be.bop 2018. black europe body politics · be.bop 2018 black europe body politics coalitions facing...
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Active in the international cultural arena since 1997, Art Labour Archives has been passionately involved in the production and theorization of performance and the moving image from a Black Diaspora perspective.
In the vision of its founder, Alanna Lockward, disciplines are meant to facilitate each other‘s dismantling by means of constantly challenging their own claims to legitimacy. This paradigm inversion places collective knowledge creation as a central ambition. In this sense, the optic and praxis of Art Labour Archives is to surpass the expectations of the society of the spectacle and its insatiable appetite for visual and sensorial stimulation. Instead, the dozens of publica-tions, exhibitions, screening programs, workshops and semi-nars conceptualized and produced by Art Labour Archives in the last two decades, have offered liberation, healing and redemption as a viable alternative.
In short: our journey is one of experiencing “art” as a labour of love and mutual examination and recognition beyond geographical, discursive and disciplinary thresholds.
www.artlabourarchives.wordpress.com
WITH
Gurminder K. Bhambra, Manuela Boatcă,
Black Diaspora & Germany, Eva Boesenberg,
Lesley–Ann Brown, Tania Cañas, Jeannette Ehlers,
Chandra Frank, Quinsy Gario, Cristel Gbaguidi,
Miguel Gómez, Sasha Huber,Malcolm Momodou Jallow,
Camara Joof, Geraldine Juárez, Patricia Kaersenhout,
Nazila Kivi, Napuli Langa, Sophie Maríñez,
Madeline McGrady, Joiri Minaya, Mette Moestrup,
Tracey Moffatt, Patrice Naiambana, Marie-Lydie Nokouda,
Tanja Ostojić, Bhavisha Panchia, Elena Quintarelli,
Julia Roth, Olivia U.Rutazibwa, Mark Sealy,
Ulrike Schmieder, Alya Sebti, Robbie Shilliam,
Sumugan Sivanesan, Bonaventure Soh Ndikung,
Ovidiu Tichindeleanu, Rolando Vázquez,
Catherine Walsh, Gloria Wekker
WALTER MIGNOLO, ADVISOR
C O A L I T I O N S FA C I N G
W H I T E I N N O C E N C EP E R F O R M A N C E , A C T I V I S M
A N D A F R O P E A N D E C O L O N I A L I T Y
C U R A T E D B Y A L A N N A L O C K W A R D
J U N E 4 — 9 B E R L I N
S t u d i o R / M a x i m G o r k i T h e a t e ri f a - G a l e r i e B e r l i n , S A V V Y C o n t e m p o r a r y,
H u m b o l d t U n i v e r s i t y B e r l i n
J U N E 1 1 — 1 3 L O N D O N
A u t o g r a p h A B P , TAT E B r i t a i n
B E . B O P 2 0 1 8 . B L A C K E U R O P E B O D Y P O L I T I C S
K I N G ’ S C O L L E G E L O N D O N —
D r Z o e No r r i d g e D e p a r t m e n t o f C o m p a r a t i v e L i t e r a t u r e
D r Fe d e r i c o B o n a d d i o D e p a r t m e n t o f S p a n i s h , P o r t u g u e s e
a n d L a t i n A m e r i c a n S t u d i e s
D r To b y G r e e n D e p a r t m e n t o f S p a n i s h , P o r t u g u e s e
a n d L a t i n A m e r i c a n S t u d i e s
J o s e p h d a C o s t a D e p a r t m e n t o f S p a n i s h , P o r t u g u e s e
a n d L a t i n A m e r i c a n S t u d i e s
www.bebop2018coalitionsfacingwhiteinnocence.wordpress.com [email protected]
M A X I M G O R K I T H E AT E R —
S h e r m i n L a n g h o f f A r t i s t i c D i r e c t o r
J e n s H i l l j e A r t i s t i c D i r e c t o r
J ü r g e n M a i e r E x c u t i v e D i r e c t o r
