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DTSTART;VALUE=DATE:20210310
DTEND;VALUE=DATE:20210519
DTSTAMP:20260901T214630
CREATED:20210304T150103Z
LAST-MODIFIED:20210322T144906Z
UID:13002-1615334400-1621382399@oyoun.de
SUMMARY:a’21: techno utopia x post-digital ignorance___10 March - 18 May\, 2021
DESCRIPTION:► a’21: techno utopia x post-digital ignorance \n► 10 MARCH - 18 MAY\, 2021 \n:: EXHIBITIONS :: PERFORMANCES :: TALKS\, WORKSHOPS & LECTURES :: & MORE :: ABOUT a’21 FESTIVAL :: \nThe past few decades have witnessed a tremendous proliferation of digital technology. References to a techno-utopia where knowledge would be available to each and all seemed to signal the possibility of positive social and cultural change while acknowledging a fundamental flaw. Digital technologies’ commitment to making knowledge accessible to all would supposedly produce a universal benefit and wellbeing which was partly realised but digital technologies did in no way result in a techno-utopia. It has become apparent that besides letting vast amounts of knowledge accessible to ever more people\, digital technologies are also powerful tools producing a peculiar kind of public ignorance\, one that seems to proliferate amidst ever multiplying information and knowledge available in today’s digitalised environment. With a’21 Festival - Post Digital Ignorance x Techno Utopia\, we aim to challenge the status quo while centring perspectives on non-human life\, queer ecology\, decolonising knowledge\, forced displacement\, and more. :: 69+ artists\, scientists and activists in 16 countries #SWANA #AFRICA #EUROPE #ASIA \n:: 13 extraordinary creatives radically collaborating within an intensive laboratory :: \nHosting hosting more than 50 events: incl. performances\, workshops\, panels\, sounds\, lectures\, exhibitions and screenings \n:: PROGRAMME 2021 ::  \nw/ amberPlatform (Turkey)\, 16 March - 18 April w/ Kounaktif (Morocco)\, 17 - 21 March w/ Sharhaban (Lebanon)\, 22 - 25 March w/ BAAB Collective (Sudan) 1 April - 15 May w/ Darağaç (Turkey)\, 2 April - 26 March w/ DAHproject (Iran)\, 3 April - 7 May  \n#NewMedia #QueerEcology #ForcedDisplacement #FutureDesign \n// Produced by: Oyoun in collaboration with amberPlatform \n// Curatorial Team: Amirali Ghasemi\, Ali Cem Doğan\, Cenkhan Aksoy\, Christoph Wachter\, Ebru Yetişkin\, Ekmel Ertan\, Hamza Chamas\, Mathias Jud\, Milad Forouzandeh\, Mohsen Hazrat\, Nina Martin\, Rajaa Shamam\, Youssef El Idrissi \n// Participants include: Eda Sütunç\, Danielle Brathwaite-Shirley\, Mary Maggic\, Rachel Uwa\, Renata Salecl\, Seloua Luste Boulbina\, Pelin Tan\, Yara Mekawei\, and many more. \n// Funded by: Capital Cultural Fund/ Berlin's Hauptstadtkulturfond
URL:https://oyoun.de/event/a21-techno-utopia-x-post-digital-ignorance/
LOCATION:Online
CATEGORIES:a’21
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/01/3-techno-utopia-post-digital-ignorance-e1614378397508.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210408T180000
DTEND;TZID=Europe/Berlin:20210418T210000
DTSTAMP:20260901T214630
CREATED:20210218T083916Z
LAST-MODIFIED:20210412T092738Z
UID:11223-1617904800-1618779600@oyoun.de
SUMMARY:EMBODIED ARTS FESTIVAL
DESCRIPTION:[English below] \nEMBODIED ARTS FESTIVAL - AUF DEN SPUREN VERKÖRPERTER ERINNERUNGEN \n♦️♦️♦️ Embodied Arts Festival Guide ♦️♦️♦️ \nWas verkörpern unsere Körper? Welche Erinnerungen können uns unsere Körper erzählen? - über uns selbst\, unsere Vergangenheit und unsere Zukunft? Wir laden euch ein\, mit uns diesen und vielen weiteren Fragen während des EMBODIED ARTS FESTIVAL künstlerisch nachzugehen. Wir haben über 20 Performances\, Filmvorführungen\, Diskussionen und interaktive Interventionen für euch geplant. \nMit den Mitteln der Kunst gehen wir auf die Suche nach Antworten auf Fragen wie: Wie können wir Traumata kollektiv heilen? Wie können sich unsere Körper aus einem Bündel sozialer Zwänge in eine Manifestation blühenden Lebens verwandeln? Wie brechen wir Tabus über Menstruation\, über Gendernormen\, über Sexualität(en)\, über Tod und Trauer? Woher kommt Hass\, wie wirkt sich Hass aus und welcher Weg führt vom Hassenden zum Gehassten? \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Dies war ein 8-monatiges Forschungs-\, Archivierungs-\, Ausstellungs- und Performance-Projekt\, an dem über 40 Menschen beteiligt waren. