e LONG TERM you caot aÿord. on e distribuon of e TOXIC
INVOCATIONS .– WITH Edna Bonhomme BPoC Environmenta and Cimate Justice Coective (Imeh Ituen and Rebecca Abena Kennedy-Asante) Center for Intersectiona Justice (Emiia Roig) Yoanda Ariadne Coins Discard Studies (Aex Zahara and Josh Lepawsky) Angea Fournoy The Forest Curricuum (Pujita Guha and Abhijan Toto) Hazardous Traves (Ayushi Dhawan, Maximiian Feichtner and Simone Müer) Hyoung-Min Kim and Gabrie Gaindez Cruz Jessika Khazrik Laboratory for Aesthetics and Ecoogy (Ida Bencke) Latedjou Liping Ting Mother the Verb (Ivan “Ivy” Monteiro) Franziska Pierwoss Raqs Media Coective (Shuddhabrata Sengupta) Matana Roberts Huda Rós Guðnadóttir Tomás Saraceno and the Aerocene Foundation Aexis Shotwe Stephan Thierbach Françoise Vergès Wearebornfree! Empowerment Radio (Moro Yapha) XR Extinction Rebeion (Kate Sagovsky) among others
CURATORS Antonia Aampi Caroine Ektander CO¨CURATORS Jasmina A-Qaisi Kamia Metway ARTISTIS DIRECTOR Bonaventure Soh Bejeng Ndikung PROJECT TEAM Monioa Iupeju António Pedro Mendes Oa Zieińska CURATORIAL ASSISTANT Mahnoor Zehra Lodhi MANAGEMENT Lema Sikod Lynhan Baatbat-Hebock COMMUNICATION Anna Jäger GRAPHIC DESIGN Esa Westreicher Lii Somogyi SOUND ENGINEER Kay Bennet Kruthoff LIVE STREAM Boiing Head
The project is funded by Hauptstadtkuturfonds and the Foundation for Arts Initiatives. With additiona support by the Mondriaan Fund, Goethe-Institut / Max Mueer Bhavan Kokata, Goethe Institut Pakistan, White Space Beijing, The Visua Arts Fund Iceand, DAAD Artists-in-Berin Program and the Berin Senate Department for Cuture and Europe. SAVVY Contemporary T Laboratory of Form-Ideas THE LONG TERM YOU CANNOT AFFORD. ON THE DISTRIBUTION OF THE TOXIC is the third chapter of SCHEDULE our ong-term investigation THE INVENTION OF SCIENCE. This exhibition is part of Toxic Commons initiated by AT SAVVYContemporary AT Kuppehae, sient green Kuturquartier Caroine Ektander, Antonia Aampi and SAVVY Contemporary, Simone Müer with a research group TO LIVE WITH TOXICITY IS A EVERYWHERE'S A HERE, ISN'T IT? from the Rache Carson Center with Ayushi Dhawan, CONDITION OF LIFE is a fu day of A day that wi spi into the night with performances, Maximiian Feichtner, and Jonas Stuck. Extra City workshops, round-tabe discussions and performances taks, concerts and durationa acts with sois and winds, Kunstha has supported the first reiteration of this within the SAVVY .doc aimed at coectivey asking us to pause, isten and sense the kaeidoscopic research. imagining and accessing the range of actions needed to dimensions of the toxic. come to grips with the unreenting spread of the toxic. THE INVENTION OF SCIENCE ±²–´² Aerocene Community Weather- and a its connected chapters are funded by ² WORKSHOP Josh Lepawsky (Discard Dependent Foat AEROSOLAR SCULPTURES Hauptstadtkuturfonds and the Foundation for Arts Studies) Toxicity, Knowabiity, Accountabiity AND MUSEO AERO SOLAR Initiatives. [Exact timing wi depend on the weather conditions, We are gratefu for this support as we as the ±² LUNCH pease ook out of the window in search of the sun and additiona funding for THE LONG TERM venture out to fee the strength of the breeze (we wi YOU CANNOT AFFORD. ON THE ³² PANEL DISCUSSION I need heat and ow winds to make this happen) or foow DISTRIBUTION OF THE TOXIC: Ayushi Dhawan and Maximiian Feichtner (Hazardous our FB page for ive updates.] Jonas Staa’s new commission Redistribute toxicity Traves), Jessika Khazrik, Shuddhabrata Sengupta (Raqs has been made possibe through financia support Media Coective) and Franziska Pierwoss On Trade- º²–² PERFORMANCE Stephan R. from the Mondriaan Fund. He Xiangyu’s contribution Offs, Maintenance and Redistribution of the Toxic Tierbach Der Schweiß der Erde has been generousy supported by White Space Beijing. Abhijan Toto’s participation in the invocations ´²± LECTURE & EATING ´² WELCOME & INTRODUCTION program is generousy supported by the Goethe- Aexis Shotwe with Jasmina A-Qaisi What Might it Antonia Aampi and Caroine Ektander Institut / Max Mueer Bhavan Kokata. Hira Nabi’s Mean to say That Food is a Reationship? participation is generousy supported by the Goethe ´²´ LECTURE Simone Müer Hidden Institut Pakistan. Hyoung-Min Kim and Gabrie Gaindez ¯²± PANEL DISCUSSION II Externaities. On the Gobaization of Hazardous Waste Cruz's performance I AM NOT ON THE Imeh Ituen and Rebecca Abena Kennedy-Asante BLACKLIST is presented together with Tanzfabrik (BPoC Environmenta and Cimate Justice Coective), ´²´ LECTURE Yoanda Adriane Coins Berin in the frame of OPEN SPACES and is Moro Yapha (Wearebornfree! Empowerment Radio), Coonia Residue kindy supported by the Berin Senate Department for Kate Sagovsky (XR Extinction Rebeion), Emiia Roig Cuture and Europe. The work of Huda Rós Guðnadóttir (Center for Intersectiona Justice) Against the Toxic: ¯²´ PERFORMANCE READING has been generousy sponsored by The Visua Arts Fund Acts of Disobedience, Interdependence and Vunerabiity Ida Bencke (LAE) Soft Openings and Transcor-poreaity: Iceand. The performance of Matana Roberts has been Caring for Encounters generousy supported by the DAAD Artists-in-Berin ² BREAK Program. ¯²±´ PERFORMANCE Liping Ting ² PERFORMANCE Hyoung-Min Kim and Licht Leuchten III Gabrie Gaindez Cruz I am not on the Backist º² LECTURE Aex Zahara What is Containment? ACCESSIBILITY INFORMATION º²³´ READING Angea Fournoy For wheechair accessibiity, pease ca Domesticated Paradise: Cimate and Community in ±–´´¯± for the eevator Southern Caiforna The venue is immediatey wheechair accessibe through a ramp ² ARTIST TALK Tomás Saraceno with Antonia Aampi Barrier-free access with pubic transport (via S Wedding) ² MULTI¨MEDIA PERFORMANCE Parking pace (x) for the disabed Huda Rós Guðnadóttir Ocean Gory Guide dogs aowed ² PERFORMANCE [in the SAVVY.doc] If you have any requests or questions about accessibiity Hyoung-Min Kim and Gabrie Gaindez Cruz on both days, pease contact us one day in advance I am not on the Backist of the event on: communications @ SAVVY- contemporary.com or ±–´´¯±.
