportunity to think together how artistic practices can respond to the urgent need for a decanonisation of knowledge and imagine alternative forms of cultural and political praxis.

CRACKING THE SURFACE. Decanonisation as Method is a SAVVY Contemporary project based on a concept by Bonaventure Soh Bejeng Ndikung, published in Mousse Magazine 58, April-May 2017.

The events take place in the context of the Long Night of Ideas in cooperation with Auswärtiges Amt: www.menschenbewegen.jetzt.




LAUNCH NIGHT

FREEMAN'S #3: HOME | Readings and Conversations with Xiaolu Guo, Nadifa Mohamed, Kerri Arsenault, Adania Shibli and John Freeman

SAVVY Reader: The Incantation of the Disquieting Muse with a DJ-Set by Lamin Fofana

In collaboration with silent green

April 22, 2017 | 7.30pm

SAVVY Contemporary c/o silent green | Gerichtstraße 35 | 13347 Berlin

TICKETS:

regular: 8 EUR | reduced: 5 EUR

combi (entrance plus magazine): 15 EUR

SAVVY Contemporary and silent green are delighted to welcome back John Freeman for the third "strikingly international" (Boston Globe) issue of his magazine Freeman's. Focussing on the question what makes home, the new issue of the acclaimed anthology spotlights never-before-published stories, essays, and poetry by Edwidge Danticat, Herta Müller, Juan Gabriel Vásquez, Gregory Pardlo, Kay Ryan, Aleksandar Hemon, and many more.

In light of the current global migrant movements and daily updates about the rise of homelessness in parts of America and elsewhere, reflecting on the idea and meaning of home has gained new urgency. On the night, John Freeman will be joined by novelist and film maker Xiaolu Guo, NBCC member and writer Kerri Arsenault, London based novelist Nadifa Mohamed and Adania Shibli novelist, playwright and essayist. In their readings and conversations, the authors will talk about the necessity and wonder that is home.

Following the first two issues on the themes of “Arrival” and “Family,” Freeman‘s circles a new topic whose definition is constantly challenged by the best of our writers: Home. Viet Thanh Nguyen harks to an earlier age of displacement with a haunting piece of fiction about the middle passage made by those fleeing Vietnam after the war. Rabih Alameddine brings us back to the present, as he leaves his mother’s Beirut apartment to connect with Syrian refugees who are building a semblance of normalcy, even beauty, in the face of so much loss. Home can be a complicated place to claim, because of race—the everyday reality of which Danez Smith explores in a poem about an encounter at a bus stop—or because of other types of fraught history. Kerri Arsenault returns to her birthplace of Mexico, Maine, a paper mill boomtown turned ghost town, while Xiaolu Guo reflects on her childhood in a remote Chinese fishing village with her grandparents. Many readers and writers, meanwhile, turn to literature to find a home: Leila Aboulela tells a story of obsession with a favorite author. The third issue also includes Thom Jones, Emily Raboteau, Rawi Hage, Barry Lopez, Herta Müller, Amira Hass, and more, writers from around the world lend their voices to the theme and what it means to build, leave, return to, lose, and love a home.

The reading will by followed at around 9.30 pm by a celebration with DJ Lamin Fofana on the occassion of presenting you our new SAVVY Contemporary publication: THE INCANTATION OF THE DISQUIETING MUSE. On Divinity, Supra-Realities or the Exorcisement of Witchery (edited by Bonaventure Soh Bejeng Ndikung and Federica Bueti):

How do 'witchery' phenomena and practices manifest within cultural, economical, political, religious and scientific spaces in Africa and beyond? This publication is a compendium to the eponymous exhibition project and public programme curated by Bonaventure Soh Bejeng Ndikung and Elena Agudio at SAVVY Contemporary, in collaboration with the Goethe-Institut South Africa in the framework of the project African Futures. Through an exhibition and a series of invocations, the project considered 'witchery' as an epistemological space and a medium of continuities between the African continent and its Diaspora. The publication includes essays by Erna Brodber, Seloua Luste Boulbina, Vladimir Lucien, Percy Mabandu, and Greg Tate a.o, and visual contributions by artists Georges Adéagbo, Haris Epaminonda, Kiluanji Kia Henda, Emeka Ogboh, Priscilla Rezende and Minnette Vari a.o.

This publication has been generously supported by Goethe-Institut South Africa via TURN Fund der Kulturstiftung des Bundes.