To b i a s H e r z b e r g A r t i s t i c D i r e c t o r, S t u d i o R
M o n i c a M a r o t t a P r o j e c t M a n a g e m e n t , S t u d i o R
R e b e c c a A j n w o j n e r D r a m a t u r g y, S t u d i o R
L u c i a L e y s e r P r o d u c t i o n M a n a g e m e n t , S t u d i o R
L a r a J a c o b i C o m m u n i c a t i o n , S t u d i o R
I FA- G A L E R I E B E R L I N —
A l y a S e b t i H e a d o f i f a - G a l e r i e B e r l i n
Ni k o l a H a r t l C o o r d i n a t i o n p u b l i c p r o g r a m m e
M o r g a n L a c r o i x Te c h n i c , a r t h a n d l i n g
M a t t h i a s M e r k e r Te c h n i c a l m a n a g e r a r t d e p a r t m e n t
E v F i s c h e r G a l l e r y m a n a g e r
J ö r g T h o m a s i u s O f f i c e b e r l i n
A n n a G i a n e s s i S o c i a l m e d i a
Fe r i a l Na d j a K a r r a s c h E d i t o r i a l
H a n n a Pr e n z e l Vi d e o d o c u m e n t a t i o n
Vi c t o r i a To m a s c h k o P h o t o d o c u m e n t a t i o n
A U T O G R A P H A B P —
D r M a r k S e a l y M B E D i r e c t o r
H o l l y Te b b u t t D e p u t y D i r e c t o r
R e n é e M u s s a i S e n i o r C u r a t o r a n d
H e a d o f A r c h i v e & R e s e a r c h
K a r i n B a r e m a n C u r a t o r i a l P r o j e c t M a n a g e r
L o i s O l m s t e a d M a r k e t i n g a n d
A u d i e n c e D e v e l o p m e n t M a n a g e r
L u c y K e a n y P u b l i c P r o g r a m m e M a n a g e r,
P r o j e c t s a n d E v e n t s
A l i E i s a P u b l i c P r o g r a m m e M a n a g e r,
E d u c a t i o n
L e y l a R e y n o l d s M a r k e t i n g a n d P r e s s A s s i s t a n t
C h e r e l l e S a p p l e t o n A d m i n i s t r a t o r
TAT E B R I TA I N —
R i c h a r d M a r t i n C u r a t o r, P u b l i c P r o g r a m m e s
I s a b e l l a Ni m m o A s s i s t a n t C u r a t o r, P u b l i c P r o g r a m m e s
Tr â m Ng u y n A s s i s t a n t C u r a t o r, P u b l i c P r o g r a m m e s
A RT L A B O U R A R C H I V E S —
A l a n n a L o c k w a r d C u r a t o r
Wa l t e r M i g n o l o A d v i s o r
E l e n a Q u i n t a r e l l i P r o j e c t C o o r d i n a t o r
J u l i a R o t h P r o j e c t D e v e l o p e r
H a n a C o p i c F i n a n c e C o o r d i n a t o r
M a g n u s R o s e n g a r t e n C o n t e n t E d i t o r
D a n i e l l a B r i t t o I n t e r n
G i n a M ö n c h A r t D i r e c t o r
M O N D A Y, J U N E 4 i f a – G a l e r i e B e r l i nL i n i e n s t r. 3 9 / 4 0 , 1 0 1 1 9 B e r l i nF R E E A N D O P E N T O T H E P U B L I C
2 p m — 6 p m / 3 0 m i n b r e a k D E L I N K I N G : W H AT D O W E A S C U R AT O R S , A RT I S T S A N D T H I N K E R S WA N T ?Wo r k s h o p w i t h G e r a l d i n e J u á r e z + A l a n n a L o c k w a r d+ Wa l t e r M i g n o l o + B h a v i s h a P a n c h i a + A l y a S e b t i
→R S V P m a n d a t o r y : h a r t l . n i k o l a @ g o o g l e m a i l . c o m
W E D N E S D A Y, J U N E 6S AV V Y C o n t e m p o r a r yP l a n t a g e n s t r a ß e 3 1 , 1 3 3 4 7 B e r l i nF R E E A N D O P E N T O T H E P U B L I C
6 p mC O L L E C T I V E B O O K L A U N C HL e s l e y -A n n B r o w n + B l a c k D i a s p o r a & G e r m a n y + A l a n n a L o c k w a r d + Wa l t e r M i g n o l o + J u l i a R o t h + R o b b i e S h i l l i a m + G l o r i a We k k e r [ M o d e r a t e d b y B o n a v e n t u r e S o h N d i k u n g ]