®¯ SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– ± ®¯ ²±´ PERFORMANCE READING Ida Bencke (LAE) Soft Openings and Transcorpo reaity: Caring for Encounters CONCEPT ²³´ LECTURE Françoise Vergès When Breathing is a Revoutionary Act “They were sow changes compared to anything and propagation of the toxic, but aso consider non- that might happen here, but it took a pague vioent forms of redistribution of its painfuy unequa ² CONCERT Latedjou Língua Livre to make some of the peope reaize that things presence. coud change.” ²´´ PERFORMANCE LECTURE How can we form interdependent networks of Raqs Media Coective The Toxicity of Measure “So?” disobedience that exhort to fight against the vicious machinations that have ed to this current state of ²± BREAK “Things are changing now, too. Our aduts haven't affairs, and that can hep us escape the deporabe been wiped out by a pague so they’re sti conditions they keep (re)producing; from sma everyday ²´´ CONCERT Matana Roberts Untited no. anchored in the past, waiting for the good od actions to spectacuar mobiizations, from swift days to come back. But things have changed a responses to strategic and sustained engagement? ² PERFORMANCE LECTURE ot, and they’ change more. Things are aways And how can we ensure that these actions stem Edna Bonhomme The Afterives of Chronic Toxicity changing. This is just one of the big jumps instead from a position of istening and care rather than non- of the itte step-by-step changes that are easier egaitarian codependency and reactive sympathy? ²´´ PERFORMANCE to take. Peope have changed the cimate of the Ivan ‘Ivy’ Monteiro Mother The Verb word. Now they’re waiting for the od days to The concentration of our coective effort is neither to come back.” pick apart and sort into commonsensibe categories, ±²± LECTURE Pujita Guha and Abhijan nor is it to demonize, point fingers, or catayze an Toto (The Forest Curricuum) Against Apocaypse Octavia Buter: Parabes of the Sower, ± indigestibe sense of parayzing guit about the state of the word. Rather, our aim is to open up space for an ²´ PERFORMANCE Jessika Khazrik THE LONG TERM YOU CAN NOT artistic and critica registry that encourages us to pause Mount Mound Refuse AFFORD. ON THE DISTRIBUTION and sense the toxic presences and textures otherwise, OF THE TOXIC addresses environmenta to acknowedge and mourn its ongoing victims, and to injustices through the ens of the toxic and the discri- isten to the movement of its shadows. In so doing, we mination surrounding its production and circuation, hope to shift sensibiities away from one of paranoid a deepy rooted in historica structures. The project’s containment and fear, to an outook fueed by refexivity INVOCATIONS program brings together artists, writers, and nuance, and to nurture the act of noticing how academics, activists, fimmakers and musicians from actions on the most intimate scae are cosey tied to in and beyond Berin, who a in their own way, work on, the goba – as everywhere is utimatey a here. around, with and against the toxic.
The toxic trade-off inherent in expoitative and abusive processes of extraction, production, and disposa ies at the heart of the changing nature of the ecosystems to which we now beong – with miions of metric tons of synthetic materias, pesticides, heavy metas, and chemicas reeased and circuated every year. Structura inequaities on a goba scae permit for some ives to remain reativey untouched by toxic proiferation through systems of “externaisation” (Stephan Lessenich) whist many reside in high concentrations and etha exposure on a daiy basis out of the mere necessity of surviva. The new age of toxicity is “a condition that is shared but uneveny so, and which divides us as much as it binds us” (Michee Murphy).
Through a series of discursive formats that incude taks, round tabe discussions, performances, concerts and fim screenings, we aim to question the matrix of shared accountabiity for the socio-environmenta injustices rife to our current time and coectivey figure out what possibe actions and mobiizations coud constitute ong term affordabiity, for a humans, more- than humans and the panet at arge. These series of actions shoud not ony ead to reduce the production
³ ®¯ SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– ´ ®¯ becoming a PhD candidate at the Rache Carson Center is a key vector through which many of us attempt to in º. manage what we take into ourseves by asking, “what CONTRIBUTIONS JESSIKA KHAZRIK is an artist, writer, is this?,” and deciding whether to eat that thing based and producer based in Beirut. Her interdiscipinary on identifying its substance. In this discussion, we practice revoves around severa fieds incuding media, wi expore a different approach to metaboizing the AT SAVVYContemporary Newfoundand, Canada and co-editor of the onine composition and machine earning, ecotoxicoogy, toxified word: by approaching food as a reationship. hub Discard Studies. His research is invoved with performance, history of science, computation, and Jasmina A-Qaisi, as a reguar caretaker of the ibrary TO LIVE WITH TOXICITY IS the mapping of the internationa trade and traffic of music. Through intimatey investigating the infuence and cuinary practitioner, wi sensoriay compement A CONDITION OF LIFE – a fu day of eectronic waste – researching both geographies of of the goba economy on the techno-poitics of Aexis’s ecture with dishes that wi circuate around the workshops, round-tabe discussions and performances discards as we as those of maintenance and repair. voice, spatia poitics, and post-memory, her work audience during the ecture. within the SAVVY .doc aimed at coectivey Questions that inform his research incude where and expores systems of de-cassification, fasification, and ALEXIS SHOTWELL is a professor at imagining and accessing the range of actions needed how are contemporary discards made? Where do they subsumption. In –±, she was a feow at Home Careton University, on unceded Agonquin territory. to come to grips with the unreenting spread of toxic trave and where do their effects accumuate? Who gets Workspace Program in Ashka Awan, and in – Her academic work addresses impurity, environmenta matter and practices. what discards, where, how, and under what conditions? she is a feow at Digita Earth where she is deveoping justice, racia formation, disabiity, unspeakabe Lepawsky is aso interested in how maintenance and the patform of The Society of Fase Witnesses. Besides and unspoken knowedge, sexuaity, gender, and We convene in order to set-the-scene and engage repair, broady conceived, might offer both itera and her artistic practice, Khazrik coaborates with coectives poitica transformation. Her poitica work focuses on with many voices and payers within the debate figurative essons for figuring out how to ive we and institutions working at the intersection of urbanism, queer iberation, Indigenous soidarity, and feminist around toxicity. The aim is to cosey scrutinize how together in permanenty pouted and aways breaking artificia inteigence, music, and media studies. community education. She aso gives workshops the production and distribution of the toxic coud words. RAQS MEDIA COLLECTIVE incude on reducing suffering in our writing and teaching be decreased, chaenged and enacted differenty? Monica Narua, Shuddhabrata Sengupta, and Jeebesh practices. She is the co-investigator for the AIDS How can we move forward, buid, and inspire a new ³² PANEL DISCUSSION I Bagchi and was founded in in New Dehi, India, Activist History Project (aidsactivisthistory.ca), and the vocabuary of exchange that is incusive and has the Ayushi Dhawan and Maximiian Feichtner (Hazardous where they continue to be anchored, persistenty author of Knowing Otherwise: Race, Gender, and Impicit abiity to change poicy, both ocay and gobay? How Traves), Jessika Khazrik, Shuddhabrata Sengupta (Raqs weding a sharp, edgiy contemporary sense of what Understanding and Against Purity: Living Ethicay in can the recognition and confrontation of one’s own Media