>>> FACEBOOK EVENT



SPEAKING FEMINISMS | Preliminary Excercises

5th Exercise with Grada Kilomba: ILLUSIONS

April 21, 2017 | 7pm

Free entrance - donations welcome


(c) Moses Leo

PLEASE FIND THE SERIES' GENERAL CONCEPT HERE.

[Do you want to bring your kids? We will provide a self-organized child care. If interested please send an email until Wednesday, APRIL 19, to communications@savvy-contemporary.com with subject line child care and tell us the age of your kid(s). The child care will cost a small fee, the amount of which will depend on the number of children.]

In this Performance, Grada Kilomba brings the oral African tradition of story telling into a contemporary context, to recover the memories and realities of a postcolonial world.
“It seems, we are still inhabiting the geographies of the past” insists the artist. To explore this coexistence of times, in which the past seems to coincide with the present; and the present seems suffocated by a colonial past, Kilomba stages the myths of Narcissus and Echo anew.

In the eyes of the artist, Narcissus becomes a metaphor for a society which has not resolved its colonial history, and takes itself and its own image as the only object of love. Thus, Narcissus is enchanted by his own image, immersed in himself, he is fixated in his own reflection on the surface of the lake. While Echois reduced to endlessly repeating what she’s heard - the words of Narcissus. The artist questions, how do we break out of this colonial and patriarchal mould?

In front of her mute film, Kilomba gives us the illusion of being part of a choreography, in which the characters Narcissus and Echo move inside a white infinity, while the artist, surrounded by an installation of microphones, retells us this story with a new postcolonial tone.

Grada Kilomba is a Portuguese artist and writer living in Berlin. Her work draws on memory, trauma, race, and gender, and has been translated into several languages, as well as, presented internationally. Her work is best known for her intense writing and her unconventional use of artistic practices, bringing text into performance, and using a variety of formats from publications to staged readings, to video installations, and performances. In her work Kilomba creates a hybrid space between the academic and the artistic languages, to explore forms of decolonising knowledge, bringing a new, experimental, and compelling voice into contemporary art and discourse. She has been featured at prominent international venues, such as the 32. Bienal de São Paulo 2016, Rauma Biennal Balticum 2016, Vienna Secession Museum 2016, Brussels Bozar Museum, 2016, London Maritime Museum, ArtBasel 2016, Cape Town Art Fair,2017, Haus der Kulturen der Welt in Berlin 2016, Maxim Gorki Theatre in Berlin, Teatro Vila Velha in Salvador da Bahia, Teatro Nacional de São Paulo, Transmediale 2017, Akademie der Ku?nste Berlin, Literature House in Oslo, Kampnagel, Müncher Kammerspiele, Wits Theatre in Johannesburg, Berliner Festspiele, among others. Her most recent artworks include the video installation “THE DESIRE PROJECT” and the Performance / Installation “ILLUSIONS” both first presented at the 32. Biennal de São Paulo (2016), and receiving remarkable praise by the international press “as one of the strongest artwork at this year Biennal".


PERFORMANCE

Olu Oguibe remembers Chibok

April 15, 2017 | 7pm

Free entrance - donations welcome

On the night of April 14-15, 2014, 216 girls were abducted from their boarding school in the north-eastern Nigerian town of Chibok by members of the terrorist group, Boko Haram. To date, less than 30 of the children have been freed. The rest remain in captivity, some have since died, and almost all have been subjected to torture and rape. Many have become child mothers. To mark their 3rd year in captivity, Olu Oguibe will do a performance at SAVVY Contemporary on April 15, 2017.

Olu Oguibe is an artist and intellectual. He is currently participating in documenta 14.

>>> FACEBOOK EVENT


TROUBLE SLEEP YANGA WAKE AM

Sounding the SAVVY bell for documenta 14

With DJs Lamin Fofana and Keir Fraser

April 6, 2017 | 10pm

six d.o.g.s | 6-8 Avramiotou str. | Athens/ Greece

Join us in grooving into a dense, intense, no-nonsense weekend – and dance!

SAVVY Contemporary | The laboratory of form-ideas is an art space, discursive platform, eating and drinking spot, a njangi house and space for conviviality in Berlin. We situate ourselves at the threshold of notions and constructs of the West and non-West, primarily to understand and negotiate between them, to deconstruct their ideologies and connotations. For this, it seems appropriate to invoke, convoke or deploy the cosmogenic powers of artists and artistic practice to guide us. On this journey, SAVVY Contemporary engages in the poetic power of artistic practice to un-name and re-name, de-institute and re-institute selves, silence imposed voices and un-silence suppressed voices in an effort to resolve the crisis of entrapment.

