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<td style="border-bottom:#CCCCCC thin solid"><a href="http://www.videoartworld.com/"><img src="http://www.videoartworld.com/beta/images/vaw_bulletin.jpg" alt="VideoArtWorld - the imagery planet" border="0"/></A></td>
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<td width="280" valign="top"><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172504194.jpg" width="300"/><br />
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<span class="txt_gris">May. 04 2012</span>
<p class="titulo">Transdisciplinary Roundtable and Screening</p>
<p> <span class="txt_nombre_artista"><font style="font-size:14px"><strong>Be.Bop Black Europe Body Politics</strong><font></span><br />
<span class="txt_gris">May. 04 2012 - May. 06 2012<br />
</span><br />
<span class="txt_negro style1">A Project of Art Labour Archives In collaboration with Allianz Kulturstiftung and Ballhaus Naunynstrasse</span></p>
<p class="txt_negro"><font style="font-size:10px">Ballhaus Naunynstrasse<br />
Naunynstr. 27 / 10997 Berlin<br />
+ 49 (0) 30 75453725<br />
<a href="http:/http://blackeuropebodypolitics.wordpress.com" target="_blank">http:/http://blackeuropebodypolitics.wordpress.com</a> </font></p>
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<td width="180" valign="top"><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172609360.jpg" width="242" height="173" /><span class="style3">Black Half – Half Black, 1997, 2 C-prints, by IngridMwangiRobertHutter</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172642243.jpg" width="242" height="173" /><span class="style3">Le Malentendu Colonial, 78:00:00, 2004. (Prof. Kangue Ewane), by Jean-Marie Teno</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172716230.jpg" width="242" height="173" /><span class="style3">Black Box/Chambre Noire, 22:00, 2005, by William Kentridge</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172736268.jpg" width="242" height="173" /><span class="style3">Black Magic At The White House, 03:46, 2009, by Jeannette Ehlers</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/12042617280099.jpg" !
width="242" height="173" /><span class="style3">Dancing with the Star, 11:46, 2011, by Emeka Udemb</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172818320.jpg" width="242" height="173" /><span class="style3">A Children's Book of War, A [Not So] Secret War. Terra Nullius and the Permanent State of Exception, 1:46, 2010, by Sumugan Sivanesan</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172841461.jpg" width="242" height="173" /><span class="style3">Other, 07:00, 2009, by Tracey Moffatt</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172906378.jpg" width="242" height="173" /><span class="style3">Hommage à Sara Bartman, 2007, 04:00, by Teresa Maria Diaz Nerio</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426172946400.jpg" width="242" height="173" /><span class="style3">The Bearable Ordeal of the Collapse of Certainties, 2011, theater!
& poetry, by Quinsy Gario. Photo credit: Brett Russel</span>!
</p><p><
img src="http://data.videoartworld.com/files/pictures/bulletins/12042619221751.jpg" width="242" height="173" /><span class="style3">Toxi, 89:00:00, 1952, by Robert A. Stemmle </span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426195237314.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426195334114.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426200508405.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426201002167.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426202254140.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426202757380.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426202844477.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426205310494.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/12042620550322.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426205734174.jpg" width="242" height="173" /><span class="style3">
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</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/12042620393087.jpg" width="242" height="173" /><span class="style3">
</span></p><p><img src="http://data.videoartworld.com/files/pictures/bulletins/120426204004330.jpg" width="242" height="173" /><span class="style3">
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<td width="89%" valign="top"><div align="justify"><span class="style2"><div><strong>BLACK EUROPE BODY POLITICS</strong></div><div>Transdisciplinary Roundtable and Screening - A Project of <strong>Art Labour Archives</strong> in collaboration with <strong>Allianz Kulturstiftung</strong> and <strong>Ballhaus Naunynstrasse. </strong>Cooperation partners: <strong>VideoArtWorld, </strong><strong>Center for Global Studies and the Humanities at Duke University,</strong><strong> Imagery Affairs of Digits Without Borders,</strong><strong> </strong><strong>Savvy Contemporary, NiNsee (National Institute for the study of Dutch Slavery and its Legacy).</strong></div><div> </div><div><strong><u>LOCATION & SCHEDULE: </u></strong></div><div><br /></div><div><strong>Ballhaus Naunynstrasse</strong></div><div>Naunynstr. 27 / 10997 Berlin / + 49 (0) 30 75453725</div><div><em>presse@ballhausnaunynstrasse.de</em></div><div><br /></div><div><em>May 4-!