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert.  \nSeid dabei ab dem 8. April und nehmt teil an Live-Streams\, Diskussionen und interaktiven Gesprächen >>> siehe Programm hier. \nIhr seid eingeladen\, die ausgestellten Werke offline zu erleben: hier kannst du ein Zeitfenster auswählen und buchen. \n  \n \nEMBODIED ARTS FESTIVAL - TRACING THE MEMORIES OUR BODIES HOLD \n♦️♦️♦️ Embodied Arts Festival Guide ♦️♦️♦️  \nWhat memories do our bodies hold? What can our bodies tell us about ourselves\, our pasts and our futures? We invite you to join us for an artistic exploration of these and many other questions during the EMBODIED ARTS FESTIVAL. We have 20+ performances\, film screenings\, discussions\, and interactive interventions planned for you. \nUsing art as a tool we go in search of answers to questions such as: How do we break taboos about menstruation\, about gender norms\, about sexualities\, about death and mourning? How can we collectively heal trauma? How can our bodies transform from an object that is a carrier of social constraints into a manifestation of thriving\, living bodies? Where does hate come from\, how does it affect us\, and what path does it take from hater to hated? \nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. This has been an 8-month research\, archiving\, exhibition and performance project involving 40+ people. The outcomes\, encounters and queries which have come out of the projects will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April.  \nJoin us from the 8th April onwards for our digital programme of releases\, live streams and interactive talks that we have planned for you >>> see all event here. \nFrom the 9th - 18th April you can book a time slot to view and experience the exhibited works in person at Oyoun.
URL:https://oyoun.de/event/embodied-arts-festival/
LOCATION:Lucy-Lameck-Str. 32\, Berlin\, 12049\, Deutschland
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/02/embodied-arts-festival-oyoun.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210409T120000
DTEND;TZID=Europe/Berlin:20210418T180000
DTSTAMP:20260901T214630
CREATED:20210318T142605Z
LAST-MODIFIED:20210409T131935Z
UID:14453-1617969600-1618768800@oyoun.de
SUMMARY:Black Post Box
DESCRIPTION:[deutsch unten] \nCo-curators of the BLACK POST BOX\, Gugulethu Duma and Dylan Greene\, explore racial and cultural melancholy by centralizing the work of Saidiyah Hartman who asks\, "...what if depression could be traced to histories of colonialism\, genocide\, slavery\, exclusion\, everyday segregation\, and isolation that haunt all of our lives\, rather than to biochemical imbalances? How can we feel\, deal and heal while the experiences of loss and alienation persist? The silent victims are countless\, and their names remain unrecorded. The body carries this reality and functions. Day in and day out. The body functions in a dysfunctional state\, we can hear\, but do we listen? We can look\, but do we observe?"  \nIn Anne Anlin Cheng's seminal work\, The Melancholy of Race: Psychoanalysis\, Assimilation\, and Hidden Grief\, melancholy is defined as\, "a transformation from grief to grievance". It's a state of being explored as an entangled relationship to loss where grief becomes legislated. Said another way\, mourning passes whereas melancholy\, an apparently endless condition\, continues through the generations as it becomes the formation of identity and ego and diaspora themselves. As Ralph Ellison writes in Invisible Man "I am invisible...like the bodiless heads you see sometimes in circus sideshows\, it is as though I have been surrounded by mirrors of hard\, distorting glass. When they approach me they see only my surroundings\, themselves\, or figments of their imagination." Asking\, within the framework of culture and the perception of it\, "who distorts whom?" In this way\, melancholia asks the self into cycles of reflexivity.  \nUntil the 19th century\, Western science and medicine saw "melancholia" as both a physical and mental symptomatic condition. The melancholic were classified by a perceived common cause: an excess of black bile. At times\, all forms of mental illness were associated with the concept. Some were deemed to be caused by a combination of excess black bile and a disorder of one of the other humors. As global societies begin to explore "generational trauma/transfer" and the lineage of hauntings turn to anxieties and physical conditions\, we posit African and Asian sciences and medicines which long pre-date the white-bile of Western opinion. \nIn their contribution to Oyoun’s Embodied Arts Festival\, Gugulethu Duma's curatorial focus invites contemplations on melancholia\, psycho-spiritual instability\, and the colour Black: Black as silence; black as emptiness; black as the unknown; black as the shadow; black as the night\, as we move with earth still in a global lockdown. Dylan 'HUNTERCHEE' Greene's curatorial focus invites contemplations on immigration\, the stasis within enslaving forms of transit\, and cultural homelessness. \nThe BLACK POST BOX invites individuals to spend 20 minutes alone\, listening and seeing compositions that seek to inspire conversation with the unrecorded self; observation of the silenced self; and recollection of forgotten selves. We invite our audience to write down reflections and submit them to our post box after engaging with the installation. They will be mailed through flame to the ancestors upon the closing of the installation. \nA diasporic rhythm called 'displacement' is another way of describing home. Echos of a global feeling; a mid-air suspension pleading\, "is there grounding?" \nThe Black Post Box will be at Oyoun for both the opening and closing ceremony of the EMBODIED ARTS FESTIVAL. \nFrom 9th-18th April\, the Black Post Box will be stationed where May Ayim Ufer meets Oberbaumstraße in Kreuzberg. It will be open every day between 12:00 - 18:00 - book your time slot to visit here. \n  \nAbout the contributors\nGugulethu Duma\, also known as Dumama\, is an artist\, performer and sonic researcher\, born in South Africa. Her transdisciplinary practice involves consciously deconstructing and critiquing archaic modes of representation of (Southern) African sonic and performance culture. Her interests intersect as practice based performance research\, and interdisciplinary\, collaborative bodies of work centred around political-poetic imaginations. > dumamamusic.com \nDylan "HUNTERCHEE" Greene is an Asian American drummer\, multi-instrumentalist\, composer\, and producer who collaborates deeply with dance and visual media. In 2019\, he was commissioned by the Peabody Essex Museum in Salem\, MA to focus on Ming Dynasty naval exploration as well as Chinese immigration to America. He is currently making work that explores perception and narrative through the experiences of mild traumatic brain injury and lenses of Eastern philosophy. Greene performed with Grammy nominated artists\, A Far Cry Chamber Orchestra and countertenor Anthony Roth Costanzo\, Bessie Award-winning choreographers\, Rebecca Lazier and Christopher Williams\, MacArthur Fellowship composer\, Matt Aucoin\, and the Peabody Award winning podcast\, Radiolab. Dylan has been an artist in residency at Avaloch\, a fellow at Mass MOCA with Bang On a CAN\, and a Onebeat alumni\, an initiative of Found Sound Nation supported by the U.S. Department of State. He has taught at Carnegie Hall and now teaches a trauma conscious music methodology with Music Beyond Measure. HUNTERCHEE is an ambassador for Out Of Time Embassy\, a Berlin-based collective. > hunterchee.com \nAyanda Duma is a video and film artist whose main objective is the re-representation of the marginalised people of South Africa. Through a subversive and an imaginative lens\, her work encompasses an inquiry into the ways the past informs the present\, reflecting on how this affects the representation of the South African & global youth. Ayanda Duma’s film work embodies themes such as identity\, sexuality\, interpersonal relationships and politics within slice of life narratives that celebrate the magic in the mundane. She is an emerging female-identifying filmmaker from East London\, currently based in Cape Town. Ever the curious artist\, her creative inclinations\, beginning in primary school\, have spanned many years covering a range from classical piano\, music composition\, modelling\, performance and visual storytelling in the forms of portrait photography and filmmaking. Her filmmaking journey began with Film School in 2016 and by 2017 my short film\, Booked\, was shortlisted for The Horizon Award with The Creative Mind Group. This accolade earned me an invitation and internship at the Cannes Film Festival 2018.  \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \n  \n--- \nDie Co-Kurator*innen der BLACK POST BOX\, Gugulethu Duma und Dylan Greene\, erforschen Melancholie bezogen auf Race und Kultur auf der Basis der Arbeiten von Saidiyah Hartman\, die fragt: "...was wäre\, wenn Depressionen auf die Geschichte des Kolonialismus\, von Völkermord\, Sklaverei\, Ausgrenzung\, alltäglicher Segregation und Isolation zurückgeführt werden könnten\, die unser aller Leben heimsuchen\, und eben nicht (nur) auf ein jeweiliges biochemisches Ungleichgewicht? Wie können wir fühlen\, fortleben und heilen\, während die Erfahrungen von Verlust und Entfremdung fortbestehen? Die stummen Opfer sind ohne Zahl\, und ihre Namen bleiben unverzeichnet. Der Körper trägt diese Realität und funktioniert - Tag ein\, Tag aus. Der Körper funktioniert in einem dysfunktionalen Zustand\, wir können hören\, aber hören wir auch wirklich zu? Wir können schauen\, aber beobachten wir auch wirklich?" \nIn Anne Anlin Chengs bahnbrechendem Werk The Melancholy of Race: Psychoanalysis\, Assimilation\, and Hidden Grief wird Melancholie definiert als "eine Transformation von Trauer zu Kummer". Melancholie ist ein Seinszustand\, der sich als durch Verlusterfahrungen gefesselt erweist\, in dem Kummer Gesetz ist. Anders ausgedrückt: Trauer vergeht\, während Melancholie als anscheinend endloser Zustand über Generationen hinweg fortbesteht\, indem die Basis der Identität\, des jeweiligen Ich\, ja der ganzen Diaspora bildet. Wie Ralph Ellison in Invisible Man schreibt: "Ich bin unsichtbar ... wie die körperlosen Köpfe\, die man manchmal in Zirkusprogrammen sieht; es ist\, als wäre ich von Spiegeln aus hartem\, verzerrendem Glas umgeben. Wenn sie sich mir nähern\, sehen sie nur meine Umgebung\, sich selbst oder Ausgeburten ihrer Phantasie." Im Rahmen von Kultur und deren Wahrnehmung fragt man sich: "Wer verzerrt wen?" Auf diese Weise lockt die Melancholie das Selbst einen ewigen Kreislauf der Selbstbespiegelung. \nBis ins 19. Jahrhundert nahm man in Europa an\, dass "Melancholie" sowohl körperliche als auch psychische Symptomen habe. Die melancholischen Zustände würden sich durch ein Übermaß an "schwarzer Galle" auszeichnen. Zeitweise wurden alle Formen von Geisteskrankheit mit diesem Konzept in Verbindung gebracht\, wobei man bei einigen davon ausging\, dass sie durch eine Kombination von überschüssiger schwarzer Galle mit einer Störung eines der anderen Körpersäfte verursacht würden. Während die globalen Gesellschaften allmählich damit anfangen\, generationsübergreifende Traumata und deren Übertragung zu erforschen und Spuk und Besessenheit zu Angstvorstellungen und somatischen Zustände umgedeutet werden\, berufen wir uns auf afrikanische und asiatische wissenschaftliche und medizinische Traditionen\, die der weißen galle westlicher Vorstellungen weit vorausgehen. \nDer Fokus von Gugulethu Dumas kuratorischen Beiträgen zum Embodied Arts Festival lädt zum Nachdenken über Melancholie\, über psycho-spirituelle Instabilität und über die Farbe Schwarz ein. Schwarz als: Stille; schwarz als: Leere; schwarz als: das Unbekannte; schwarz als: der Schatten; schwarz als: die Nacht - während wir alle uns immer noch in einem globalen Lockdown befinden. Dylan 'HUNTERCHEE' Greene wiederum regt uns zum Nachdenken über Immigration an\, über den durch versklavende Formen des Übergangs verursachten Stillstand\, und über kulturelle Heimatlosigkeit. \nDie BLACK POST BOX bietet uns die Möglichkeit\, 20 Minuten allein zu sein und während dessen Kompositionen zu hören und zu sehen\, die zu Gesprächen mit dem nicht ausdefinierten Selbst anregen sollen\, zur