T H U R S D A Y, J U N E 7L i c h t s a a l / M a x i m G o r k i T h e a t e rH i n t e r d e m G i e ß h a u s 2 , 1 0 1 1 7 B e r l i nD A I L Y T I C K E T ( P A N E L D I S C U S S I O N S O N L Y ) 1 2 € / 6 € C O N C E S S I O N S L E C T U R E P E R F O R M A N C E S A N D S E S S I O N S A R E H E L D I N E N G L I S H W I T H G E R M A N T R A N S L A T I O N
1 1 : 0 0 a m — 1 1 : 3 0 a m | L i c h t s a a lI n t r o d u c t i o n
1 1 : 3 0 a m — 1 2 : 3 0 p m | L i c h t s a a lT R O P I CA L B E R L I NB y S u m u g a n S i v a n e s a nP e r f o r m a n c e l e c t u r e , G e r m a n p r e m i e r e
S E S S I O N I : D E C O L O N I A L H E A L I N G A N D PA N -A F R I CA N I S M I N T H E PA C I F I C
1 2 : 3 0 p m — 2 p m | L i c h t s a a lTa n i a C a ñ a s + R o b b i e S h i l l i a m + S u m u g a n S i v a n e s a n[ M o d e r a t e d b y A l a n n a L o c k w a r d ]
S E S S I O N I I : ‘ I N N O C E N T ’ M I S TA K E S + ‘ I N N O C E N T ’ E R A S U R E S
3 : 3 0 p m — 5 p m | L i c h t s a a lM a n u e l a B o a t c a + Q u i n s y G a r i o + J u l i a R o t h[ M o d e r a t e d b y E v a B o e s e n b e r g ]
H u m b o l d t U n i v e r s i t y B e r l i n D o r o t h e e n s t r. 2 4 ( H e g e l p l a t z ) , R o o m 1 . 5 0 1 , 1 0 1 1 7 B e r l i nF R E E A N D O P E N T O T H E P U B L I C
6 : 3 0 p m — 8 p m H u m b o l d t U n i v e r s i t y B e r l i n – W. E . B . D u B o i s L e c t u r e B E Y O N D W H I T E I N N O C E N C E B y G l o r i a We k k e r
M O N D A Y, J U N E 1 1A u t o g r a p h A B PR i v i n g t o n P l a c e , L O N D O NE C 2 A 3 B AD A I L Y T I C K E T S
£ 2 5 / £ 1 5 C O N C E S S I O N S
1 1 : 0 0 a m — 1 1 : 3 0 a m I n t r o d u c t i o n
1 1 : 3 0 p m — 1 p mS T I T C H E S O F P O W E R / S T I T C H E S O F S O R R O WB y P a t r i c i a K a e r s e n h o u tP e r f o r m a n c e
3 p m — 4 : 3 0 p mPA N E L I : T H E C O M M O N S O F S T RU G G L E / T H E C O M M O N S T RU G G L E ?G u r m i n d e r B h a m b r a + S a s h a H u b e r + R o b b i e S h i l l i a m + S o p h i e M a r í ñ e z[ M o d e r a t e d b y A l a n n a L o c k w a r d ]
4 : 3 0 p m — 5 p mB r e a k
5 p m — 6 : 3 0 p mPA N E L I I : D E C O L O N I A L A E S T H E S I S A N D T H E E N D O F T H E C O N T E M P O R A RYP a t r i c i a K a e r s e n h o u t + O v i d i u Ti c h i n d e l e a n u+ R o l a n d o Vá z q u e z[ M o d e r a t e d b y Wa l t e r M i g n o l o ]
T U E S D A Y, J U N E 1 2A u t o g r a p h A B PD A I L Y T I C K E T S
£ 2 5 / £ 1 5 C O N C E S S I O N S
1 1 : 0 0 a m — 1 p m Pe r c e p t i o n G a pB y P a t r i c e N a i a m b a n aS o l o D i g i t a l P e r f o r m a n c e
3 p m — 4 : 3 0 p m Pa n e l I I I : O n “ M i s p l a c e d Wo m e n ? ” , “ I n n e r D i a s p o r a s ” a n d “ R e s p e c t a b l e M a r o o n s ”C h a n d r a F r a n k + N a z i l a K i v i + A l a n n a L o c k w a r d + Ta n j a O s t o j i c [ M o d e r a t e d b y R o l a n d o Vá z q u e z ] 4 : 3 0 p m — 5 p mB r e a k 5 p m — 6 : 3 0 p mPa n e l I V: D e c o l o n i a l Pr a x i s o f L i v i n g t h r o u g h A e s t h e s i s a n d E d u c a t i o nWa l t e r M i g n o l o + J u l i a R o t h + M a r k S e a l y[ M o d e r a t e d b y A l a n n a L o c k w a r d ]