6, 2012</em></div><div><em>From 10:00 – 18:00</em></div><div><em>Free and open to the public</em></div><div><br /></div><div><u><em>http://alannalockward.wordpress.com/artlabour/</em></u></div><div><u><em>http://www.allianz-kulturstiftung.de/en/index.html</em></u></div><div><u><em>http://www.ballhausnaunynstrasse.de/NEWS.11+M5d637b1e38d.0.html</em></u></div><div> </div><div> </div><div><strong><u>PARTICIPANTS:</u></strong></div><div> </div><div><strong>Alanna Lockward</strong>, Curator</div><div> </div><div><strong>Jose Manuel Barreto</strong> (United Kingdom) / <strong>Manuela Boatca</strong> (Germany) / <strong>Artwell Cain</strong> (The Netherlands) / <strong>Teresa Maria Diaz Nerio</strong> (The Netherlands) / <strong>Gabriele Dietze</strong> (Germany) / <strong>Simmi Dullay</strong> (South Africa) / <strong>Elvira Dyangani Osse</strong> (Spain) / <strong>Jeannette Ehlers</strong> (Denmark) /<strong> Fatima El Tayeb </strong>(Germany) / <s!
trong>Heide Fehrenbach</strong> (USA) / <strong>Quinsy Gario</!
strong>
(The Netherlands) / <strong>Ylva Habel </strong>(Sweden) / <strong>Ulrike Hamann</strong> (Germany) / <strong>Nico Horn</strong> (Namibia) / <strong>Grada Kilomba</strong> (Germany) / <strong>William Kentridge</strong> (South Africa) / <strong>Michael Küppers-Adebisi </strong>(Germany) / <strong>Rozena Maart </strong>(South Africa) / <strong>Tracey Moffatt</strong> (Australia) / <strong>IngridMwangiRobertHutter</strong> (Germany) /<strong> David Olusoga</strong> (United Kingdom) / <strong>Minna Salami</strong> (United Kingdom) / <strong>Robbie Shilliam</strong> (United Kingdom) / <strong>Sumugan Sivanesan </strong>(Australia) / <strong>Bonaventure Soh Bejeng Ndikung</strong> (Germany) /<strong> Robert A. Stemmle</strong> † / <strong>Emeka Udemba</strong> (Germany) / <strong>Rolando Vazquez</strong> (The Netherlands)</div><div><br /></div><div><strong>Walter Mignolo</strong>, Advisor</div><div> </div><div><br /></div><div><strong>BE.BOP 2012</strong></di!
v><div> </div><div><strong>BLACK EUROPE BODY POLITICS </strong>is an international screening program and transdisciplinary roundtable centered on Black European citizenship in connection to recent moving image and performative practices. It will take place at <strong>The Ballhaus Naunynstrasse</strong>, a translocal theatre space which serves as point of arrival for artists from (post) migrant communities and beyond, founded in 2008 by <strong>Shermin Langhoff</strong> with the support of <strong>Fatih Akin</strong>.</div><div><br /></div><div>The framework of this meeting is circumscribed within decolonial theories which expose how the idea of citizenship is linked to current racializing configurations and hence with the limits of humanity. In that sense, the racial hierarchy of human existence, originating in the Renaissance and prescribed legally during the Enlightenment, established current (white-male-heteronormative-Christian-Western) European notions of who is H!
uman and who is lower in that hierarchy, thereby designating c!
