Impulse Theater Festival

Düsseldorf, Cologne and Mülheim an der Ruhr

13— 23 June 2019

Academy #1 — Art under pressure

Independent theatre amidst the shift to the right, identity politics and personal responsibility
Led by: Katalin Erdődi
Language: predominantly English

Culture has become an ideological battleground worldwide: from attacks by far-right groups and demands to cut the budgets of critical art institutions to the dissolution of Brazil’s Ministry of Culture and the repression of critical voices in e.g. Russia and Turkey, but also in Hungary and Poland. At the same time demands are being made from feminist, anti-racist and decolonial perspectives not to regard the freedom of art as absolute but to radically question dominant modes of representation and power structures and to work on overcoming these.

How can the freedom of art be protected — and used — under these conditions? And what is art allowed to do? The ACADEMY invites its audience to exchange their experiences and views regarding these issues and to collaborate on a manifesto for the freedom of art which will document current debates and sketch out visions that respond to the challenges of the present. The basis for the manifesto is provided by impulse lectures by theatre makers and theoreticians from the German-speaking region and from international contributors as well as extensive plenary and smaller group discussions. In addition to these discursive exchanges site-specific performances will engage with each day’s topic artistically.

The ACADEMY strives to develop a concept for the freedom of art that makes a precise distinction between curtailments of artistic freedom with the aim of establishing new hegemonies and critical interventions that are geared towards overcoming the hegemonic tradition of western art itself. It asks which strategies the independent theatre scene can employ to mount a lasting resistance to the emerging forms of fascism and the politics of exclusion and denigration. In doing so it also scrutinizes the personal responsibility that theatre makers and their institutions have to question their own practices critically — from strategies of representation to transnational funding policy and its inherent hierarchies. Ultimately the ACADEMY will also look for ways in which the independent theatre scene can negotiate conflicts around the freedom of art without falling into the trap of sectaria  identity politics.

The Impulse ACADEMY’s manifesto aims to offer responses from a range of perspectives, present possible ways forward and raise new questions.

dorisdean, © Robin Junicke
dorisdean, © Robin Junicke
dorisdean, © Robin Junicke
dorisdean, © Robin Junicke
dorisdean, © Robin Junicke

14.06. GIVE ART ITS FREEDOM! — Strategies against the shift to the right

How do artists in various countries of the European Union react to increasing pressure from the right? What artistic and cultural political strategies do they use to counter threats to the freedom of art? How do they deal with disruptive actions, threatened budget cuts and growing interference in artistic programming? From solidary alliances to increased networking within the scene to collective attempts to initiate an effective dialogue about politics with artistic means, a broad spectrum of action strategies will be discussed — along with the question of to what extent current legislation can actually guarantee artistic freedom.

10:00-11:45 Performance/Warm-up, dorisdean (NRW): CIRCUIT TRAINING AGAINST RIGHT-WING POPULIST FEARMONGERING

Ringlokschuppen Ruhr, stage 2
Language: German and English

Lift the weights of the world. Train your muscles. Muscles of freedom. How free are we on the stages that mean the world? Walking, rolling, stuttering, crying at the high bar of time with a leather medicine ball in our mouths. dorisdean offers interactive circuit training. Let us mutually strengthen our weaknesses. Thirty minutes of sweating for art. Detoxing from right-wing populist fearmongering.

By and with: dorisdean (Christopher Bruckman, Philipp Hohmann, Patrizia Kubanek, Miriam Michel, Charis Nass)

11:00–17:00 Short inputs, panel discussion, table talks, editorial assembly

Ringlokschuppen Ruhr, stage 3

11:00 Short inputs by Rose Gibbs (Keep it Complex, London), Yvonne Gimpel (IG Kultur Österreich, Vienna), Goran Injac (Mladinsko Theater, Ljubljana), Hannah Saar (Die Vielen, North Rhine-Westphalia), Hoang Tran Hieu Hanh (Gala Global / Turbo Pascal, Berlin), Sascha Wolf (Heinrich Heine University, Düsseldorf)
13:00 Lunch
14:00 Panel discussion with the speakers, chaired by: Katalin Erdődi (Vienna)
14:45 Break
15:00 Table talks with the speakers
16:00 Break
16:15 Recap and editorial assembly: A Manifesto for the Freedom of Art, facilitated by: Rose Gibbs (London) and Julia Tirler (Vienna)
17:00 Shuttle bus to the SHOWCASE in Düsseldorf