Coective) and Franziska Pierwoss On Trade- it means to ay caim to the word from the streets of Compromised Times. toxicity, in direct reation to priviege, interdependence Offs, Maintenance and Redistribution of the Toxic that city. Raqs foows its sef-decared imperative of JASMINA AL¨QAISI is formay a visua and accountabiity, contribute to the mobiization of AYUSHI DHAWAN competed her BA Hons. “kinetic contempation” to produce a trajectory that is ethnographer and a cutura correspondent. She writes ethica uncontaminated reform? Together, we want to and MA in History from the University of Dehi in ³, restess in its forms and exacting in its procedures. They as she speaks in her own Engish, caught between consider the whoe range of actions that strive for new before joining the foundation year at the University articuate an intimatey ived reationship with myths sound and visua poetry. She ives in Berin, hides in ways of being in the word. One that goes from sma of Leiden in ³–´. Subsequenty, she earned her and histories of diverse provenances and sees its work SAVVY Contemporary’s archive, tries to Untrain everyday actions to spectacuar mobiizations, from research master’s degree in coonia and goba history as opening out the possibiity of a conversation that the Ear and often makes waves on free, independent, swift responses to strategic and sustained engagements in º. She then joined the Rache Carson Center DFG embodies a deep ambivaence towards modernity and a temporary or mobie radios. and to understand their impications and ramifications Emmy-Noether Research Group “Hazardous Traves: quiet but consistent critique of the operations of power in the ong term. Ghost Acres and the Goba Waste Economy”. In her and property. ¯²± PANEL DISCUSSION II dissertation project, India’s Shipbreaking Business, FRANZISKA PIERWOSS is a Berin-based Imeh Ituen and Rebecca Abena Kennedy-Asante (BPoC ² WORKSHOP Josh Lepawsky (Discard Emerging Economies, and the Right to Poute? she is performance and instaation artist, who aso works Environmenta and Cimate Justice Coective), Moro Studies Toxicity, Knowabiity, Accountabiity exporing the shipbreaking industry in Aang, Gujarat. as an organizer and initiator of various cutura projects. Yapha (Wearebornfree! Empowerment Radio), Kate What is knowabe about distributions of toxicity when The study anayses the motivations behind this She studied at the Academy of Visua Arts in Leipzig, Sagovsky (XR Extinction Rebeion), Emiia Roig (Center it comes to digita technoogies? And, what do the transboundary movement of waste, the situatedness Germany, and as a DAAD schoar at the Lebanese for Intersectiona Justice) Against the Toxic: Acts of possibiities and imits of that knowedge mean for of Aang within a mutinationa system of ega University Beirut. With a strong focus on durationa Disobedience, Interdependence and Vunerabiity accountabiity? reguations, the creation of categories ike “waste”, performance and coaborative practices, she deveops REBECCA ABENA KENNEDY¨ The miniaturization of eectronics over the ast “goba”, “nationa” and “oca” and what are the site-specific instaations that create situations of ASANTE studied naturopathy, nature conservation few decades has been achieved in part by producing socia, environmenta and economic repercussions of engagement, in which persona and poitica boundaries and ecoogy in Berin and Potsdam. In addition to chemica discards that, in terms of reative size, might transnationa capitaism. are caed into question. Her work has recenty been botany, Abeni is interested in movements that are anti- be usefuy conceptuaized in terms typicay reserved MAXIMILIAN FEICHTNER is a PhD shown at ISCP, New York; Extra City Kunstha, Antwerp; racist, queer*feminist and ecoogica. for astronomy. Just as the Sun is orders of magnitude student in Environmenta Humanities and part of Kunstverein Leipzig and Goethe in the Skyways, IMEH ITUEN studied Socia Sciences and arger than Earth, so too are the discards of eectronics, the DFG Emmy Noether Research Group “Hazardous Minneapois. Since ³ Franziska Pierwoss, in coa- Integrated Natura Resource Management in Berin and chemica and otherwise, orders of magnitude arger Traves: Ghost Acres and the Goba Waste Economy” boration with Sandra Teitge, has been staging dinner Perth, Austraia. Imeh is concerned with racism and than the eectronics systems from which they are at the Rache Carson Center for Environment and performances on the subject of waste management and coonia continuities in the cimate crisis. externaized. The workshop wi examine these and Society, Munich. He writes an environmenta history of its economy. Resuting from extensive research, they BPOC ENVIRONMENTAL AND reated themes in practice with materias. Here we wi oi extraction and the arge-scae contamination in the gather speciaists from the fied and the audience to CLIMATE JUSTICE KOLLEKTIV work together to disassembe actua digita devices, Ecuadorian Amazon rainforest in the th century. He engage in an in-depth conversation over dinner. Together, BERLIN deas with sustainabiity, veganism, research their brandings and components, and map conducted extensive fiedwork in Latin America and they have presented different formats at MUAC, Mexico environmenta and cimate justice from back and PoC some of their distributions. Toos, hands, and minds studied Spanish, poitica science, and socia sciences City; during Sharjah Biennia ±th in Beirut, Lebanon; perspectives: How do the oppression of marginaized wi work together in the arts of noticing what can and in Freiburg, Cape Town, and Bangkok. Recenty, he was and Fast Forward Festiva, Athens (). groups and the expoitation of ecosystems reate cannot, be known about these devices. The workshop awarded the SOLCHA Prize for Best Paper on “Latin to each other? Which ecosystems and peope are wi provide a jumping-off point for discussion of what American Environmenta History that transcends a ´²± LECTURE & EATING particuary affected by cimate change? The aim is not the possibiities and imits of such knowabiity (and Nationa Perspective” at the ±rd Word Congress of Aexis Shotwe with Jasmina A-Qaisi What Might it ony to question the white and cis heterodominated eft- unknowabiity) mean for various forms of accountabiity. Environmenta History in Forianópois, Brasi. Feichtner Mean to say That Food is a Reationship? wing activist*environmenta scene, but aso to create JOSH LEPAWSKY is Professor at the worked as a research associate on anguage contact As beings who eat, drink, and breathe, we a space for intersectiona activism in which BIPoC fee Department of Geography at Memoria University of and resonance effects in human interaction before metaboize the toxic in and through our bodies. Eating comfortabe. Imeh Ituen and Rebecca Abena Kennedy-
¯ ®¯ SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– º ®¯ Asante are part of a Back and Peope of Coour group Cooperation (GIZ) in Cambodia, and at Amnesty (NL) (–±), and Das Choreography in Amsterdam Orozco-Estrada, he has staged Stravinsky’s The Rite recaiming environmenta and cimate justice. Internationa in Germany. She hods a PhD in poitica (´-). She has worked as a dancer with Constanza of Spring with the Coombian Youth Phiharmonic and MORO YAPHA is one of the founders of science, a Master of Pubic Poicy and an MBA from Macras, Dorky Park Thomas Ostermeier, and Toua Petrushka with the Houston Symphony Orchestra. Wearebornfree! Empowerment Radio, a program the Humbodt University of Berin, the Hertie Schoo of Limnaios in Berin. Since ³, she has presented Other recent works incude: Ea am Strand for the for refugees and their friends dedicated to mutua Governance and Jean Mouin University of Lyon. her own choreographies, incuding D.M.Z (±) in Landestheater Scheswig-Hostein, Cabaret for the empowerment. Moro Yapha is a radio maker and THE CENTER FOR INTERSECTIO ¨ Tanzmesse Düssedorf, Hippocampus (³) in Theater Landesbühne Niedersachsen Nord and Get Loose for human rights awyer. He gives ectures and conducts NAL JUSTICE CIJ is an independent