So far, we have realized a kaleidoscope art exhibitions, performances, film screenings, lectures, concerts, readings, talks, dances. SAVVY Contemporary has established a participatory archive on German colonial history, a performance arts documentation center, an open library, a residency program for curators, writers and artists, as well as educational projects with schools.

The body is central to our practice – as a site of discourse, mover and shaker, epitome of kinaesthetic literacy. Seen? Come and find out during TROUBLE SLEEP YANGA WAKE AM!

Lamin Fofana is an electronic producer and artist. His instrumental electronic music contrasts the reality of our world with what’s beyond and explores questions of movement, migration, alienation, and belonging.

Keir Fraser is a DJ and musician, signed by Ninja Tunes in the UK and Blue Cheese in Rome.

What we also do well is surviving - as a still unfunded, non-profit art space mainly built on the shoulders of passionate volunteers. Your support for our work and vision is deeply appreciated and we would like to invite you to become a S A V V Y friend! S A V V Y friends is a registered non-profit institution with the purpose of supporting S A V V Y Contemporary’s work. Your contribution benefits our work directly! Interested? Please send us a message at info@savvyfriends.org.

>>> FACEBOOK EVENT



SATELLITE BERLIN

Her Ways and Means – Female Protagonists in the Arts and Science Contexts

Liliane Lijn in conversation with Humberto Vélez

March 21, 2017 | 7pm

Liliane Lijn, Young Universe, poem drum, Letraset on painted metal drum, painted wood case, motor. 1962. Courtesy the artist.

[Would you like to bring your kids? We will provide a self-organized child care. If interested please send an email until noon on Monday, MARCH 20, to communications@savvy-contemporary.com with subject line child care and tell us the age of your kid(s). The child care will cost a small fee, the amount of which will depend on the number of children.]

HER Ways and Means – Female Protagonists in the Arts and Science Contexts is a series of conversations organised by Satellite Berlin, and which explores the relationship between art and science. Her ways… invites outstanding women artists who have been working at the intersection of art and science, to talk about their interest in science and in blurring the lines between disciplines, their experiences of working with scientists and researchers, and how their practices have been influenced by scientific methodologies. Invited guests include: Liliane Lijn, A K Dolven, Agnes Meyer Brandis, Patricia Coates and Lucy Palustris, Klara Hobza, Katrin von Lehman, Juliane Laitzsch, Eva Maria Schön, Amber Stucke.

For this first event, artist Liliane Lijn will be in conversation with artist and professor Humberto Vélez.

With collaboration at its core, SATELLITE BERLIN traces migratory thinking in contemporary culture, marking synergy, process and outcome. We get involved in art that engages with the sciences and humanities – from inception to event, exhibition and publication. Art becomes a language to convey the results of today’s agile thinkers at the forefront of scientific, social and political research.Our goal is to bundle competence, exchange knowledge and foster a disposition of open attitude towards forming transdiciplinary collaborations.

Liliane Lijn is a pioneer in connecting art, science and technology. She was born in new York in 1939, but has lived in London since 1966. Lijn was the first woman artist to work with kinetic text (Poem Machines), exploring both light and text as early as 1962. Utilising highly original combinations of industrial materials and artistic processes, Lijn merged art, science, technology, eastern philosophy and female mythology. In conversation with Fluxus artist and writer, Charles Dreyfus, Lijn stated that she primarily chose to ‘see the world in terms of light and energy’. Lijn describes her work as ‘A constant dialogue between opposites, my sculptures use light and motion to transform themselves from solid to void, opaque to transparent, formal to organic.’ She has worked closely with NASA scientists on varies projects.

Humberto Vélez, born in Panama in 1965 works and lives between Manchester (UK) and Panama. He has a Law and Political Sciences degree from the University of Panama. As an artist, art professor, independent filmmaker, and art producer, Vélez uses performance, film, installation, or photography as media for his creative processes. His interest lays is to explore the Aesthetics of Collaboration by working in collaboration with different people and communities in different countries and cultures. In 2011 he co-founded VISITING MINDS, an international forum based in Panama, devoted to art and education. Vélez has had solo performance shows at TATE Modern in London, Centre Pompidou in Paris and the Art Gallery of Ontario (AGO), a,.o., and participated in international art events, such as the Venice (2013 and 2015), Havana (2004, 2012 and 2015), Shanghai, Montevideo (2012 and 2014), Ireland and Liverpool Biennials, among others, and in many group shows. He created the farewell art event for Cornerhouse, Manchester, in 2015.