itizensh
ip, one of the most important legacies of modernity. The time-based positions discussed at this meeting have been selected because they contest (racializing) fantasies on European citizenship.</div><div><br /></div><div>By means of analyzing these narratives of re-existence, <strong>BE.BOP 2012</strong> aims at facilitating a long-term exchange between specialists in disciplines unrelated to visual arts and time-based art practitioners of different contexts of the Black European Diaspora. The idea is to create multiple dialogues across the fields of history, legal studies, theatre, art and political activism.</div><div><br /></div><div>This meeting is motivated and theoretically embedded to Decolonial Aesthetics and more specifically to Decolonial Diasporic Aesthetics, a term coined by curator, <strong>Alanna Lockward</strong>. In the spirit of the transformative and liberating qualities of performance art, this event is free and open to the public.</div><div><br /></div><di!
v><br /></div><div><strong><u>ROUNDTABLE SESSIONS</u></strong></div><div> </div><div><br /></div><div><strong><em>Friday, May 4th</em></strong></div><div><br /></div><div>10:00-11:00 <strong>Screening of works by Jeannete Ehlers, IngridMwangiRobertHutter, Teresa María Díaz Nerio, Emeka Udemba and Tracey Moffatt</strong></div><div><br /></div><div>11:00-11:30 Pause</div><div><br /></div><div>11:30-13:30 <strong>BLACK EUROPE AND DECOLONIAL (DIASPORIC) AESTHETICS</strong></div><div><strong>Walter Mignolo</strong>, <strong>Duke University</strong>. <em>Decolonial Aisthesis and Other Options Related to Aesthetics.</em></div><div><strong>Alanna Lockward</strong>, <strong>Humboldt Universität zu Berlin</strong>.<em> Decolonial Diasporic Aesthetics: Black German Body Politics.</em></div><div><strong>IngridMwangirobertHutter</strong>, artist</div><div>Moderator: <strong>Rolando Vazquez, Roosevelt Academy</strong></div><div><br /></div><div>13:30-14:!
15 Lunch</div><div><br /></div><div>14:15-16:30 <strong>B!
LACK EUR
OPE, CITIZENSHIP AND THE DECOLONIAL OPTION</strong></div><div><strong>Rolando Vazquez, Roosevelt Academy</strong>. <em>Decolonial Thought and the Exteriority of Modernity.</em></div><div><strong>Manuela Boatca, Freie Universität Berlin</strong>.<em>The Mark of the Non-Modern: Citizenship as Ascribed Inequality in the Global Age.</em></div><div><strong>Gabriele Dietze</strong>, <strong>Humboldt Universität zu Berlin</strong>.</div><div><strong>Artwell Cain</strong>, Director<strong> Ninsee </strong>(<strong>National Institute for the Study of Dutch Slavery and its Legacy</strong>).<em> Migration, Integration and Citizenship: Surinamese and Antilleans in The Netherlands.</em></div><div>Moderator: <strong>Walter Mignolo</strong>, <strong>Duke University</strong></div><div><br /></div><div>16:30-16:45 Pause</div><div><br /></div><div>16:45-18:00 OPEN MIC</div><div>Moderator: <strong>Robbie Shilliam, Queen Mary University, London</strong></div><div>Moderator: <strong>Al!
anna Lockward, Humboldt Universität zu Berlin</strong></div><div> </div><div>----------------------------------</div><div> </div><div><strong><em>Saturday, May 5th</em></strong></div><div><br /></div><div>09:30-11:30 <strong>SCREENINGS OF WORKS BY JEAN-MARIE TENO, SUMUGAN SIVANESAN AND WILLIAM KENTRIDGE</strong></div><div><br /></div><div>11:30-11:45 Pause</div><div><br /></div><div>11:45-13:45 <strong>COLONIAL AMNESIA I. CONNECTING ENSLAVEMENT LEGACIES BEFORE AND AFTER THE TRIANGULAR TRADE IN SCANDINAVIA</strong></div><div><strong>Simmi Dullay</strong>, independent scholar. <em>Uprootings and Belongings. Mapping the Black Body in a Scandinavian Exile</em></div><div><strong>Ylva Habel, Södertörn University</strong>. <em>Invulnerable but Touchy: White Governmentality, “Race” and the affective Economies of the Post-Political In Swedish Media Discourse on the Transatlantic Slavery.</em></div><div><strong>Jeannette Ehlers</strong>,!
artist</div><div>Moderator: <strong>Alanna Lockward, Humboldt!