Beobachtung des zum Schweigen gebrachten Selbst und zur Erinnerung an vergessene Formen des Selbst. Wir laden unser Publikum ein\, ihre Reflexionen aufzuschreiben und sie in unseren Briefkasten zu werfen\, nachdem sie sich mit der Installation beschäftigt haben. Sie werden nach Beendigung der Installation mittels Feuer den Ahnen geschickt. \nDer diasporische Rhythmus namens 'Vertreibung'\, ist eine andere Art\, Heimat zu beschreiben. Echos eines globalen Gefühls; ein Schweben in der Luft\, das uns um festen Boden unter den Füßen bitten lässt... \nDie Black Post Box wird sowohl bei der Eröffnungs- als auch bei der Abschlussveranstaltung des EMBODIED ARTS FESTIVAL im Oyoun zu sehen sein. \nVom 9. bis 18. April wird die Black Post Box am östlichen Ende des May-Ayim-Ufers \, Ecke Oberbaumstraße\, stationiert sein. Sie wird täglich von 12:00 bis 18:00 Uhr geöffnet sein. Hier kannst du einen Termin für einen persönlichen Besuch buchen kannst. \n  \nÜber die Mitwirkende\nGugulethu Duma\, auch bekannt als Dumama\, ist eine in Südafrika geborene Künstlerin\, Performerin und Klangforscherin. In ihrer transdisziplinären Praxis dekonstruiert und kritisiert sie bewusst archaische Repräsentationsformen der (süd-)afrikanischen Klang- und Performancekultur. Ihr Interesse gilt der Verbindung von praxisbasierter Performance-Forschung und interdisziplinären\, kollaborativen Arbeiten\, die sich um politisch-poetische Imaginationen drehen. > dumamamusic.com \nDylan Hunter Chee Greene ist ein chinesisch-amerikanischer Schlagzeuger\, Multi-Instrumentalist\, Produzent und Komponist. Angetrieben von dem Wunsch\, ein vielfältiges und gemischtes Werk zu schaffen\, schreibt Dylan Musik als Session-Musiker und als Auftragskomponist. Seine Kompositionen für Tanz\, Konzerte und visuelle Kunstinstallationen waren in den ganzen Vereinigten Staaten zu hören\, unter anderem bei Alvin Ailey\, im Peabody Essex Museum\, im Detroit Institute of the Arts\, im Museum of Contemporary Art Detroit und im Mark Morris Dance Center. Als sehr vielseitiger Künstler arbeitete Dylan mit und für Größen wie Shahzad Ismaily\, Sō Percussion\, Leila Adu\, Mark Stuart\, David Scher und Jeff Dolven. Greene trat mit dem für den Grammy nominierten A Far Cry Chamber Orchestra und dem Kontratenor Anthony Roth Costanzo\, den mit dem Bessie Award ausgezeichneten Choreographen Rebecca Lazier und Christopher Williams\, dem MacArthur Fellowship Komponisten Matt Aucoin und dem mit dem Peabody Award ausgezeichneten Podcast Radiolab auf. Dylan war Artist in Residency bei Avaloch\, Stipendiat am Massachusetts Museum of Contemporary Art mit Bang On a Can und ist Alumnus von Onebeat\, einer vom US-Außenministerium unterstützten Initiative von Found Sound Nation. Er unterrichtet eine traumabewusste Musikmethodik mit Music Beyond Measure und ist Botschafter für das Berliner Kollektiv Out Of Time Embassy. > hunterchee.com \nDas Hauptinteresse der aus East London stammenden und derzeit in Kapstadt lebenden Video- und Filmkünstlerin Ayanda Duma gilt der Re-Repräsentation marginalisierter Menschen in Südafrika. Auf subversive\, phantasievolle Weise untersucht sie\, wie die Vergangenheit die Gegenwart beeinflusst\, und reflektiert dabei\, wie dies die Darstellung der südafrikanischen und globalen Jugend beeinflusst. Ayanda Dumas Filmarbeit konzentriert sich auf Themen wie Identität\, Sexualität\, zwischenmenschliche Beziehungen und Politik innerhalb von Slice-of-Life-Erzählungen\, die die Magie im Alltäglichen feiern. Sie war schon immer eine neugierige Künstlerin\, und ihre kreativen Neigungen\, die sie bereits in der Grundschule entdeckte\, umfassten ein Spektrum von klassischem Klavier\, Musikkomposition\, Modellieren und Performance bis hin zu visuellem Geschichtenerzählen in Form von Portraitfotografie und Filmemachen. Ihre Reise als Filmemacherin begann 2016 mit der Filmschule und schon 2017 stand ihr Kurzfilm Booked auf der Shortlist für den Horizon Award der Creative Mind Group. Diese Auszeichnung brachte ihr eine Einladung und ein Praktikum bei den Filmfestspielen in Cannes 2018 ein. \nEMBODIED ARTS FESTIVAL \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert. Siehe alle Events hier.