Biographies

dorisdean is a post-inclusive artists’ collective from North Rhine-Westphalia made up of performers with different physical abilities. Since 2011 dorisdean has worked on performances on issues of human cohabitation, communication and unease. Attention is continually focussed on defects, imperfections in/about people and stigma. They investigate fears, tensions, issues of normality and the basic principles of social relations. For the Impulse ACADEMY dorisdean will devise a second version of its circuit training, the first version of which was created at the invitation of Nazis & Goldmund in collaboration with the writer Lisa Danulat in Berlin in 2018.

Katalin Erdődi is a curator, dramaturg and author in the field of contemporary art and performance. Her key topics are transdisciplinary collaboration, politically engaged artistic and curatorial strategies and experimental performance. She has worked as a curator for institutions and festivals such as Trafó Budapest, Ludwig Museum Budapest, GfZK Leipzig, brut Vienna/imagetanz-Festival and steirischer herbst in Graz. She has been a member of the city of Vienna’s Advisory Committee on Theatre, Performance and Dance since 2019. As a dramaturg she has worked with the artists Gin Müller, Oleg Soulimenko, Sööt/ Zeyringer and Doris Uhlich. She publishes essays and reviews in theatre and art magazines.

Rose Gibbs is an artist, writer and curator who seeks to create platforms that bring people together for exchange and support with a specific focus on cultural democracy and feminism. She is currently working with a group of Labour party activists to collaboratively rewrite the Labour Party’s cultural policy manifesto (‘The Movement for Cultural Democracy’). She is part of Keep it Complex — a collective that developed out of an artist-run Remain Campaign in 2016, which uses art as a tool to make politics, i. e. to equip and activate the arts community after the UK’s EU referendum and to collectively fight fear and apathy.

Yvonne Gimpel serves as general manager of IG Kultur Österreich, the umbrella association of independent cultural initiatives and centres in Austria. Advocacy activities and services aiming to improve the working conditions for culture professionals are at the core of her work. She is a founding member of the ‘Arts Rights Justice Austria’ platform, chairperson of the Austrian Working Group on Cultural Diversity, board member of the Austrian Cultural Council, member of the U30-International Network for Cultural Diversity, trainee of the EU-Global Cultural Leadership programme. Prior to IG Kultur Östereich, she served as Deputy Secretary General at the Austrian Commission for UNESCO.

Goran Injac is a performing arts curator, dramaturg, university lecturer and researcher. He is the author of numerous articles, critiques and essays in Polish, Serbian, Slovene and international theatre and art journals. As a freelance curator he cooperated with international theatre and art festivals, institutes, repertory theaters and independent theatre companies. He was one of the founders and curators of East European Performing Arts Platform (EEPAP). In 2012/2014 he curated International Projects and Side Programme in the National Stary Theatre, Cracow, Poland. Since 2014 he is the artistic director of the Mladinsko Theatre in Ljubljana, Slovenia. As a dramaturg he mostly works with theatre director Oliver Frljić.

Hannah Saar studied Theatre and Cultural Studies in Munich and London, exploring authenticity and the reproduction of inequality in contemporary theatre. She has worked as a producer and dramaturg in the independent theatre (including HAU Hebbel am Ufer, Theater Rampe, FFT Düsseldorf, Münchner Kammerspiele) and is part of HAUPTAKTION. Hannah Saar is also a co-founder of the INITIATIVE for SOLIDARITY at the THEATRE. She has been a dramaturg at Theater Oberhausen since the 2018/19 season.