Winterthur, Heo () in Mekweg, Amsterdam and the ZiguZajg Festiva in Mata. Gabrie has aso engaged workshops on gender equaity and the promotion of nonprofit organisation based in Berin dedicated to at the Peak Nam Jun Art Center Opening, South Korea, with artistic socia projects particuary with chidren women, minorities and refugees. advancing equaity and justice for a by combating and Ca back (º–) at Spring Wave Festiva in with the support of the German Ministry of Education. WEAREBORNFREE! EMPOWERMENT intersecting forms of structura inequaity and Seou and at Sophiensaee in Berin as part of Tanztage RADIO is a radio programme organized by discrimination in Europe. Festiva. In , she choreographed (making of) District refugees & friends in order to empower each other. The with Lena Meierkord and performed it at Sophiensaee’s AT Kuppehae, sient green Kuturquartier current situation of refugees in Germany and Europe ² PERFORMANCE Hyoung-Min Kim and Tanztage Festiva, Seou Internationa Dance Festiva, requires us to rethink poitica strategies. The wave Gabrie Gaindez Cruz I am not on the Backist and in Bremen and Mainz. From to ±, she EVERYWHERE'S A HERE, ISN'T IT? of wecoming cuture shows aternatives to the racist This dance performance seeks to investigate worked with Tommi Zeuggin and created Guest () A day that wi spi into the night with performances, hatred that is growing stronger with each day. At the the toxicity of censorship in the body and in everyday at DOCK in Berin, Ghost (), DUST (), and taks, concerts and durationa acts with sois and winds, same time, this wave comes exacty at the time when ife. Through practice-based research with a motion- Everything Ese (±) at Uferstudios in Berin. She aso asking us to pause, isten and sense the kaeidoscopic our refugee movement has become so weak that it sensor ight, Hyoung-Min Kim and Gabrie Gaindez Cruz presented The Story of Those Who Left (³) at RTO dimensions of the toxic. is amost non-existing. How can we dea with these expore the impact that both state-induced censorship in Seou. Her soo work Gebe Landschaften (³) was We take a cue from the tite THE LONG deveopments? How can we come out of the observing, as we as forms of sef-censorship have had on their shown in Dresden at Projekttheater in Leipzig at LOFFT – TERM YOU CANNOT AFFORD, centring passive position, back into the acting, proactive and ives and their bodies. Does censorship contaminate DAS Theater and at Seou Art Center. She was awarded contributions around concise yet constanty shape- demanding one? How do we mobiise against the us ike noxious chemicas, imperceptibe to the eye but “Best Choreography of ³” by the Korean Association shifting definitions of the term “toxic”. We hope to shift horribe aw changes which are not (much) considered sowy spreading the poison of sef-optimisation and of Dance Critics and Researchers. In ´ and ¯, she sensibiities away from one of paranoid containment, by hepers and white charity? We!R serves as a patform suppression into our minds, bodies, and behaviours? worked with Anna-Luise Recke and created Nach dem fear, to an outook fueed by refexivity and nuance; to for refugees and other marginaized peope ike women, Through persona experiences growing up Ende kommt noch was, which premiered at DOCK . In nurture the act of noticing and istening to how actions chidren, LGBTIQ, Back peope and Peope of Coor and in South Korea and Coombia, the two performers , she coaborated with Gabrie Gaindez Cruz on I on the most intimate scae are cosey tied to the goba others. reca on stage the materia consequences that the am not on the Backist and performed at in Tanzfabrik- – as everywhere is utimatey a here. KATE SAGOVSKY is an artist speciaising supposedy invisibe poitics of censorship can have Open Spaces in Berin and Muae M± in Seou. She in somatics and ive performance, an environmenta on those who find themseves on the “wrong” side has received funding grants for individua projects from ±²–´² AEROSOLAR activist, and a member of Extinction Rebeion (XR). of the hegemonic divide. Hyoung-Min’s habit of sef- the Berin Senate Department for Cuture and Europe, SCULPTURES AND MUSEO AERO Her work faciitates embodied experience to hep censorship formed from chidhood experiences in Hauptstadtkuturfonds, and Arts Counci of Korea. SOLAR Aerocene Community Weather- peope connect better to themseves, others, and the South Korea of not being aowed to speak about her GABRIEL GALINDEZ CRUZ is a Berin- Dependent Foat word. She is Artistic Director of MOVING DUST and famiiy’s poitica past. Her fears, that sti persist years based artist, dancer, and choreographer. Originay [Exact timing wi depend on the weather conditions, has worked internationay as a movement speciaist in ater and in the diaspora of speaking about this history, from Cai, Coombia, Gabrie began his education as pease ook out of the window in search of the sun and many contexts. She woud ike the word to be a better show the deep and ong-asting impact that censorship a dancer in parae to his Psychoogy studies at the venture out to fee the strength of the breeze (we wi pace. So she became a rebe. Love and rage are her can have on the body and psyche. Gabrie interacts Universidad de Vae, after which he enroed in the need heat and ow winds to make this happen) or foow driving force. with the toxicity of censorship from an aternate ange, Centre Nationa de Danse Contemporaine in Angers, our FB page for ive updates.] EXTINCTION REBELLION is an constructing a soo that is embedded in the power of France where he speciaized in Contemporary Dance internationa cimate justice movement. They use non- free, unbrided speech. His attempt, doomed to fai and Choreography, before subsequenty moving to º²–² PERFORMANCE vioent civi disobedience in an attempt to hat the in ight of the ever-growing number, is to name every Frankfurt, Germany to study at the Hochschue für Stephan Thierbach Der Schweiß der Erde sixth mass extinction and minimise the risk of socia environmenta Coombian activist who has been kied Musik und Darsteende Kunst. Gabrie became part During the Invocations program artist Stephan and ecoogica coapse. The movement promotes civi in the past years due to their revoutionary work. In this of the Toua Limnaios Company from ³–º and Thierbach wi perform Der Schweiß der Erde (The disobedience and rebeion because they think it is context, censorship has a etha connotation, the act of performed in pieces such as Spuren, Irrsinn, and Life is Sweat of the Soi) – a ceansing ceremony on soi necessary – our governments have faied in their duty kiing as a way of censoring the body permanenty. Perfect. In the – season, Gabrie was a member extracted from an od back water treatment basin in of care and are negecting our future. XR is working to I AM NOT ON THE BLACKLIST of the Staatstheater St. Gaen Dance Company in Riesefeder Berin-Buch, cose to where he grew up in buid a movement that is participatory, decentraised, has no definitive ending in the cassica sense. Rather, Switzerand. He has aso coaborated as a dancer the then German Democratic Repubic. Using a former and incusive. A are wecome who are wiing to adhere it empoys an ongoing, ever-mutating practice that with the Staatsoper in Berin, Germany, the Teatro aa potato steam cooker from Poand that can repicate to their principes and vaues. engages with the subte techniques of censorship in Scaa in Mian, Itay, Eastman-Sidi Larbi Cherkaoui in the deicate conditions of an earthy soi sauna he wi EMILIA ROIG is the Founder and Executive order to ocate it, quarantine it, override it, and perhaps, Antwerp, Begium, and the Akademie für Ate Musik in assist the disturbed soi in sweating out a its toxins Director of the Center for Intersectiona Justice (CIJ), to find creative and generative ways to interrogate it Berin, Germany. Since ´, Gabrie has been part of (in German “Atasten”). Within this act, Thierbach is a Berin-based organization combatting intersecting into everyday surviva strategies. the Sasha Watz & Guests Company as