6 : 3 0 p m — 8 p mO P E N M I C[ M o d e r a t e d b y R o b b i e S h i l l i a m ]
W E D N E S D A Y, J U N E 1 3TAT E B r i t a i nM i l l b a n k , L o n d o n S W 1 P 4 R G£ 9 / £ 6 C O N C E S S I O N
6 p m — 8 p mDECOLONIAL AESTHESIS: WHAT DOES COLONIALITY M E A N A N D W H AT I S D E C O L O N I A L I T Y A B O U T ?B y Wa l t e r M i g n o l o[ M o d e r a t e d b y A l a n n a L o c k w a r d ]
8 : 3 0 p m — 1 0 p mS T U D I O R / M a x i m G o r k i T h e a t e r1 2 € / 6 € C O N C E S S I O N S
I N T O T H E D A R KB y J e a n n e t t e E h l e r sT h e a t r e p e r f o r m a n c e , G e r m a n p r e m i e r eI n E n g l i s h ; Q & A a f t e r t h e p e r f o r m a n c e
F R I D A Y, J U N E 8L i c h t s a a l / M a x i m G o r k i T h e a t e rD A I L Y T I C K E T ( P A N E L D I S C U S S I O N S O N L Y ) 1 2 € / 6 € C O N C E S S I O N SL E C T U R E P E R F O R M A N C E S A N D S E S S I O N S A R E H E L D I N E N G L I S H W I T H G E R M A N T R A N S L A T I O N
1 1 : 0 0 a m — 1 2 : 0 0 p m | L i c h t s a a lM Y ( G R A N D ) M O T H E R M A D E M E W H I T EB y Q u i n s y G a r i oP e r f o r m a n c e l e c t u r e , G e r m a n p r e m i e r e
S E S S I O N I I I : A P P R O X I M AT I O N S T O D E C O L O N I A L I T Y A N D F R E E D O M O F M O B I L I T Y
1 2 : 3 0 p m — 2 p m | L i c h t s a a lC h r i s t e l G b a g u i d i + M a l c o l m M o m o d o u J a l l o w + N a p u l i L a n g a [ M o d e r a t e d b y Wa l t e r M i g n o l o ]
S E S S I O N I V: B E . B O P A N D T H E D E C O L O N I A L S U M M E R S C H O O L M I D D E L B U R G A S PA RT N E RH E A L I N G P L AT F O R M S
3 : 3 0 p m — 5 : 3 0 p m | L i c h t s a a lP a t r i c i a K a e r s e n h o u t + A l a n n a L o c k w a r d + Wa l t e r M i g n o l o + E l e n a Q u i n t a r e l l i + R o l a n d o Vá z q u e z [ M o d e r a t e d b y Q u i n s y G a r i o ]
8 : 3 0 p m — 1 0 p mS T U D I O R / M a x i m G o r k i T h e a t r e1 2 € / 6 € C O N C E S S I O N S
I N T O T H E D A R KB y J e a n n e t t e E h l e r sT h e a t r e p e r f o r m a n c eI n E n g l i s h ; Q & A a f t e r t h e p e r f o r m a n c e
S AT U R D A Y, J U N E 9i f a – G a l e r i e B e r l i nL i n i e n s t r. 3 9 / 4 0 , 1 0 1 1 9 B e r l i nF R E E A N D O P E N T O T H E P U B L I C
2 p m — 3 : 3 0 p m G U N I WAYA- Ñ G I G U ( W E F I G H T ) , 1 9 8 2 , 6 0 m i nB y M a d e l i n e M c G r a d y & Tr a c e y M o f f a t tS c r e e n i n g[ M o d e r a t e d b y S u m u g a n S i v a n e s a n ]
3 : 3 0 p m — 4 : 3 0 p mS T I T C H E S O F P O W E R / S T I T C H E S O F S O R R O WB y P a t r i c i a K a e r s e n h o u tP e r f o r m a n c e
4 : 3 0 p m — 6 : 3 0 p mS E S S I O N V: F R O M “ Z WA RT E P I E T I S R A C I S M E ” T O “ I A M Q U E E N M A RY ” : S TA G I N G E U R O P E ’ S ‘ I N N O C E N C E ’ I N T H E P U B L I C S P H E R E L e s l e y -A n n B r o w n + J e a n n e t t e E h l e r s + Q u i n s y G a r i o+ J o i r i M i n a y a + M e t t e M o e s t r u p [ M o d e r a t e d b y A l a n n a L o c k w a r d ]
Tanja Ostojić: “Misplaced Women?”, 2009 — Ongoing, performance. November 8.2011 Bergen International Airport. Photo: Jannicke Olsen. Courtesy/ Copyright: Tanja Ostojić Production:
Stiftelsen 3,14 and Imer.