Julia Tirler is an art historian and cultural researcher who has studied at the universities of Innsbruck, Vienna and Siena and at Vienna’s Academy of Fine Arts. At the exhibition ‘KEINE ZEIT Erschöpftes Selbst / Entgrenztes Können’ at the 21er Haus in Vienna in 2012 she co-founded the collective Interdinner that used artistic, activist and theory-led strategies to highlight exploitation in the cultural sphere. She is currently researching collectivism, intersectional feminisms and the critique of representation in Vienna, Paris and Madrid.

Hoang Tran Hieu Hanh is a performative activist of colour based in Berlin. Statelessness, anti-racism, identity politics and the politics of performativity form the basis of her research interest. She performed as part of the ‘Gala Global’ ensemble (Turbo Pascal), in which various voices were presented around the theme of global citizenship.

Turbo Pascal was founded while studying Cultural Studies and Aesthetic Practice at the University of Hildesheim. The collective has been based in Berlin since 2008, working at the Sophiensæle, HAU Hebbel am Ufer, Heimathafen Neukölln, the Deutsches Theater and the Theater an der Parkaue. The collective’s current members are: Angela Löer, Frank Oberhäußer and Eva Plischke (concept, performance), Janina Janke (stage and costume design), Friedrich Greiling (music) plus additional associate artists. Turbo Pascal was awarded the George Tabori Development Prize in 2018 for its interactive and participatory works. Turbo Pascal staged the project ‘Gala Global’ in the square in front of the Deutsches Theater in 2018.

Sascha Wolf studied Law, specialising in international and European Union law. Since 2014 he has worked in Sophie Schönberger’s department at the Heinrich Heine University Düsseldorf. His main academic interest lies in the field of freedom of art and the fundamental rights of communication in the tension between state and society. In one of his current projects for publication he investigates the constitutional background to the cancellation of a concert last October by the Dessau Bauhaus Foundation that impacted on both radio’s independence from the state and the artistic freedom of the band Feine Sahne Fischfilet

15.06. WHOSE FREEDOM? — Artistic freedom as a privilege for the majority society

Across Europe the rise of right-wing populism is manifesting itself in an anti-feminist backlash and increases in everyday racism and xenophobia. In order to face this development appropriately, theatre makers need to examine their own practice critically from feminist, anti-racist and decolonial perspectives — and that goes for the concept of freedom of art, too, along with its deceptive claim to universality: who can enjoy the privilege of this freedom? Should limits be set to artistic freedom under certain circumstances? How do artists deal with the fact that society’s hegemonic relations are reflected in the structures of their institutions and their programmes? Can independent theatre do justice to its ambition to become a diversified space or is it still the theatre of the majority society?

10:00-11:00 Performance/Breakfast, EsRAP (Vienna): COMEDY-SPECIAL — AUSLÄNDER MIT VERGNÜGEN (FOREIGNERS WITH PLEASURE)

dezentrale, Leineweberstraße 15-17, 45468 Mülheim an der Ruhr
Language: German

The artist duo Esra Özmen and Enes Özmen alias EsRAP delights its fans not only with music but also comedy performances, in which they tell stories of everyday immigrant life in Vienna’s Ottakring district, of growing up in a Gastarbeiter (guest worker) family and much more: “I’m not just describing my own experiences here. I’m not just Esra, I’m part of society. I carry its discriminations, its systemic racism etc. etc. and that’s why in my work I also see a responsibility to share that with my society. There are unpleasant truths we don’t want to hear… unpleasant truths, baby.” EsRAP’s debut album ‘Tschuschistan’ will be released in June 2019.