a dancer in the not ony administering care in the form of physica forms of inequaity and discrimination in Europe. She This performance is presented within the ensembe for severa internationa productions, and soi weness, but aso simutaneousy producing a is a facuty member of the Socia Justice Study Abroad framework of SAVVY Contemporary’s project THE as a choreographer for the Chidren’s Dance Company. coection of the scent, La Sueur de a Terre – Eau de Program of DePau University of Chicago and has taught LONG TERM YOU CANNOT AFFORD. He has created severa pieces that have participated Toiette. graduate and post-graduate courses on Intersectionaity ON THE DISTRIBUTION OF THE in festivas, such as Invisibe in the Pataforma Festiva, STEPHAN THIERBACH was born in Theory, Postcoonia Studies, Critica Race Theory and TOXIC and Tanzfabrik Berin in the frame of OPEN Berin, Germany, AIUAIO which was awarded “Jeunes Berin-Pankow, into an environment that encouraged Internationa and European Law. From º to , SPACES. It is kindy supported by the Berin Senate Taents du Cirque Europe” and “Undo Mudra” in the active istening and the cutivation of different enses she worked extensivey on Human Rights issues at the Department for Cuture and Europe. Masdanza Festiva (¯) in the Canary Isands, Spain, through which to sense and experience the word. His Internationa Labour Organisation (ILO) in Tanzania HYOUNG¨MIN KIM studied at Korea Nationa and Festiva Danza en a Ciudad (º) in Bogotá, practice operates within various methods of theatre and Uganda, at the German Agency for Internationa University of Arts Schoo of Dance (-), EDDC Coombia. In coaboration with the conductor Andres and game pedagogy, focusing his artistic observation
®¯ SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– ®¯ and strategies in and around pubic space. Thierbach and Suriname. Her work is particuary attuned to the of John Cage, Samue Beckett and the Chinese º²³´ READING Angea Fournoy Domesticated studied Pedagogy, the Socia Sciences, and Psychoogy egacy of the coonia encounter, often identifying phiosopher-poet Zhuang Zi and has presented her Paradise: Cimate and Community in Southern Caifornia at the Universität Bieefed, Cutura Sciences at the and interrogating connections between this historica poetry across Europe, North America and China. She Los Angees and its attendant suburban spraw, Europa-Universität Viadrina, Frankfurt, and is currenty experience and market methods for effecting behaviour has shown her instaative and performative works in from the foothis to the desert, are famous for draught, enroed in Hochschue für Künste in Bremen. change around forest use. New York, Canada, and has been an artist in residence air poution and perennia, devastating widfires, but at DAAD Künsterprogramm in Berin . sites of industry in the region aso pose threats to ´²´ LECTURE Simone Müer Hidden ¯²´ PERFORMANCE READING residents, whie simutaneousy offering opportunities Externaities. On the Gobaization of Hazardous Waste Ida Bencke (LAE) Soft Openings and Transcor-poreaity: º² LECTURE Aex Zahara for prosperity and stabiity. This tak is a narrative and Concurrent with the rise of modern Caring for Encounters What is Containment? visua refection on the history of African-American environmentaism in the industriaized word in The interudes of performance readings wi In discard studies, containment is primariy migration to and within Southern Caifornia, and how the ºs, a ghosty infrastructura network, soon reay metaboic poetics and affirmative practices of discussed in terms of eakages and fows: andfis, mine the search for home and community often necessitates stretching a around the gobe, aso saw the ight queer/ing encounters within ecoogies of precarity and taiings, nucear waste repositories and other toxic sites fraught reationships to deeterious extraction and of day. Facing exorbitant and rising prices for toxic harm. How to modesty and care-fuy inhabit basted fai to contain, thus contaminating the ands and bodies disposa. waste disposa, oca anti-toxic campaigns and the andscapes; how to co-conspire with wretched bodies; of (certain) peope and beings. The possibiity of tota ANGELA FLOURNOY is the author of The opportunities of a neoibera goba market with a how to rehearse affection for that which is hard to ove? containment is at best aspirationa, at worst deceptive, Turner House, which was a finaist for the Nationa Book patchy reguatory system, waste traders commenced IDA BENCKE hods an MA in Comparative and most often the outcome of a human exceptionaism Award and a New York Times notabe book of the year. hiding the externaities of goba capitaism abroad, Literature. Her curatoria work spans experimenta that presumes the right technoogy and poicy The nove was aso a finaist for the Center for Fiction often in ess affuent societies where both and and exhibition formats, interdiscipinary methodoogies and combinations might contain our wastes in perpetuity. First Nove Prize, the PEN/Robert W. Bingham Prize for abor for disposa coud be cheapy had. This tak specuative feminist aesthetics. Her recent projects But if containment aways fais, what does containment Debut Fiction and an NAACP Image Award. Her fiction focuses on the rise of the goba waste economy, investigate fermentation as domestic-revoutionary do? In this tak, Aex Zahara examines what it means has appeared in The Paris Review, and she has written extracts its structures and dynamics and iustrates how apparatus, queer home-buiding and interspecies care, “to contain we” through a perhaps curious exampe for The New York Times, The Nation, The Los Angees its toxic egacy sti haunts us today. various im/possibiities of mutispecies narration, and of containment and toxicity: forest fires (or widfires) Times, and esewhere. A graduate of the Iowa Writers' SIMONE MÜLLER is Project Director and insurgent m/otherhood within the reproductive regimes in northern Canada. He wi describe how the iusion Workshop, Fournoy has taught at the University of Principa Investigator of the DFG Emmy Noether of necropatriarchy. Research interests incude radica of tota, controed, and predictabe containment of Iowa, The New Schoo, Coumbia University, Princeton Research Group “Hazardous Traves: Ghost Acres and practices of mourning and peasure, more-than-human widfires has become centra to the deveopment University and the University of Caifornia at Los the Goba Waste Economy” at the Rache Carson affect, and revoutionary experiments on cohabitation, of a new and highy controversia poicy whereby Angees. She was awarded a Nationa Endowment Center for Environment and Society, Munich. She works coectivity and regenerative aiances. She is co- fires are aowed to “et burn” unti they approach for the Arts feowship and is currenty a Mary Een von at the intersection of gobaization studies, economic founder of the Laboratory for Aesthetics and Ecoogy. something determined to be “of vaue”. According to der Heyden feow in fiction at the American Academy in and socia history, and environmenta humanities. Her ocas, the poicy often fais, has ed to routine smoke Berin. research interests range from the internationa trade in ¯²±´ PERFORMANCE Liping Ting exposure, annua community evacuations, and swaths hazardous waste materia and the inteectua history Licht Leuchten III of traditiona Indigenous territories being burned. In ² ARTIST TALK Tomás Saraceno with of economic ecoogica thinking, to green city concepts Liping Ting practices a ritua process of shifting our anaytica focus towards the containers – Antonia Aampi and the study of ocean space. She has received purification that raises awareness of the geopoitica the specific poicies, equipment, and peope through In this conversation, Tomás Saraceno wi be numerous awards and feowships, among them and gobaization crisis. She deveops art “as a which widfires are contained – Zahara moves away expanding upon the foundation of the Museo Aero Soar, from the Smithsonian Institution, the Science History source” for humans who survive