Univers
ität zu Berlin</strong></div><div><br /></div><div>13:45-14:30 Lunch</div><div><br /></div><div>14:30-16:30 <strong>COLONIAL AMNESIA II. RES NULLIUS, THE BERLIN-CONGO CONFERENCE AND THE HERERO-NAMA GENOCIDE</strong></div><div><strong>David Olusoga</strong>, author.<em> ‘Death through Exhaustion’</em></div><div><strong>Jose Manuel Barreto</strong>, <strong>Goldsmiths College London</strong>. <em>The Politics of Amnesia. The Herero-Nama Genocide in the context of European and German Strategies of Denial</em></div><div><strong>Ulrike Hamann</strong><em>,</em><strong> Goethe University Frankfurt</strong><em>. Duala – Confrontations of “Res Nullius’’</em></div><div><strong>Nico Horn, University of Namibia</strong>.<em> Eddie Mabo in Namibia </em></div><div>Moderator: <strong>Bonaventure Soh Bejeng Ndikung, </strong>Director of<strong> Savvy Contemporary</strong></div><div><br /></div><div>16:30-18:00 OPEN MIC</div><div>Moderator:!
<strong>Michael Küppers-Adebisi</strong>, Director of <strong>AFROTAK TV cyberNomads</strong></div><div>Moderator:<strong> Teresa Maria Diaz Nerio</strong>, artist</div><div> </div><div>----------------------------------</div><div> </div><div><strong><em>Sunday, May 6th</em></strong></div><div><br /></div><div>10:30-11:00 <strong>SCREENING OF WORK BY AFROTAKT TV CYBERNOMADS</strong></div><div><br /></div><div>11:00- 13:00 <strong>BLACKNESS, SISTERHOOD AND CITIZENSHIP IN THE SOCIETY OF THE SPECTACLE</strong></div><div><strong>Teresa Maria Diaz Nerio</strong>, artist. <em>Ni ‘Mamita’ ni ‘Mulatita. Caribbean Womanhood and Citizenship in The Netherlands</em></div><div><strong>Grada Kilomba</strong>, author. <em>Diversity in Adversity</em></div><div><strong>Rozena Maart, University of Kwa-Zulu Natal</strong>. <em>Black Europe as Black Flesh</em></div><div><strong>Minna Salami</strong>, Writer/Blogger. <em>Fashioning Womanhood in Africa!
through the 20th Century – The Culture and Politics of !
Dress</e
m></div><div>Moderator: <strong>Robbie Shilliam, Queen Mary University</strong>, London</div><div><br /></div><div>13:00-13:45 Brunch</div><div><br /></div><div>14:00-15:30<strong> BLACKNESS, BROTHERHOOD AND CITIZENSHIP IN THE SOCIETY OF THE SPECTACLE</strong></div><div><strong>Michael Küppers-Adebisi</strong>, Director of <strong>AFROTAK TV cyberNomads</strong>. <em>Multi-Media-Archives of Survival. Occupy!</em></div><div><strong>Robbie Shilliam, Queen Mary University</strong>, London. <em>Keskidee Aroha: Translation on the Colonial Stage.</em></div><div><strong>Quinsy Gario</strong>, artist</div><div>Moderator: <strong>Ylva Habel, Södertörn University</strong></div><div> </div><div>15:30-16:00 Open Mic</div><div>Moderator: <strong>Walter Mignolo, Duke University </strong></div><div>Moderator: <strong>IngridMwangiRobertHutter</strong>, artist</div><div><br /></div><div>17:00 <strong>SCREENING OF TOXI (1952) BY ROBERT A. STEM!