By and with: EsRAP (Esra Özmen, Enes Özmen)

11:30-17:30 Short inputs, panel discussion, table talks, editorial assembly

Ringlokschuppen Ruhr, stage 3

11:30 Short inputs by Rachida Aziz (Le Space, Brussels), Jakob Hayner (Theater der Zeit, Berlin), Gin Müller (Vienna), Yves Regenass (Lausen/Berlin), Franziska Werner (Sophiensæle, Berlin), Julia Wissert (Berlin)
13:30 Lunch
14:30 Panel discussion with the speakers, chaired by: Azadeh Sharifi (Berlin/Munich)
15:15 Break
15:30 Table talks with the speakers
16:30 Break
16:45 Recap and editorial assembly: A Manifesto for the Freedom of Art, facilitated by: Rose Gibbs (London) and Julia Tirler (Vienna)
17:30 Shuttle bus to the SHOWCASE in Düsseldorf

Biographies

Rachida Aziz is a community-builder. She relentlessly reflects and acts around the intertwining of struggle and strategies, and analyses how they impact the community-building process. In 2015 she founded Le Space in Brussels, a laboratory for the cultural centre of tomorrow. It is a haven for the new hybrid identity, who feels right at home amongst the super diversity of our cities’ multilayered population. Le Space serves as an intersection where artists, activists, ecological start-ups and cultural organizations can meet. Above all, it is a safe space where respect and solidarity are the key values. Aziz’ book ‘Niemand zal hier slapen vannacht’ (Nobody is going to sleep here tonight) has been published by EPO.

EsRAP (Esra Özmen und Enes Özmen) is a young and eloquent rap duo from Vienna that doesn’t pull its punches in expressing its opinions on Austrian politics and critical social issues. Since 2011 EsRAP has used a mixture of German and Turkish lyrics to engage with issues around identity and being foreigners in their own country as children of the third generation who have personally experienced the need for protest, with rap as a means of resistance and with being a woman in the male-dominated world of hip-hop. In addition to creating their music, since 2018 the siblings also delight their fans with comedy performances.

Rose Gibbs is an artist, writer and curator who seeks to create platforms that bring people together for exchange and support with a specific focus on cultural democracy and feminism. She is currently working with a group of Labour party activists to collaboratively rewrite the Labour Party’s cultural policy manifesto (‘The Movement for Cultural Democracy’). She is part of Keep it Complex — a collective that developed out of an artist-run Remain Campaign in 2016, which uses art as a tool to make politics, i. e. to equip and activate the arts community after the UK’s EU referendum and to collectively fight fear and apathy.

Jakob Hayner studied German Literature and Philosophy at the Humboldt University in Berlin. He lives in Berlin and works as a journalist for various left-wing magazines and newspapers, writing mainly about theatre, literature, films, philosophy and politics. In August 2016 he became an editor with the magazine for theatre and politics ‘Theater der Zeit’, to which he has also contributed a monthly column since the beginning of the 2018/19 season. He has published essays in various academic anthologies, specialising in critical theory. His book on the renewal of political theatre will be published shortly.

Gin Müller is a dramaturg and ar/ctivist focussing on theatre / performance / queer studies. He lectures at the Institute of Theatre, Film and Media Studies at the University of Vienna and is currently a visiting professor at the Vienna Academy of Fine Arts. His own theatre and performance works at brut Vienna and in Mexico City include ‘FantomasMonster’, ‘TransGenderMoves’ and ‘Melodrom/Rebelodrom — NoborderZone’. He was a co-founder of VolxTheater-Karawane and the band SV Damenkraft. From 2012 to 2013 he was active in the Refugee Protest Vienna, and since 2014 he has been engaged in Queer Base, the Rosa Lila Villa‘s LGBTIQ welcome and support project in Vienna. He published the book ‘Possen des Performativen. Theater, Aktivismus und queere Politiken’ in 2008.

Yves Regenass studied Cultural Studies and Aesthetic Practice at the University of Hildesheim. He is a founder member of machina eX and has created numerous works with this game theatre collective in Germany and abroad. From 2013 to 2017 he also worked as programme dramaturg at the ROXY Birsfelden. As a freelance performer, dance and theatre dramaturg he has realised projects with artists including yuri500, vorschlag:hammer, Trickster-p and Thom Truong — accompanying the later as dramaturg for the performance ‘Enjoy Racism’. As part of his studies he has conducted an intensive investigation of Brett Bailey’s work ‘Exhibit A’.