in this ever-present, from rejecting containment entirey, to focusing instead and in particuar the Aerocene, an interdiscipinary Institute, and the University of Pennsyvania. Müer is a unbaanced environment, chaenged by chaos and on the very materia ways through which containment artistic community that seeks to devise new modes of member of the Young ZiF (Center for Interdiscipinary a troubed nature, and who seek human concern, might be tinkered with, hacked, or otherwise re-made sensitivity, reactivating a common imaginary towards Research) of the University of Bieefed and in º was care and art. Her instaation work observes and to support the ives and iveihoods of those iving in an ethica coaboration with the environment and the nominated as one of the eading femae academics in examines human poitica issues (anthropoogica and Borea Forest communities. He suggests “containers” atmosphere, freeing them from carbon emissions. As her fied by the German Research Foundation (DFG) and ecoogica) on the edge, their potentia transmutation are a necessary point of inquiry to interrogate and an ever-growing research and experimenta practice, the Bosch Foundation. and transformation in reation to their individua story intervene in the systems that produce, define, and Aerocene is open-source and coaborative. It consists and therefore to coective memory. Since ¯, her distribute toxicity in the first pace. This ecture is part of of a dedicated and diverse goba community of ´²´ LECTURE Yoanda Adriane Coins projects Light Action-Poyphony, Mapping, Stone- a arger coaborative project, Opening up Containment practitioners who coaborate to promote and enact Coonia Residue Timing/Paper-Timing, Im-Im, Licht Leuchten, C Time with co-thinkers Ignace Schoot and Caitynn Beckett. environmenta awareness and atmospheric sensing In her tak, Yoanda Ariadne Coins wi Meta, Time’s Spira, Water-Timing series, investigate the ALEX ZAHARA is a PhD Candidate at Memoria experiments, imagining new infrastructures of panetary trace the ingering coonia presence featured in the theme of human nomadism as crisis and practice, and University in Newfoundand, Canada and co-editor of mobiity and ethics. enactment of goba forest conservation poicies that the present catastrophic dispacement of immigrants. Discard Studies bog. His current research examines TOMÁS SARACENO’ s oeuvre coud be target cimate change in Guyana and Suriname. God, They expoit in different contexts the subte “baance” controversies surrounding widfire management seen as ongoing research, informed by the words in this context, forms the materia in which the toxic and “out of baance” reationships between the human practices near his home community in Treaty Territory, of art, architecture, natura sciences, astrophysics effects of cooniaism, capitaism and market-based body anguage and work activity. This art action journey northern Saskatchewan. Zahara is an interdiscipinary and engineering; his foating scuptures, community forest conservation poicies coaesce. In so doing, in situ, aims to revea our pace within common histories researcher whose work has been pubished in the projects and interactive instaations propose and she draws attention to how the toxic can be found by a ritua of wid hearts, madness and purification. coections Anthropocene Feminism (University of expore new, sustainabe ways of inhabiting and sensing sedimented even in that which appears innocuous. According to poet Antonin Artaud, ife consists of Minnesota Press), Inevitaby Toxic (University of the environment. Aerocene, an open-source community YOLANDA ARIADNE COLLINS hods burning up questions, and poetry is the crushed Pittsburgh Press) and journas ike Environmenta project for artistic and scientific exporation initiated is a postdoctora feow at the Institute for Cutura mutipicity that creates the fames (Héiogabae ou Humanities, Environmenta Toxicoogy and Chemistry from Saraceno’s vision, becomes buoyant ony by the Inquiry Berin and a doctorate in Environmenta L’anarchiste Couronné, ±³). and Cutura Studies Review. His research on waste and heat of the Sun and infrared radiation from the surface Sciences and Poicy from Centra European University LIPING TING is an interdiscipinary artist; toxicity is infuenced by Indigenous studies, feminist of Earth. Saraceno ives and works in and beyond the in Budapest, Hungary. Her research expores cimate her artworks incude community exchange projects, studies and queer theory. panet Earth. change governance poicies, especiay in reation to instaation, experimenta music and sound-environ- the historica and cutura uses of forests in the Guyana ments exporation. She is infuenced by the work
®¯ SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– ®¯ ² MULTI¨MEDIA PERFORMANCE art from Iceand Academy of the Arts (º) and a pubic educator and an activist in antiracist decoonia at Documenta, the Venice Biennae, Istanbu, Taipei, Huda Rós Guðnadóttir Ocean Gory BA in cutura anthropoogy from the University of feminism. She is the co-founder of Decoonizing the Liverpoo, Shanghai, Sydney and Sao Pauo Biennaes. Ocean Gory is the second artwork deriving Iceand (º). She has been nominated and won many Arts, a non-profit based in Paris which has opened a free Recent soo exhibitions incude Twiight Language from Huda Rós Guðnadóttir’s S-I-L-I-C-A, a new art- awards and has participated in numerous group and university at La Coonie. Her ast book is Un Féminisme at Manchester Art Gaery (º–); Everything practice-as-research project that investigates the soo exhibitions and screenings at museums, gaeries, Décoonia (A Decoonia Feminism, , forthcoming Ese is Ordinary at K Museum for st Century production process behind semiconductors in soar project spaces and fim festivas in countries such as in Engish ) Art, Düssedorf (); If It’s Possibe, It’s Possibe, ces and microeectronics. The fim was deveoped India, Japan, Hong Kong, USA, Mexico, Germany, Spain, MUAC, Mexico City (´) and Untimey Caendar at from research footage shot by the artist in a siica mine Denmark, Sweden, Norway, Finand, Iceand, UK, Czech ² CONCERT Latedjou Língua Livre the Nationa Gaery of Modern Art, Dehi (³–´). in south west Austraia, at a siica termina in the port Repubic, France, Poand, Serbia, Greece, Ukraine and LATEDJOU is a singer-songwriter, vioinist and Exhibitions curated by Raqs incude In The Open or in of Abany, Austraia, in a siica processing pant on the Bugaria. Recenty she was seected by Raumaborberin visua artist. Her atest EP, Língua Livre, uses sound to Steath (MACBA, Barceona, forthcoming); Why Not Ask coast of northern Iceand, and in a geotherma energy and Koro Pubic Art Norway to participate in the question the status of an officia anguage in a pace Again (Shanghai Biennae ¯–-º); INSERT (New pant in the highands above it. The artist commissioned Waterfront Laboratory in Tromsö, Norway, an ike Luanda, Angoa, where she grew up. It speaks of Dehi, ³) and The Rest of Now & Scenarios (Manifesta composer Guðný Guðmundsdóttir to write a soundscore experimenta project to invite artists to infuence urban the heaviness of words, of an every-day speech sti º, Bozano, ). They are the artistic directors of the for the fim incorporating soundscape recordings deveopment from an eary stage. tainted with the bockages, coonia impositions and forthcoming Yokohama Triennae (). made on ocation, in what Guðný cas “progression MARGRÉT SARA GUÐJÓNSDÓTTIR aggressions of the past; a which are rare topics of of sounding eements.” She aso worked with is an Iceandic choreographer who has created and conversations in a city and country that is reuctant ²´´ CONCERT Matana Roberts Untited no. choreographer Margrét Sara Guðjónsdóttir to adapt toured her performances internationay for over to face the socia impacts of that part of its history. MATANA ROBERTS is an internationay her research on “hyper-states”, to support the sensoria years. Dispaying the poitics of intimacy is a core theme Língua Livre is aso the story of a character who openy renowned composer, bandeader, saxophonist, sound