MLE †</strong></div><div><strong>IN COLLABORATION WITH AFRICAVENIR, HACKESCHE HÖFE KINO</strong></div><div> </div><div> </div><div>--------------------------------------------------------------------</div><div>--------------------------------------------------------------------</div><div> </div><div> </div><div><strong><u>SCREENING SESSIONS</u></strong></div><div> </div><div><strong><em>SESSION 1 / 04.05.2102</em></strong></div><div><br /></div><div><strong>Jeannette Ehlers</strong></div><div><em>Black Magic At The White House</em>, 3:46, sound, 2009. Courtesy of the artist and <strong>Art Labour Archives</strong>.</div><div>Synopsis: <strong>Ehlers</strong> performs a Vodoun dance in Marienborg, an old building which has a strong connection to the trans-Atlantic trade. It was built as a summer residence for the commander <strong>Olfert Fischer</strong>, in 1744. It is now the official summer residency of Denmark's Prime Minister.</div><!
div><em><u>http://vimeo.com/25062988</u></em></div><div><br />!
</div><d
iv><em>Three Steps of Story</em>, 3:35, 2009. Courtesy of the artist and <strong>Art Labour Archives.</strong></div><div>Synopsis: We see <strong>Jeannette Ehlers</strong> waltzing in a big mirrored hall, where the colorful and rebellious governor <strong>Peter von Scholten</strong> scandalized the white citizens by inviting then the “free Negroes” to the ball. It was also <strong>von Scholten</strong>, who proclaimed emancipation of slaves on St. Croix in 1848.</div><div><em><u>http://vimeo.com/25309738</u></em></div><div><br /></div><div><strong>Jeannette Ehlers</strong> studied at <strong>The Royal Danish Academy of Fine Arts</strong> and<strong> The Funen Academy of Fine Arts</strong>. She has exhibited in several cities in Europe, USA, Asia and Africa; her works explores the Danish slave trade and colonialism worldwide through digitally manipulated photographs and video installations.</div><div><u><em>http://www.jeannetteehlers.dk/</em></u> </div><div><!
br /></div><div><strong>IngridMwangiRobertHutter</strong></div><div><em>Neger</em>, 4:16, sound, 1999. Courtesy of the artist and <strong>Art Labour Archives</strong>.</div><div><em><u>http://ingridmwangiroberthutter.com/_/neger_1999.html</u></em></div><div><br /></div><div><em>Wild Life</em>, 01:33, sound, 1998. Courtesy of the artist and <strong>Art Labour Archives.</strong></div><div><u><em>http://ingridmwangiroberthutter.com/_/wild_life_1999.html</em></u></div><div><br /></div><div><em>Masked</em>, 5:16, no sound, 2000. Courtesy of the artist and <strong>Art Labour Archives.</strong></div><div><em><u>http://www.ingridmwangiroberthutter.com/_/masked_2000.html</u></em></div><div><br /></div><div>Synopsis: In <em>Wild Life, Neger </em>and <em>Masked</em>, <strong>Mwangi </strong>transforms herself into beastly images that derive from the discriminatory imagination of the West. By becoming first a roaring caged animal in <em>Wild Life</em>, and a minimalistic self locked &l!
dquo;haired” entity in <em>Neger</em> and <em>Masked</em!
>, <stro
ng>Mwangi</strong>’s videos blend beautiful images with the edge of brutality embedded in racial stereotypes. (<em>By:</em> <strong>Laurie Ann Farrel</strong>)</div><div><br /></div><div><strong>Ingrid Mwangi</strong> and her husband <strong>Robert Hutter</strong> work together as video, photography and performance artists. They came to consider their practice as inseparable, “one artist two bodies”, and thus exhibit under their combined names. The issues that they have tackled have included race, sex and relationships.</div><div><br /></div><div><strong>Teresa Maria Diaz Nerio</strong></div><div><em>Hommage à Sara Bartman</em>, 4:00, 2007. Courtesy of the artist and <strong>Art Labour Archives.</strong></div><div>Synopsis: This performance is the result of an investigation on the Black performing body, and on how Blackness has become an act in itself. <strong>Sara Bartman</strong>´s iconic status is a consequence of the well documented “!