Azadeh Sharifi is a researcher in Cultural and Theatre Studies. Since 2016 she has been working on her post-doctoral project ‘(Post)migrant theatre in German theatre history – (dis)continuities of aesthetics and narratives’ at LMU Munich’s Institute of Theatre Studies. Here she researches the theatrical history of migrant artists of colour in Germany since labour migration began. Alongside her academic research she also gives lectures, workshops and lecture performances. She was a jury member for the festivals Augenblick mal! in 2017 and Politik im Freien Theater in 2018. Since 2018 she has been part of the Berlin Senate’s jury for funding open to all art forms.

Julia Tirler is an art historian and cultural researcher who has studied at the universities of Innsbruck, Vienna and Siena and at Vienna’s Academy of Fine Arts. At the exhibition ‘KEINE ZEIT Erschöpftes Selbst / Entgrenztes Können’ at the 21er Haus in Vienna in 2012 she co-founded the collective Interdinner that used artistic, activist and theory-led strategies to highlight exploitation in the cultural sphere. She is currently researching collectivism, intersectional feminisms and the critique of representation in Vienna, Paris and Madrid.

Franziska Werner has been Artistic Director of the Sophiensæle Berlin since 2011. She studied Theatre Studies / Cultural Communication, Art History and European Ethnology at the Humboldt University Berlin and Études théâtrales at the Sorbonne Nouvelle Paris. Since 2001 she has worked as a freelance production manager and dramaturg with various artists in Berlin and for festivals and production centres throughout Germany. She has been a member of the Council for the Arts Berlin since 2012 with specific responsibility for funding policy and furthering the interests of all disciplines of the independent performing arts. She is a member of various juries and mentoring programmes that focus on promoting emerging artists.

Julia Wissert studied Theatre and Media Arts specialising in performative arts at the University of Surrey and Directing with Amélie Niermeyer at the Mozarteum University Salzburg. In London she was a founder member of the independent performance group Banditos Perditos and gathered her first experiences of directing in the fields of new play development and site-specific performance. Her work is influenced by the questions of how theatre can change society and how a theatre production can have an enduring effect. Her work has so far won the Audience Prize at Körber Studio Junge Regie, the City of Salzburg Prize and the Kurt Hübner Prize. Julia Wissert is designated director of the Theater Dortmund.

Tickets (FULLY BOOKED)

16.06. WHOSE BREAD I EAT, THEIR SONG I’LL SING? — Freedom of art between anti-democratic tendencies and international cultural policy

For a long time theatre makers in the European Union have been cradled in security while their colleagues in other political and cultural environments have experienced restrictions on their freedom extending as far as severe repression. How do artists and arts institutions act under antidemocratic or authoritarian regimes, in which public funds are often only granted at the price of political conformity? Or where there is hardly any support for the independent performing arts? And what impact do the funding criteria of western cultural policies have on the freedom of art when they intervene in these situations with special programmes and cooperation projects?

10:00-16:00 Short inputs, panel discussion, table talks, editorial assembly

Ringlokschuppen Ruhr, stage 3

10:00 Short inputs by Agata Adamiecka-Sitek (Zbigniew Raszewski Theatre Institute, Warsaw), Diya Naidu (EF_FEMININITY, Bangalore), Henrique Saidel (Porto Alegre), Melis Tezkan / Okan Urun (biriken, Istanbul/Paris), Nelisiwe Xaba (Johannesburg), Salam Yousry (The Choir Project, Cairo)
11:30 Break
11:45 Panel discussion with the speakers, chaired by: Johanna-Yasirra Kluhs (Interkultur Ruhr, Essen)
12:30 Lunch
13:30 Table talks with the speakers
14:30 Break
14:45 Recap and editorial assembly: A Manifesto for the Freedom of Art, facilitated by: Rose Gibbs (London) and Julia Tirler (Vienna)

16:00-17:00 City Walk/Performance, Roman Osminkin (St. Petersburg): NOT A WORD ABOUT POLITICS

Meeting point: Ringlokschuppen Ruhr
Language: English

Poet, performer and video artist Roman Osminkin takes the audience on a walk through Mülheim, combining local stories and features of the city with poetic interventions drawing on his 2016 volume of poems ‘Not A Word About Politics!’. His themes here include political repression in Russia, which affects not only artists but also large portions of society: they no longer say a word about politics. Osminkin uses pointed humour to describe the health advantages of an apolitical life, performs a close reading of daily politics, reflects on notions of homeland and nationalism, and with fitting self-irony calls out the contrast between the reality of politically engaged artists and their desire to be part of a genuinely revolutionary left.