Berlin Workshop

HAND OFF OUR REVOLUTION

March 6, 2017 | 7pm

Free entrance - donations welcome

Hands Off Our Revolution, a new global coalition of artists and cultural practitioners, is dedicated to affirming the radical nature of art.

Join us for our first Berlin event in which artists, cultural practitioners and thinkers discuss the ways art can counter the rising rhetoric of right-wing populism and fascism, and its increasingly stark expressions of xenophobia, racism, sexism, homophobia, and unapologetic intolerance.

Confirmed contributors: Julieta Aranda (Artist, eflux), Bonaventure Soh Bejeng Ndikung (Director SAVVY Contemporary), Jörg Heiser (Editor at large, Frieze Magazine, UdK), Rajeev Balasubramanyam (Author), Slavs and Tatars (Artists), Doris Akrap (Journalist and editor die Tageszeitung), Nasan Tur (Artist)

We need your help to identify the scope of what the cultural resistance to populism might be, the particular forms and public spaces in which it can and should occur, and how best to support cultural practitioners in their political resistance now!

Workshops are being held in London, NYC, and Chicago concurrently.

Join us at: www.handsoffourrevolution.com


a documenta 14 radio program

EVERY TIME A EAR DI SOUN

February 23, 2017 | 7pm

SAVVY Contemporary at Silent Green | Gerichtstraße 35 | 13347 Berlin

With Angela Melitopoulos, Bonaventure Soh Bejeng Ndikung, Emeka Ogboh, Hila Peleg, Adam Szymczyk, and Andreas-Peter Weber

Moderated by Vladimir Balzer

Musical interventions by Sonic Shadow aka Satch Hoyt with Earl Harvin and Dirk Leyers, DJ Lamin Fofana

Seating is limited, and we therefore encourage the audience to arrive promptly.

Every Time a Ear di Soun, a documenta 14 Radio Program, is being presented on February 23, 2017 in Berlin. Deutschlandradio Kultur and documenta 14 cordially invite you to join them for the event in the domed hall of SAVVY Contemporary. The Artistic Director of documenta 14, Adam Szymczyk, artists Angela Melitopoulos and Emeka Ogboh, and curators Bonaventure Soh Bejeng Ndikung and Hila Peleg offer insights into the preparations for documenta 14 and talk about the ideas behind the radio program. The evening will be accompanied by musical interventions by Sonic Shadow aka Satch Hoyt with Earl Harvin and Dirk Leyers, as well as a DJ set by Lamin Fofana.
The event will be recorded and broadcast that same evening at 11:05 pm in conjunction with Deutschlandradio Kultur’s cultural magazine Fazit.

Every Time a Ear di Soun presents radio as both art and a medium for art. Eight radio stations in Greece, South Africa, Columbia, Lebanon, Brazil, Indonesia, the USA, and Germany will broadcast sonic art pieces for the documenta 14 Radio Program for three weeks each throughout the exhibition. In addition to their regular programs, the radio stations broadcast several hours of works produced specifically for documenta 14, recently rediscovered archive materials, and recordings of the Public Programs of documenta 14.

The transition and interconnection between vocal utterances, different modes of speech, sounds, and music as extending into performative practices are explored by the Radio Program of documenta 14, as is the embodied experience of such acoustical phenomena within psychic and physical space. Sound is fundamental to societies in which not only visual culture but also orally transmitted, acoustic knowledge plays a major role. Sonority functions beyond visual and written logic. In a manner transcending words, histories become audible and physically palpable and are passed from one generation to the next.

Acoustical practices are fundamentally participatory, implying the ability to share something, communicate with others, and create spaces for such exchange. Every Time a Ear di Soun explores the possibility of understanding oral traditions and acoustic phenomena as forms of knowledge exchange, while reflecting on how sound can create synchronicity between bodies, places, spaces, and histories.

The participating German radio station is an entirely new station, SAVVY Radio. Numerous artists have been invited to create a twenty-four-hour radio program for a period of three weeks, which will also be on view as a live performance at SAVVY Contemporary in Berlin. Together with Professor Nathalie Singer and Martin Hirsch, students of the Bauhaus-Universität Weimar plan to create an archive on-site, which brings together scholarship and artistic research on historical and contemporary radio art and radiophony.