intimate experience of the audience and encounter of within her work whie engaging with and exporing decares themseves orphan of mother tongue, and experimentaist and mixed-media artist. Roberts’ works an inner and outer reaity. The poitics of Ocean Gory pathoogies of the socia-poitica body within our thus, steps out of being shamed and hed responsibe in many contexts and mediums, incuding improvisation, shapes in intimate moments when the hyper-states and own bodies. Her work takes shape from her ongoing for not “speaking the anguage”, but who tries with dance, poetry, and theater. She made two records the soundscape open up a doorway to the reaity of the in-depth research into a methodoogy that accesses emotions, atmospheres and a few words, to come cose as a core member of the Sticks And Stones trio in fim. Instead of approaching the subject of the fim by physioogica, psychoogica and emotiona sub-words to the anguage of their peope. the eary s and has gone on to reease a diverse taking a critica stance towards something identified as with focus on deconditioning and direct diaogue with body of soo and ensembe work under her own name being externa and beonging to others, the audience is the subconscious. She has deveoped a new genre of ²´´ PERFORMANCE LECTURE on Consteation and Centra Contro over the past invited to become aware of how the state of the word performative body anguage, and an origina working Raqs Media Coective The Toxicity of Measure decade. She is perhaps best known for her accaimed resonates within their own body. By etting the body fa, method that directy informs her creative outcomes. Care for ife and care for the sef are not Coin Coin project, a muti-chapter work of “panoramic surrender and disintegrate during the course of the fim, She teaches her body practice and method Fu Drop possibe without caring about toxicity. And yet, entire sound quiting” that aims to expose the mystica roots the process of de-conditioning the body takes pace Into The Body in Art Academies and Universities around civiizations (this is ceary seen in the socia system and channe the intuitive spirit-raising traditions of through an inward journey and through a steady, sow Europe. She ives and works in Berin and her current that produces the category of the “Outcaste” in Indic American creative expression whie maintaining a and hypnotic transformation taking pace in front of the coaborations expand into the academic genre of Cutures) stand by banishing whatever is deemed toxic deep and substantive engagement with narrativity, audience. It is in the deterritoriaized or deconditioned phiosophy, with phenomenoogy professor Susan out of the frames of their reference of the word, for ife, history, community and poitica expression within state that ambiguity, new truths and thoughts can Koze, Mamö University and Lucie Guidi, Hidesheim for the sef. As if the instabiity of materia processes improvisatory musica structures. Consteation began breathe, form and come to ife. University. was an iusion, and their assumed purity unbemished documenting the Coin Coin project in and has Ocean Gory (HD singe-channe video, , GUDNY GUDMUNDSDOTTIR is a truth. In reaity, it is the other way round. Nothing reeased the first three of a projected tweve abum- ´ min) is a new video work by Huda Rós Guðnadóttir composer, vioinist and a musicoogist. She has stays pure. Everything is eaten away from the inside by ength chapters to date, with a fourth chapter arriving with origina score by Guðný Guðmundsdóttir and researched the intersection of contemporary music and toxicity in equa measure. Porosity is ubiquity. The action this October. She is currenty a feow at the Berin choreography by Margrét Sara Guðjónsdóttir. Video visua arts and coaborated in various interdiscipinary of time, and perforations produced by different kinds Artists in Residence program at the DAAD. performance by Laura Siegmund, sound design by Nis projects. She is the artistic director of Cyce Music and of toxicity – proiferate porosities. Bookworms tread Banthien and green screen camera by Dennis Hem. The Art Festiva and the founder and director of the Skark pathways in bound books, the unpredictabe curvature ² PERFORMANCE LECTURE work of Huda Rós Guðnadóttir has been commissioned Ensembe. She was the artistic director of the Nordic of space-time eats wormhoes into the universe. The Edna Bonhomme The Afterives of Chronic Toxicity by SAVVYContemporary and generousy funded by Music Days in ¯. caim to soidity in a structures crumbes in equa Everyone is poisoned, but not in the same way. The Visua Arts Fund Iceand. measure. Even time eaks when space is ridded with Since the rise of industriaization, inorganic toxins have HULDA RÓS GUÐNADÓTTIR is a Berin- ² PERFORMANCE [in the SAVVY.doc] hoes. To ive with toxicity is a condition of ife. We have integrated themseves into our food, water, and bodies based artist and a fimmaker who works predominanty Hyoung-Min Kim and Gabrie Gaindez Cruz to begin to think about how to ive with toxicity. – with some compounds assimiating into our fora and on ong-term interdiscipinary coaborative projects I am not on the Backist RAQS MEDIA COLLECTIVE incude fauna. Toxins are chronic and chronic diseases are toxic, that touch upon socio-economic issues that have Pease see entry for at ² Monica Narua, Shuddhabrata Sengupta, and Jeebesh thus producing new hierarchies of ife. This performance persona reevance and importance for the artist yet are Bagchi and was founded in in New Dehi, India, ecture maps out the ways in which (de)toxification has goba in importance. Her works come to ife through ²±´ PERFORMANCE READING where they continue to be anchored, persistenty become ubiquitous in our biosphere and has produced a practice and pubic exhibition based process that Ida Bencke (LAE) Soft Openings and Transcorporeaity: weding a sharp, edgiy contemporary sense of what new bionic beings. she defines as research. This research is in turn heaviy Caring for Encounters it means to ay caim to the word from the streets of EDNA BONHOMME is an activist, historian, infuenced by the artist training in anthropoogy and Pease see entry for ¯²´ that city. Raqs foows its sef-decared imperative of writer, curator, and ecturer whose research interrogates quaitative methods and is characterized by socia “kinetic contempation” to produce a trajectory that is disease, gender, surveiance, and embodiment. engagement. The video work premiered as part of ²³´ Françoise Vergès When Breathing is a restess in its forms and exacting in its procedures. They Bonhomme earned a PhD in history of science at the INVOCATIONS program is part of a new research Revoutionary Act LECTURE articuate an intimatey ived reationship with myths Princeton University with a dissertation that examined project, S-I-L-I-C-A, that investigates the goba Breathing is “natura,” it is our first sign of being and histories of diverse provenances and sees its work pagued bodies and spaces in North Africa and the production process of semiconductors used in soar aive but the air is unbreathabe, neoiberaism makes as opening out the possibiity of a conversation that Midde East. Her creative work is guided by diasporic ces and microeectronics. the word unbreathabe. We “need to take a breath” but embodies a deep ambivaence towards modernity and a futures, herba heaing, and bionic beings. Guðnadóttir hods an MA degree in interactive how do we buid a breathabe word? quiet but consistent critique of the operations of power design from Middesex University (), a BA in visua FRANÇOISE VERGÈS is an author, a and property. Raqs have exhibited widey, incuding ²´´ PERFORMANCE Ivan ‘Ivy’ Monteiro