Performance & poetry: Roman Osminkin / Audioguide: Kai Rawe (advisor Mülheim history), Katalin Erdödi (text), Anat Stainberg (voice), Martin Siewert (sound recording) / Special thanks: Teresa Künstler, LIGNA

17:00 Shuttle bus to the SHOWCASE in Düsseldorf

Biographies

Agata Adamiecka-Sitek works at the Zbigniew Raszewski Theatre Institute, where she manages a. o. a research programme on Polish theatre from a gender and queer perspective. She teaches at the National Academy of Drama in Warsaw and is the author of the book ‘Theatre and Text. Staging in Postmodern Theatre’ (2006) as well as of several essays and articles published in the magazines Dialog, Didaskalia, Teatr, Notatnik Teatralny and collected volumes. She is member of the editorial team of the Polish Theater Journal and co-curator of the Forum for the Future of Culture. She cooperates with director Marta Górnicka on the Chorus of Women, a long-term feminist performative project.

biriken was founded by Melis Tezkan and Okan Urun in 2006. biriken — meaning “accumulated” in Turkish — creates theatre, video and performance-based work in Turkey and France. Recent projects include the installation-performance ‘This is the end, beautiful friend’ (2017) for Sharjah Biennial 13 and the theatre piece ‘I shut down my heart until the apocalypse’ (2016) at the Istanbul Theatre Festival. They are currently working on their next theatre project THE WEST IS THE BEST in France. biriken’s work deals with today’s reality, whether everyday, social or conceptual.

Rose Gibbs is an artist, writer and curator who seeks to create platforms that bring people together for exchange and support with a specific focus on cultural democracy and feminism. She is currently working with a group of Labour party activists to collaboratively rewrite the Labour Party’s cultural policy manifesto (‘The Movement for Cultural Democracy’). She is part of Keep it Complex – a collective that developed out of an artist-run Remain Campaign in 2016, which uses art as a tool to make politics, i. e. to equip and activate the arts community after the UK’s EU referendum and to collectively fight fear and apathy.

Diya Naidu is a Bangalore based independent artist. She is a contemporary dancer and a choreographer. Since 2014 she has created solos and ensemble pieces investigating gender, ageing and loss of identity, touch and intimacy to name a few areas of interest. She often uses film, story telling and theatre in her work and is invested in immersive as well as large scale proscenium formats. She is part of the currently touring Indo-Swiss collaboration EF_FEMININITY — a work that is presented at the Impulse SHOWCASE. She directs the Citizens of Stage Co Lab, a collective of independent dancers based in Bangalore whose goal is to make dance sustainable and to do this by bringing movement back into the lives of members of the community.

Roman Osminkin is a Saint Petersburg based poet, art-theorist, playwright, performer and video-artist. He completed a PhD at the Russian Institute of Art History and is a member of the St. Petersburg Writers Union. He teaches at the School of Engaged Art (Chto Delat) and is a member of the editorial board of ‘Translit’, the most influential leftist journal of poetry and literature theory in Russia. He was a member of the Laboratory of Poetic Actionism, which combined video-poems and more aggressive interventions into public space. Osminkin is interested in the interplay of poetics and politics within a text or image and experiments with different media: body and text, voice and language.