legitimate” scientific and voyeuristic rape of her body.</div><div><em><u>http://vimeo.com/17094383</u></em></div><div><br /></div><div><strong>Teresa Maria Diaz Nerio</strong> is a Dominican visual and performance artist and researcher that lives and works in Amsterdam, she graduated as a Bachelor in Fine Arts from the <strong>Gerrit Rietveld Academie </strong>2007 and Master in Fine Arts from the Dutch Art Institute 2009. Her research challenges hegemonic constructions on “reality”. <em><u>http://teresadiaznerio.wordpress.com/</u></em></div><div><br /></div><div><strong>Emeka Udemba</strong></div><div><em>Dancing with the Star</em>, 11:46, no sound, 2011. Courtesy of the artist and <strong>Art Labour Archives.</strong></div><div>Synopsis: This work explores the conceptual twists and turns of fluidity and impalpability of the body as a social and political context. Issues of tradition, religion and gender are chartered from image to body and body to image!
.</div><div><br /></div><div><strong>Emeka Udemba</strong> stu!
died Art
Education at the <strong>University of Lagos</strong>, Nigeria. His artistic practice focuses on the use of installations, video, photography, drawing and painting used as complementary to each other. His works focuses mainly on communication in the social and political sphere.</div><div><u><em>http://wikiart.net/index.php/Emeka_Udemba</em></u></div><div><br /></div><div><strong>Tracey Moffatt</strong></div><div><em>Other</em>, 7:00, sound, 2009. Courtesy of the artist and <strong>The Momentum Collection</strong>.</div><div>Synopsis: <strong>Moffatt </strong>explores the ways in which societies define so-called minorities as the Other, using film collage to elicit poignant and insightful understandings of stereotypes and cultural attitudes.</div><div><br /></div><div><strong>Tracey Moffatt </strong>is highly regarded for her formal and stylistic experimentation in film, photography and video, her work draws on history of cinema, art and photography as well as popular !
culture and her own childhood memories and fantasies. She studied visual communications at the <strong>Queensland college of Art</strong>.</div><div><em><u>http://www.roslynoxley9.com.au/artists/26/Tracey_Moffatt/</u></em></div><div> </div><div> </div><div>----------------------------------</div><div> </div><div><br /></div><div><strong><em>SESSION 2 / 05.05.2012</em></strong></div><div><br /></div><div><strong>Jean Marie Teno</strong></div><div><em>Le Malentendu Colonial</em>, 78:00:00, sound, 2004. Courtesy of<strong> Les Films du Raphia</strong>.</div><div>Synopsis: This film looks at Christian evangelism as the forerunner of European colonialism in Africa, indeed, as the ideological model for the relationship between North and South even today.</div><div><br /></div><div><strong>Jean- Marie Teno</strong> studied audiovisual communication and worked as a film critic for Bwana Magazine and as chief editor at France 3. He produces his own films with th!
e company <strong>Les Films du Raphia</strong>.</div><div><em>!
<u>http:
//www.jmteno.us/</u></em></div><div><br /></div><div><strong>Sumugan Sivanesan</strong></div><div><em>A Children's Book of War, A [Not So] Secret War. Terra Nullius and the Permanent State of Exception</em>, 1:46, sound, 2010. Courtesy of the Artist and <strong>The Momentum Collection.</strong></div><div>Synopsis: One interpretation of international law has it that people can prove their sovereignty by their ability to make and maintain laws, and their ability to declare war. Looked at that way, war is not only something civilizations do – it is something they must do in order for their right to self–rule to be respected.</div><div><em><u>http://childrensbookofwar.blogspot.com/</u></em></div><div><br /></div><div><strong>Sumugan Sivanesan</strong> is an anti–disciplinary artist. He is a member of the weather group_U, an experimental documentary collective focused on indigenous-non–indigenous exchange and collaboration. He lectures Experimental Fi!