Every Time a Ear di Soun is a documenta 14 Radio Program, presented in cooperation with Deutschlandradio Kultur, curated by Bonaventure Soh Bejeng Ndikung and co-curated by Marcus Gammel.



MARTIN LUTHER KING DAY | SCREENING & TALK

'41st & Central: The Untold Story of the L.A. Black Panthers'

by and with Gregory Everett

January 16, 2017 | 7pm

Recommended Donation: 5 EUR

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin-Wedding

On the occassion of this year's Martin Luther King Day we are honoured to welcome Gregory Everett, son of black panther Jeffrey Everett, for a screening of his documentary '41st & Central: The Untold Story of the L.A. Black Panthers' which follows the Southern California Chapter of the Black Panther Party from its glorious Black Power beginnings through to its tragic demise.Despite the Party’s formation of free medical clinics and a successful breakfast program for children, the L.A. chapter was also known as the most violent Black political group in the United States.

The 2010 documentary explores the Black Panther ethos, its conflict with the L.A.P.D. and the US Organization, as well as the events that shaped the complicated and often contradictory legacy of the L.A. chapter. Includes exclusive interviews with Black Panther Party leaders Geronimo Ji Jagga and Elaine Brown. Also featured are former Black Panther members Ericka Huggins, Roland & Ronald Freeman, Wayne Pharr, Jeffrey Everett, Long John Washington, Muhammad Mubarak.

The screening will be followed by Greogory Everett's comment on the place of the LA Black Panthers within the context of the Civil Rights Movement, and specifically in contrast to the legacy of Martin Luther King. Afterwards, we invite you to join the discussion around the panthers, MLK, their legacy and your views on recent movements.

Gregory Everett is an executive producer, writer and director of films, especially documentaries. Born and raised in Los Angeles, and the son of Black Panther Jeffrey Everett, Gregory Everett directed his first film at the age of nine. He received professional training in drama, film and video at the Ebony Showcase Theatre before attending film school at Los Angeles City College. Involved in the evolution of West Coast hip hop culture, he launched a dance promotions company and has worked as an assistant editor, freelance producer and assistant director on music videos. In 1998, he was a producer of the documentary “Eazy Duz It” about the late rapper Eazy E for B.E.T. Along with two partners, he has a Los Angeles film and television production company called Ultra Wave Vision, most known for producing the hit reality series for TVOne– KCi & joJo: Come Clean. Gregory and his wife Lorean live in Baldwin Hills and have two sons.



Lecture and Talk

DESIGN, FAILURE AND THE GLOBALIZATION OF RISK

A Talk by Arjun Appadurai, followed by a conversation with Jonas Tinius and Bonaventure Soh Bejeng Ndikung

January 10, 2017 | 7pm

Recommended donation (for S A V V Y): 5 EUR

SAVVY Contemporary | Plantagenstraße 31 | 13347 Berlin-Wedding


Photo Harry Shunk-John Kender. © Yves Klein, ADAGP, Paris (for the work). Photo credit : Harry Shunk-John Kender (for the photo). Photograph Shunk-Kender © Roy Lichtenstein Foundation.


What is the role of promises and trust in a postfactual age? How are emerging technologies tied up to the political and economic crises of the last years? What can we learn from the role of risk-taking and failure for our political futures – and what's language got to do with it all?

Professor Arjun Appadurai, one of the world's leading theorists of globalisation and cultural economies, will be discussing crises, economies, and political language with S A V V Y Contemporary's director Bonaventure Soh Bejeng Ndikung and anthropologist Jonas Tinius (HU Berlin). Appadurai is author of seminal texts, including Modernity At Large: Cultural Dimensions of Globalization (1996), editor of The Social Life of Things: Commodities in Cultural Perspective (1986), and has been at the forefront of theorizing the relation between cultural creativity, global economies, and political emergence.

This lecture will explore the financial crises of the last few decades in the advanced economies and beyond to look at how failure is part of the logic of design and risk in the world of emerging technologies in finance and beyond. This presentation is part of an ongoing research project on failure, which explores how failure is a globally variable and circulating idea which can reveal far more than the study of success.

Arjun Appadurai is the Goddard Professor in Media, Culture and Communication at New York University, where he is also Senior Fellow at the Institute for Public Knowledge. He was previously Senior Advisor for Global Initiatives at The New School in New York City, where he also held a Distinguished Professorship as the John Dewey Distinguished Professor in the Social

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