Henrique Saidel is a theatre director, performance artist, curator, teacher, researcher and toy collector. He works as professor of direction at the Drama Institute in the Federal University of Rio Grande do Sul in Porto Alegre, is one of the curators of Novos Repertórios Festival and a collaborator of p.ARTE – Performance Art Festival, both in Curitiba. Henrique is co-editor of the critical website ‘Bocas Malditas — scene, criticism and context’ in Curitiba, and also the editor of the blog ‘Qorpo Qrítico — theater and other scenes’. Some keywords of his artistic approach and research are fake, simulacrum, kitsch, pornography, non-normative masculinities, anthropophagy and politics.

Julia Tirler is an art historian and cultural researcher who has studied at the universities of Innsbruck, Vienna and Siena and at Vienna’s Academy of Fine Arts. At the exhibition ‘KEINE ZEIT Erschöpftes Selbst / Entgrenztes Können’ at the 21er Haus in Vienna in 2012 she co-founded the collective Interdinner that used artistic, activist and theory-led strategies to highlight exploitation in the cultural sphere. She is currently researching collectivism, intersectional feminisms and the critique of representation in Vienna, Paris and Madrid.

Nelisiwe Xaba is an artist from Johannesburg and one of South Africa’s most successful choreographers. In her works she explores the European image of “African dance”, the representation of femininity and exoticism and her role as a black dancer — most recently in ‘Urban Mermaid’ (2016) and ‘The Last Attitude’ (with Mamela Nyamza, 2015). She is currently devising the performance ‘Signifying Ghosts’ around Jacques Derrida’s work ‘Specters of Marx’ together with the choreographers Kettly Noël from Bamako, Vera Sander from Cologne and Rafaële Giovanola from Bonn to be performed in June 2019 as part of the Mülheimer Afrikatage at Ringlokschuppen Ruhr.

Salam Yousry is a theatre director, writer and visual artist based in Cairo. He founded Al-Tamye Theatre Group in 2002 and the Combo Independent Festival in 2012. In 2010, Salam founded The Choir Project, an initiative that invites members of the public to participate in workshops of collective creation, during which lyrics are collaboratively written and turned into songs. Salam has since led community-based workshops in songwriting and performance in Alexandria, Amman, Beirut, Cairo, Graz, London, Munich, Berlin, Paris, Baku, Budapest, Istanbul, Copenhagen, Geneva and Milwaukee. He has also produced several music videos, documentaries and short films. He is a Management Consultant for MAAT|CCDC, The Cairo Contemporary Dance Center and School.

17.06. A MANIFESTO FOR THE FREEDOM OF ART — Editorial assembly and closing brunch

On the fourth day of the ACADEMY the ‘Manifesto for the Freedom of Art’ will be completed. In this final editorial assembly all participants of the ACADEMY as well as members of the public will have the opportunity to critically assess the collected statements, to add to or sharpen the Manifesto’s stance, to suggest and discuss any missing but relevant points. The process will be facilitated by the editorial team.

Entry is free of charge.

10:00-14:00 Editorial assembly, closing brunch

Ringlokschuppen Ruhr, stage 3

10:00 Editorial assembly, facilitated by: Rose Gibbs (London) and Julia Tirler (Vienna)
13:00 Closing brunch

Biographies

Rose Gibbs is an artist, writer and curator who seeks to create platforms that bring people together for exchange and support with a specific focus on cultural democracy and feminism. She is currently working with a group of Labour party activists to collaboratively rewrite the Labour Party’s cultural policy manifesto (‘The Movement for Cultural Democracy’). She is part of Keep it Complex — a collective that developed out of an artist-run Remain Campaign in 2016, which uses art as a tool to make politics, i. e. to equip and activate the arts community after the UK’s EU referendum and to collectively fight fear and apathy.

Julia Tirler is an art historian and cultural researcher who has studied at the universities of Innsbruck, Vienna and Siena and at Vienna’s Academy of Fine Arts. At the exhibition ‘KEINE ZEIT Erschöpftes Selbst / Entgrenztes Können’ at the 21er Haus in Vienna in 2012 she co-founded the collective Interdinner that used artistic, activist and theory-led strategies to highlight exploitation in the cultural sphere. She is currently researching collectivism, intersectional feminisms and the critique of representation in Vienna, Paris and Madrid.