lm and Video at the <strong>College of Fine Arts, University of New South Wales.</strong></div><div><em><u> http://www.sivanesan.net/</u></em></div><div><br /></div><div><strong>William Kentridge</strong></div><div><em>Black Box/Chambre Noire</em>, 22:00, sound, 2005. Courtesy of the artist and <strong>Marian Goodman Gallery.</strong></div><div>Synopsis:The development of visual technologies and the history of colonialism intersect in <em>Black Box/Chambre Noire</em> through <strong>Kentridge'</strong>s reflection on the history of the German genocide of the Herero and Nama in Southwest Africa (now Namibia) in 1904.</div><div><br /></div><div><strong>William Kentridge</strong> is a South-African artist best known for his prints, drawings, and animated films. Aspects of social injustice that have transpired over the years in South-Africa have often acted as fodder for his pieces.</div><div><em><u>http://www.mariangoodman.com/artists/william-kentridge/</u></em></div><div>&nbs!
p;</div><div> </div><div>--------------------------------!
--</div>
<div> </div><div><br /></div><div><strong><em>SESSION 3 / 06.05.2012</em></strong></div><div><br /></div><div><strong>Michael Küppers Adebisi</strong></div><div><em>Best Practice, culture and integration</em>, sound, 2010. Courtesy of <strong>AFROTAK TV cyberNomads</strong>. (S. biography on p. 23)</div><div>Synopsis: <strong>AFROTAK TV cyberNomads</strong>, the Black German Social Media, Culture and Education Network, was set up in 2001 to document the exchange of socio-cultural communities of the black German diaspora reaching out to global transatlantic networks.</div><div><u><em>http://www.youtube.com/watch?v=pVvb7XaoFXs</em></u></div><div><br /></div><div><strong>Quinsy Gario</strong></div><div><em>The Bearable Ordeal of the Collapse of Certainties</em>, 2011, theater & poetry, photo by <strong>Brett Russel</strong>.</div><div> </div><div><strong>Quinsy Gario</strong> is a spoken word performer and is currently following the MA program Comparative Wom!
en’s Studies in Culture and Politics at the Gender Studies Department of the<strong> University of Utrecht</strong>. He makes art under the banner of <strong>NON EMPLOYEES</strong>.</div><div><em><u>http://www.nonemployees.com/</u></em></div><div><br /></div><div>Final screening followed by reception in partnership with <strong>AfricAvenir</strong></div><div><br /></div><div>5:00 p.m. <strong>Hackesche Höfe Kino</strong></div><div><br /></div><div><strong>Robert A. Stemmle</strong></div><div><em>Toxi</em>, 89:00:00, sound, 1952. Courtesy of <strong>Goethe Institut.</strong></div><div>Synopsis: As one of the first and most successful films to directly tackle the problem of “race” in post-fascist Germany, Toxi arguably has been instrumental in the (re)construction of the German nation as exclusively white.</div><div><em><u>http://www.youtube.com/watch?v=ziZr3z10_B8&feature=related</u></em></div><div><br /></div><div><strong>Robert Adolf Stemmle </st!
rong>(1903 – 1974) was a German screenwriter and film di!
rector.
He wrote for 86 films between 1932 and 1967. He also directed 46 films between 1934 and 1970.</div><div><em><u>http://en.wikipedia.org/wiki/Robert_A._Stemmle</u></em></div><div> </div><div><br /></div><div>----------------------------------</div><div>----------------------------------</div><div> </div><div> </div><div><strong><u>BE.BOP INTERNATIONAL SCREENINGS:</u></strong></div><div> </div><div>18.02.2012. 8:00 p.m.</div><div><strong>+ARCO. Imagery Affairs. Matadero Madrid</strong>.</div><div><em><u>http://www.mataderomadrid.org/ficha/1315/imagery-affair.html</u></em></div><div><em><u>http://www.videoartworld.com/data/bulletins/Imagery-Affairs-during-ARCO-Madrid.html</u></em></div><div><em><u>http://dutchartinstitute.eu/page/2047/preview-at-arco-imagery-affair-be-bop-2012-black-europe-body-politics-ter</u></em></div><div> </div><div> </div><div>20.04.2012. 9:00 p.m. </div><div><strong>+Kwa-Zulu Natal Society of Arts. Durban</strong>.</div>!
