Stolenwealth Games 2018 – Berlin Solidarity Event

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Open from: 19:30
Screenings from: 20:30
Food and drinks (by donation)
Friday, April 13, 2018

Coinciding with the current ‘Stolenwealth Games’ Aboriginal protest to the Commonwealth Games in Queensland, the Berlin Aboriginal Solidarität Netzwerk will screen two films, We Fight (Guniwaya-ngigu) (1982) and 30th Anniversary of the Commonwealth Games Protests 1982 (2012). Contained behind cyclone fencing and dubbed ‘Camp Freedom,’ the current protest marks Aboriginal peoples’ resistance to colonial rule, and echoes the significant protests against the Commonwealth Games in Brisbane, 1982. Following the screenings, filmmaker Madeline McGrady (co-director, Guniwaya-ngigu (We Fight), 1982), Dewi Djamal Wilson (producer, 30th Anniversary of the Commonwealth Games Protests 1982, 2012) and Samuel Watson (activist at Camp Freedom and filmmaker, of the Wanjiburrah People, Yugembeh language group) will Skype into the event. As x-embassy is located in the former Australian Embassy to East Germany, the building itself recalls a fragmented history of exchanges between the socialist state and Aboriginal activists from the 1950s to the 1980s.

We Fight (Guniwaya-ngigu) (1982)
Directors: Madeline McGrady, Tracey Moffatt
60 mins

We Fight (Guniwaya-ngigu) is a rare documentary about Aboriginal resistance to the Brisbane Commonwealth Games of 1982. Hundreds of activists occupied Musgrave Park in South Brisbane as a campsite and performance area and fought against the Games and the racist government of Joh Bjelke-Petersen. About 300 were arrested.

The film reveals the passion, bravery, solidarity and power of the Aboriginal people who came from all parts of Australia to demonstrate in solidarity against the notorious and repressive Queensland Aborigines Act.

In one memorable scene in the film then Prime Minister Malcolm Fraser is seen arriving at an official event adjacent to Musgrave Park. As he is rushed into the venue, a large crowd of demonstrators jeer him from across the road, to the strains of legendary Aboriginal musicians like Bart Willoughby and Joe Geia performing in a concert deep within Musgrave Park.“

– Text Source: Creative Spirits

Further reading:
http://www.kooriweb.org/foley/images/history/1980s/82games/gamesppdx.html

Many thanks to the Radical Times Archives for providing us with access to the full version of this film for screening purposes.


30th Anniversary of the Commonwealth Games Protests 1982 (2012)
Produced by BIMA Vision, the Brisbane Indigenous Media Association.
23 mins

Organised by Berlin Aboriginal Solidartät Network. Further information in English und auf Deutsch unten:

Weiterlesen „Stolenwealth Games 2018 – Berlin Solidarity Event“

School of Continual Education

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Image: SCE

12:00-21:00
Saturday-Sunday, April 7-8, 2018
School Program

x-embassy is delighted to host the School of Continual Education for a two-day program of activities at the Atelierhaus Australische Botschaft Ost.

……..

Once Upon a Time… [In the future] There was a school.

The school accepted only the best and the brightest, the worst and the middling. The school’s policy to accept all who had interest was extremely exclusive. The school offered no teachers, no degrees, and no promise of progress.

The curriculum was determined by those present on any given day. On such a day, those in the school would gather around the school’s most prized possession and consult it on how to continue in their production.

This venerable object was a ruler. It was nothing like the rulers we are now familiar with, as it had no beginning and no end, nor any edges to speak of.

Together with the ruler, the entire school would consult with each other on the question of how to measure their production, and in relation to what.

The ruler seemed to always stick to three subjects. “A non-productive production,” it said, “could always be measured by the successful execution of the following: First, an exiting of productive time, second, the transformation of all spaces into spaces of learning without the need for achievement, and finally, trust no authority. Except me, of course! As I am the measure to end all measures and I…”

At this point the ruler would be shoved back into its box, as everyone had heard the ruler’s megalomaniacal rant many times before.

It was a very strange school.

……..

The School of Continual Education asks questions about what are skills for the artist, the city dweller, the citizen, and their relation to everyday life. Exploring the idea of a non-productive production, the school investigates different modalities of work, leisure and occupation, and the potentialities for their approach.

A school is a space that creates a condition where everything can be thrown into question, where contradictions can coexist, and where production has no necessary generative outcome. The SCE uses fiction, imagination and practical approaches to question notions of what are skills, and how they can be used.

Members of The School of Continual Education are self-selecting, the only criteria for membership is being present in the space of the SCE at any time during the weekend program.