Madeline McGrady & Tracey Moffatt, Guniwaya-Ñgigu (We Fight), 1982, 60 min. Poster designed by Stephen
Robinson. Courtesy of the Radical Times Archive.
Jeannette Ehlers, Into The Dark, theatre performance, 2017, Copenhagen. Photo: Søren Meisner. Courtesy of the Artist and Art Labour Archives.
B E R L I N P R O G R A MJ U N E 4 — 9
C O A L I T I O N S FA C I N G WH I T E
I N N O C E N C E
S T U D I O R / M A X I M G O R K I T H E AT E Ri f a - G A L E R I E B E R L I N , S AV V Y C O N T E M P O R A RY,
H U M B O L D T U N I V E R S I T Y B E R L I N
L O N D O N P R O G R A MJ U N E 1 1 — 1 3
A U T O G R A P H A B PTAT E B R I TA I N
B e . B o p 2 0 1 8 B l a c k E u r o p e B o d y Po l i t i c s C O A L I T I O N S
FA C I N G W H I T E I N N O C E N C E i s a p r o j e c t o f A r t L a b o u r
A r c h i v e s i n c o o p e r a t i o n w i t h S t u d i o R / M a x i m G o r k i T h e a t e r a n d
A u t o g r a p h A B P ( L o n d o n ) c u r a t e d b y A l a n n a L o c k w a r d . S u p p o r-
t e d b y B u n d e s z e n t r a l e f ü r p o l i t i s c h e B i l d u n g / b p b a n d i f a - G a l e r i e
B e r l i n ( I n s t i t u t f ü r A u s l a n d s b e z i e h u n g e n ) w i t h f r i e n d l y s u p p o r t
b y D a n i s h A r t s Fo u n d a t i o n , S a v v y C o n t e m p o r a r y, A m e r i c a n
S t u d i e s P r o g r a m – Humboldt University Berlin, London College of
Communication: U n i v e r s i t y o f t h e A r t s L o n d o n , K i n g ‘ s C o l l e g e
L o n d o n a n d Ta t e B r i t a i n .
Patricia Kaersenhout, Stitches of Power/Stitches of Sorrow performance, BE.BOP 2014. Spiritual Revolutions and “The
Scramble for Africa”, Copenhagen. Photo: Nikolaj Recke. Courtesy of Art Labour Archives.
Joiri Minaya, Proposal for Artistic Intervention on the Columbus Statue in Front of the Government House in Nassau, digital print on standard postcard paper, 5x7”, 2017, The
Bahamas. Courtesy of the Artist.
HUMBOLDT UNIVERSITY BERLIN – W.E.B. DU BOIS LECTURES
The W.E.B. Du Bois Lectures are sponsored by: Institute for the International Education of Students (IES), Embassy of the United States of America, Berlin, and Institut für Anglistik und Amerikanistik, Humboldt-Universität zu Berlin
Patrice Naiambana, Perception Gap, solo digital performance. BE.BOP 2016. Call & Response. Volksbühne am Rosa-Luxemburg-Platz. Photo: Miguel Gomez.
Courtesy of Art Labour Archives.
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