<div><em><u>http://www.nsagallery.co.za/</u></em></div><div> </div><div> </div><div>22.04.2012. 5:00 p.m. </div><div><strong>+The Bioscope. Independent Cinema. Johannesburg. </strong></div><div><em><u>http://www.thebioscope.co.za/2012/04/05/black-europe-body-politics-screening-and-presentation-at-the-bioscope/</u></em></div><div> </div><div> </div><div>24.04.2012. 8:00 p.m.</div><div><strong>+National Art Gallery of Namibia, Windhoek. </strong></div><div><em><u>http://www.nagn.org.na/</u></em></div><div> </div><div> </div><div>22.05.2012. 5:00 p.m.</div><div><strong>+Goldsmiths University of London. </strong></div><div><em><u>http://www.gold.ac.uk/</u></em></div><div> </div><div> </div><div>----------------------------------</div><div>----------------------------------</div><div> </div><div><br /></div><div><strong><u>PRESS:</u></strong></div><div> </div><div><strong>Reboot.fm</strong> – cultural o!
nline radio in Berlin.</div><div><strong>Diana McCarty </stron!
g>discus
ses the project with curator, <strong>Alanna Lockward</strong>.</div><div><em><u>http://soundcloud.com/rebootfm/be-bop-black-europe-body</u></em></div><div><em><u>http://reboot.fm/2012/04/08/bebop-black-europe-body-politics/</u></em></div><div> </div><div> </div><div> </div><div>----------------------------------</div><div>----------------------------------</div><div> </div><div><br /></div><div><strong><u>PARTNERS:</u></strong></div><div> </div><div><strong>Center for Global Studies and the Humanities at Duke University / DEFA Film Library / Goethe Institut / Goldsmiths University of London / Kwa-Zulu Natal Society of Arts / </strong><strong>Imagery Affairs of Digits without Borders /</strong><strong> National Art Gallery of Namibia / Savvy Journal / Transational Decolonial Institute / The Bioscope Independent Cinema. Johannesburg / VideoArtWorld</strong></div><div><br /></div><div><strong><u>MEDIA PARTNERS:</u></strong></div><!
div> </div><div><strong>AfricAvenir / AFROTAK TV cyberNomads / Exberliner / reboot.fm / Osvaldobudet.com</strong></div><div> </div><div><br />----------------------------------</div><div>----------------------------------</div><div> </div><div><strong><u>TEAM:</u></strong></div><div> </div><div>Curator: <strong>Alanna Lockward</strong></div><div>Advisor: <strong>Walter Mignolo</strong></div><div>Manager: <strong>Macu Moran</strong></div><div>Publisher:<strong> Kultursprünge e.V. im Ballhaus Naunynstraße</strong></div><div>Artistic Director: <strong>Shermin Langhoff </strong></div><div>Executive Producer: <strong>Wagner Carvalho</strong></div><div>Editors: <strong>Alanna Lockward, Walter Mignolo</strong></div><div>Coordination: <strong>Fereidoun Ettehad</strong></div><div>Production: <strong>Christian Wolf</strong></div><div>Presse: <strong>Verena Schimpf</strong></div><div>Art Direction: <strong>Esra Rothoff</strong></div><div>Graph!
ics:<strong> Marcelo Vilela</strong></div><div>Screenings: <st!
rong>osv
aldobudet.com</strong></div><div>Text Editorship: <strong>Teresa Maria Diaz Nerio</strong></div><div>Finances: <strong>Duygu Türeli</strong></div><div>Technik: <strong>Yavuz Akbulut, Thomas Sanne, Jens Schneider</strong></div><div>Catering: <strong>Ali Yildiz</strong></div><div>Intern: <strong>Melissa Palacio</strong></div><div>Catalog Cover: <strong>IngridMwangiRobertHutter</strong>. <em>Thing</em>, 2007 </div><div> </div><div> </div><div>For more information on Decolonial Aesthetics:</div><div><u><em>http://transnationaldecolonialinstitute.wordpress.com/</em></u></div><div><em><u>decolonial.institute@yahoo.com</u></em></div><div><br /></div></span></div></td>
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