On Saturday, April 7th, the SCE will gather for a short morning session covering the story of the school and an introduction to the weekend program, followed in the afternoon by a workshop and a field trip. The day begins at 12:00, and runs as a full day program until evening. On Sunday, April 8th starting from 12:00, the SCE organizes its day around workshops and open activities, of which members are invited to move between. The conclusion of the weekend is a multi-generational meeting of Zeitzeugenen (witnesses of time) that will take place at 7pm.

The School of Continual Education is an ongoing project exploring modes of education, resistance, and inquiry. The SCE asks what can the framework of a school provide for working within, against, and alongside the social and political conditions we find ourselves in.

So come join, and divest in your future today!

Nude Flutes

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Image: Nude Flutes

19:00
Wednesday, April 29, 2018
Participatory performance

x-embassy welcomes NUDE FLUTES for their first session of 2018.

NUDE FLUTES is a pop-up choir that happens everywhere it takes place. Inspired by DADA and John Cage the participants try out scores that make choral singing possible. Everyone can join – no matter if professional or amateur. (Especially those who always say they cannot sing!)

GE_SCHICHTE-N

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Jolanda Todt, 2018

19:00
Thursday, February 15 & Thursday, March 8, 2018
Exhibition: Jolanda Todt

Jolanda Todt invites a shared reading of histories for her work GE_SCHICHT-EN. On two winter evenings, historians, writers, cultural studies researchers and artists interact with the work. During the events, a reading, deconstructing and re-constructing of her work takes place, and afterwards, an intensive discussion over hot soup.

GE-SCHICHTE_N is an installation that invites visitors to deal with history and histories, their construction and deconstruction.

The installation consists of a long plinth and two benches. On the plinth lie ninety concrete blocks. The blocks carry various materials, offering three modes of accessing history. Materials of the constellation include photographs of the site of a specific occurrence, official archival materials, and excerpts from an interview with Jolanda Todt’s grandfather, who experienced the occurrence as a child in Poland. Each fragment connects to the viewers‘ individual previous knowledge and associations.

Lovesome

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Nico Limo, 2018

19:00-1:00
Friday, February 16, 2018
Exhibition + Performances + Video Screenings

We have prepared a Post-Valentine’s Day event to strengthen your art hearts during the cold winter month of February. Pull yourself out of your hibernation nest and bundle up warm to come flirt and tumble head over heels with other lovely creatures. Performances and videos full of infatuation, romance, sex, and heartache await to bring aid to your slumbering tender hearts.

Performances by: Lady Gaby | Camille Käse | Cello by Mikatsiu Høres | Spoken Word by Ben Miller | „Cillium Love Machine“ by BUTCH CUT | Signed Word by Alison Smith | Romance installation by Zinzi Buchanan | Paper Waster Press by Peter Max Lawrence | „Free hugs“ and Love Potions by donation by Adi Brief | Tiny on the spot sculptures of your heart by Kim Bode | CRUSHED – Sad sometimes happy songs by Nico Limo | Custom made typewritten Love Poems by Orion Twinkle | Love healing frequencies by Jean P’ark and Moldy Horse | Heart Stick & Pokes by Brody Polinsky and Elke Wardlaw | Collective Group Love Drawing by Henna Hoplin

Videos on loop by: Evie Snax | Elliot Blue | Beth Frey | Nabil Vega | Coral Short | Lottie Sebes | Yoav Admoni | Xander Marro | Sandra Araújo | Bridgette Costa | Stephanie Hanna | Magdalena Hutter | Peter Max Lawrence | Ethan Folk & Type Fastinbed | Eva Rose & June Tay Sanders | Benjamin Ramírez Pérez & Liad Hussein Kantorowicz

Cutural Spaces and Commoning

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20:00-late
Saturday, December 16, 2017
Workshop

In co-operation with European Alternatives Berlin, x-embassy explores the practices that can create and maintain commons-based cultural spaces in Berlin. The event is open to everyone: neighbours, artists, local initiatives, cultural & anti-gentrification activists and the general public.

Programme: 20:00 Introduction round | 20:30 Informal discussion round & mapping – cultural spaces and the commons | 21:00 Drinks and music

FAKE FEST

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Fake Fest, 2017

15:00-00:00
Saturday, November 11, 2017
Mini-Festival: FAKE Company

Fake it ’til you make it.
Seeking the ANTIDOTE.
Pandora’s Box is open.
We are our best hope.

FAKE FEST is a one day speculative pop-up fest, musing on the ANTIDOTE, including an installation by kentaro kumanomido, short film selections and a performance by FAKE Company with KK and the gang. We will end the evening with a SonicDiscoTonic. Put on your best plastic jewelry and come get real and get healed.