®¯ SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– ± ®¯ Mother The Verb She is pursuing her Ph.D in Fim and Media Studies Khazrik, ive video by Cynthia-ë Hasbani, ighting by The performance is a coaborative work of from the University of Caifornia, Santa Barbara and Vesemøy Rustad Hoseter two performance-based artists, Javier Ste-Fresquez is the co-director of the Forest Curricuum aong with JESSIKA KHAZRIK is an artist, writer, and Ivan Monteiro – transmitting experiences through Abhijan Toto. Her previous research incuded work on and producer based in Beirut. Her interdiscipinary a wide range of visua, voca, physica and media arts. the anthropocenic imaginaries of Lav Diaz, and she practice revoves around severa fieds incuding media, The performance is a “queering” of the word and the has presented her work at Corne University, LASALLE composition and machine earning, ecotoxicoogy, concept of MOTHER. Through queer-indigenous-of Coege of Arts, Singapore, Hanoi DocLab amongst performance, history of science, computation, and coour enses and bodies, the duo expores and others. Her academic-curatoria interests operate in the music. Through intimatey investigating the infuence expresses the tense reationships around “motherhood,” intersection of aesthetics, ecosophy and contemporary of the goba economy on the techno-poitics of whie honouring the abour and heart of many kinds Asian art, and is currenty deveoping her work around voice, spatia poitics, and post-memory, her work of mothers. To that end, the performance engages mediatic history of the Zomian forests. She has been expores systems of de-cassification, fasification, and in a tender and compex study on how toxicity pubished in Art Critique of Taiwan (aong with Abhijan subsumption. In –±, she was a feow at Home manifests in reationships between creature and Toto), NANG, South Asia History and Cuture, and has Workspace Program in Ashka Awan, and in – creatrix and how these reationships mirror the post- upcoming essays on numerous anthoogies on South/ she is a feow at Digita Earth where she is deveoping coonia reationships of Mother Nature and Humans. South East Asian cinemas. the patform of The Society of Fase Witnesses. Summoning our materna ineages, we prismaticay ABHIJAN TOTO is an independent curator Besides her artistic practice, Khazrik coaborates with refect the mutipe facets of the verb “mother,” hoping and writer, interested in ecosophy, interdiscipinary coectives and institutions working at the intersection to expose and transcend the pains inficted within our research, abour and finance. In , he co-founded of urbanism, artificia inteigence, music, and media communities and offering apertures towards heaing. Ivy the Forest Curricuum with Pujita Guha, a muti-patform studies. Monteiro is performing for this evening a soo intake on project for research and mutua co-earning around Mother The Verb. the naturecutures of the forested bets of South and IVY MONTEIRO has a BA in Mutimedia and Southeast Asia. He has previousy worked with the Performance in Zurich (ZHDK) and a BA in Socia Dhaka Art Summit, Bangadesh; Beas Artes Projects, Communication (Anhembi Morumbi). Ivy is a deveoper Mania and Bataan, the Phiippines; Counci, Paris; and of practices and performative roes in dance, music, Asia Art Archive. Seected recent exhibitions incude and visua arts. They are a natura shapeshifter, re- Adrian Paci – Interregnum, VER Project Space, Bangkok, imagining and re-conceptuaizing femininity, gender, Thaiand (); Reaigning the Asian ArtBiennae, part socia and race through (dis)identification in a post- of Southern Consteations, Museum of Modern Art, coonia perspective. Ancestraity and spirituaity are Ljubjana (); The Exhaustion Project: There Is Sti reshaped and envisioned in queer futuristic pieces Work To Be Done, Haus der Kuturen der Wet, Berin where the artist recaims and questions their space (); History Zero, Mumbai Art Room, Mumbai (º). in our apocayptica future. Ivy aso goes by the name He was awarded the Premio Lorenzo Bonadi, at “Tropikah Pussy,” an ater-gender-bender drag queen- the GAMeC, Bergamo. ish ego, producing and headining incusive events and parties for trans/non-binaries and queers of coour. Ivy ²´ PERFORMANCE Jessika Khazrik is since º aso active in the Internationa Voguing Mount Mound Refuse and Baroom scene, where they produce events, Mount Mound Refuse began as a mutiingua teach workshops and deveop movements and socia poem exporing encounters of the body and the goba practices around this cuture. Their work has been economy through memories of toxicity, adoescent ove, presented in gaeries ike Pera Mode (Zurich) and back meta and computationa connectivities. VBKO (Vienna), in theatres ike Counterpuse (San Set on the edge of a quarry neighbouring the artist’s Francisco) and Tanzhaus (Zurich), in Museums ike home, it revisits the ecocida dumping of toxic waste The Museum of Image and Sound (São Pauo) and in and promises of reconstruction both on the internet Festivas ike the Queer Biennia II (Los Angees) and and in the buit environment. Invisibe animas, severa Zürich Moves! (Zurich). pronouns, friends and overs known as R__O and Litte Arsonist stro spatio-inguistic construction sites whie ±²± LECTURE Pujita Guha and Abhijan unearthing the history of peasure, profit and refuse. The Toto (The Forest Curricuum) Against Apocaypse young, secret overs haphazardy share grounds with This ecture/reading wi draw on the ongoing poisonous trades that are tacity egitimized by goba research of the Forest Curricuum to produce certain poitics and oca miitia. Voiced in Arabic, Engish, encounters with the toxic, and their materia becomings. Itaian and hybrid tongues that were encountered It wi ook at the entangement of poitica histories, whie investigating the toxic trade, anguage within histories of vioence, cosmoogies and more-than- the composition becomes a materia witness to the human words in the fows of toxicities in the zomian imits of transation, desire and pace. Acronyms of the context. Centra to this endeavor wi be an unpacking chemica formuas encountered in the forest are turned of the apocayptic mode of thinking, as thinking in the into verses of poetry. The composition is partiay made increasingy impossibe ong term forces us to confront through fied recordings taken wherever it is performed, many ends of many words that we simutaneousy as we as sounds that the artist recorded between the inhabit. ages of ± and ¯. PUJITA GUHA is a curator, activist and schoar. Credits: Text, sound and visuas by Jessika
³ ®¯ SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .– ´ ®¯ MORE INFORMATION savvy-contemporary.com facebook.com/savvyberin
S A V V Y Contemporary – The aboratory of form-ideas is an art space, discursive patform, pace for good taks, foods and drinks – a space for conviviaity. S A V V Y Contemporary situates itsef at the threshod of notions of the West and non-West, to understand and deconstruct them. S A V V Y Contemporary has reaized a kaeidoscope of art exhibitions, performances, fim screenings, ectures, concerts, readings, taks, dances. S A V V Y Contemporary has estabished a participatory archive on German coonia history, a performance arts documentation centre, a ibrary, a residency program, as we as educationa projects with schoos. The art space engages in its neighborhood's history and socio-poitica reaities which are entanged with the refections and discourses of the project.
S A V V Y Contemporary is Eena Agudio Antonia Aampi Jasmina A-Qaisi Lynhan Baatbat-Hebock Bona Be Mareen Boschen Federica Bueti Pia Chakraverti-Wuerthwein Oani Ewunnet Irene Fountedaki Biy Fowo Raisa Gaofre Monioa Iupeju Ahmed Isamadin Anna Jäger Kimani Joseph Laura Köckner Corneia Kno Key Krugman Nathaie Mba Bikoro António Mendes Kamia Metway Wison Mungai Arette-Louise Ndakoze Bonaventure Soh Bejeng Ndikung Caroine Neumann Abhishek Niamber Jeff Obiero Eena Quintarei Jörg-Peter Schuze Lema Sikod Lii Somogyi Esa Westreicher Oa Zieińska
DESIGN Esa Westreicher ASSISTANCE Lii Somogyi FONTS Grow (through a generous partnership with DINAMO Foundry, abcdinamo.com) Neutra (carvaho-bernau.com) S A V V Y Contemporary e.V. Amtsgericht Charottenburg (Berin) AZ: VR ÏÐÐÏÏ B Gerichtstraße ±´ ±±³º Berin
¯ ®¯ SAVVYContemporary: The Laboratory of Form Ideas The Long Term You Cannot Afford. On the Distribution of the Toxic Invocations .–