FAKE Company is an international arrangement of performers, an intentionally fluid and flexible group, who discovered their attraction to each other at Ponderosa in Germany. Gathered by Kathleen Hermesdorf of ALTERNATIVA in San Francisco, FAKE Company is a container and instigator for artistic freedom within creative collaboration, embedded and embodied in ongoing practices of improvisation in dance, theater, music and visual art.

This iteration of FAKE Company includes: Caroline Alexander | Nicola Bullock | Caitlin Fisher | Kathleen Hermesdorf | Kata Kovács | Kentaro Kumanomido | Ursula Marcussen | Gareth Okan | Thomas Anthony Owen | with music by Tom O’Doherty + Angela Muñoz

Transeuropa OPEN Berlin

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19:00-late
Saturday, October 21, 2017
Workshops + Screening

TRANSEUROPA is a transnational artistic, cultural and political festival organised by European Alternatives since 2007. For the 2017 edition, Convergent Spaces, the main city for TRANSEUROPA is Madrid. Decentralised events in different cities across Europe coincide for the opening of the festival on Saturday, October 21st, 2017.

In Berlin, Transeuropa Open will takes shape as a “Political Party” hosted by x-embassy collective at the Atelierhaus Australische Botschaft Ost.

Two workshops and spaces for exchanging ideas are offered. The central topic is related to the “commons” as an encompassing vision to explore in the local context with a transnational outlook. The first workshop is on data protection, run by Crypto Party Berlin. In the second workshop, we discuss strategies against online hate speech. At 8.30pm we will enjoy a screening of the documentary film “Meeting Snowden”. From 9.30pm: food, drinks and music by DJ Syriantal.

Shifting the Public Imaginary

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Amy Spiers & Catherine Ryan, 2014. Image: John Possemato

19:00-21:30
Wednesday, September 27, 2017
Artists Talk: Amy Spiers & Catherine Ryan

While today, ‘the public’ increasingly consists of ‘non-overlapping spheres of mutually reinforcing beliefs’ (Nina Power), artistic actions can cut across social divides and shift the public imaginary.

This panel will bring together artists Amy Spiers (AU) and Catherine Ryan (AU), and theorist Camilla Møhring Reestorff (DK), to consider art’s capacity to contribute to social transformation. The panel will be moderated by Carol Peterson (AU/BER). Talking through specific examples from their own practice, the panellists will discuss the merging of aesthetics and politics, as well as tactics to engage the mediatised public sphere. Some questions they will consider:

How is art deployed in order to bring overlooked or intractable social problems into view? Can art intervene with, or even change, public discourse? What strategies do artists use to alter the present social order? How do artists measure the effectiveness of their actions? Is provoking controversy, causing debate and attracting media attention an end in itself? And are there limits to artistic agency, and what might this mean?

Organised in partnership with Vierte Welt Berlin
Zentrum Kreuzberg, Galerie 1. OG, Kottbusser Tor

Please look at me, and smile

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Laura Engelhardt, 2017

19:00-22:00
Wednesday, August 30, 2017
Video Screenings: Tang Han, Laura Engelhardt, Ivar Veermäe and Xandra Popescu

x-embassy presents four video works by relating to the production of identity via the mediated gaze of the camera.

Like a mirror, recording devices can be deployed to socialise, distill, crystallise, warp or subvert how we see ourselves. What kind of superhero avatars do we make of ourselves under the artificial gaze of the camera, traced by the ear of the microphone? What kinds of dialogues, misunderstandings, and identities are produced when this artifice is internalised? PLEASE LOOK AT ME, AND SMILE presents four positions:

Tang Han’s ‘Pretties Make Up!’ (2017) is a short filmic montage of her childhood drawings and the transformation of the Sailor Moon manga cartoon, marking the progress of a child’s projection of gender as she teaches herself to draw. An avatar of a different kind will guide us through Laura Engelhardt’s ‘Die Forschungsfrage ist fest’ (2017), a critical documentation of the use of 3D imaging and ‘biological cybernetics’ as Max Planck Institute scientists attempt to investigate the human perception of self, body and space. ‘Name’ (2012) is a 6 minute-long investigation into the naming of commercial enterprises in Berlin and a series of vignettes in which Ivar Veermäe and his microphone provoke multilingual (mis)communications with their conversation partners. They get there in the end (mostly). Finally, in ‘You Are Safe With Me’ (2015), conceived by Xandra Popescu in collaboration with Adrian Knuppertz and produced by Larisa Crunţeanu, two female voices coming from behind the camera call the shots, while male bodies – at times delighted, at times squirming under the camera – dance, stretch and demonstrate the use of weapons upon command:

“Flex one of your arms.”
“Raise your other arm.”
“Please look at me, and smile.”