URL:https://oyoun.de/event/black-post-box/
LOCATION:May-Ayim-Ufer\, May-Ayim-Ufer\, Berlin\, 10997\, Deutschland
CATEGORIES:Embodied Arts Festival,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/black-post-box-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210417T160000
DTEND;TZID=Europe/Berlin:20210418T160000
DTSTAMP:20260901T214630
CREATED:20210408T102837Z
LAST-MODIFIED:20210411T105856Z
UID:15131-1618675200-1618761600@oyoun.de
SUMMARY:The Body Undone Film Screening: "Let My Body Speak"\, "No Crying at the Dinner Table" & "Kaala"
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nEach film is available for a selected timeframe during Oyoun's EMBODIED ARTS FESTIVAL. \nContact us at hallo@oyoun.de to get sent the link and password to view the films. (This is limited to people in Germany)  \nThere is a Q&A event happening with the directors of Let My Body Speak" and "No Crying at the Dinner Table on 18th April at 16:00\, see here for details. \n  \nLet My Body Speak\nMadonna Adib\n10” | UK/ Lebanon | 2020 | Arabic with English subtitles \n \n“'When I left Syria\, my body became my only land. It is the only thing I own.” \nThis documentary is a personal and intimate journey exploring the repression experienced by the filmmaker during her childhood when she faced sexual control in a Damascus also experiencing a growing socio-political repression in the late 80s early 90s. Through the creative use of family archive in Damascus mixed with current footage of her body she reconstructs the pain of the past absorbed by her body. \nIndependent filmmaker and artist\, Madonna Adib was born in Damascus\, Syria\, in 1986. She has received her B.A. in Fine Arts from the University of Damascus and went on to study Film Animation at Concordia University. She created experimental documentaries and experimental short drama films that were screened in film festivals and contemporary art museums across the world. She is one of the six founders and a photographer in the project Syrian Eyes of The World. She currently lives in Beirut\, Lebanon. \nDirector: Madonna Adib\nProduction: Noe Mendelle for Scottish Documentary Institute\nCinematography: Elsy Hajjar\nEditing: Sandra Fatte \n  \nNo Crying at the Dinner Table\nCarol Nguyen\n2019 | Canada | 15 min | Vietnamese\, English with English subtitles \n \nFilmmaker Carol Nguyen interviews her own family to craft an emotionally complex and meticulously composed portrait of intergenerational trauma\, grief\, and secrets in this cathartic documentary about things left unsaid. \nCarol Nguyen is a Vietnamese Canadian filmmaker based in Toronto and Montreal. Her films often explore the subjects of cultural identity\, family and memory. Carol is a 2018 Sundance Ignite fellow\, Adobe Creativity Scholar and a TIFF Share Her Journey ambassador\, where she strives to empower diverse voices and women through her own stories and personal experiences in the film industry. Today\, Carol is working towards developing her first documentary feature as well as an animated short. \nDirector: Carol Nguyen \nProducers: Carol Nguyen\, Aziz Zoromba (Concordia Film School)\nCinematographer: Walid Jabri \nEditors: Carol Nguyen and Andrés Solis \nSound Design: Giulio Trejo-Martinez \nMusic Composer: Arie Van de Ven \nCast: Thao Nguyen-Duong\, Ngoc Nguyen\, Michelle Nguyen\, Carol Nguyen \ncarolnguyenfilms.com/no-crying-at-the-dinner-table \nThis short film is also available online here. \n  \nKaala\nSourav Das\n4.26” | India | 2020 \n \nKaala\, a musical mood piece about a boy finding his liberation from social stigmas. \nSourav Das\, a 23 year old self-taught filmmaker who comes from a very small town in Assam\, India. Das currently resides in Mumbai and makes a living by making films. \nWriter/Director/Cinematographer: Sourav Das\nFeaturing: Ajay Das\, Jeevan Sanyasi\nProducer: Seba Das\nEditor: Mitali Solanki\, Sourav Das\nMusic: Shafer Youssef\nSound: Mitali Solanki\, Sourav Das \nThis short film is also available online here. \n--- \nEMBODIED ARTS FESTIVAL \nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/the-body-undone-film-screening-short-films/
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/04/let-my-body-speak.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210418T160000
DTEND;TZID=Europe/Berlin:20210418T173000
DTSTAMP:20260901T214630
CREATED:20210319T170928Z
LAST-MODIFIED:20210411T110200Z
UID:14547-1618761600-1618767000@oyoun.de
SUMMARY:The Body Undone Q&A - "Let My Body Speak" & "No Crying at the Dinner Table"
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nFor this Q&A event\, Sana Rizvi will be talking to Let My Body Speak director: Madonna Adib and No Crying at the Dinner Table director: Carol Nguyen. You are invited to join in the conversation.  \nThis event will take place on zoom\, you can register here. Please note the zoom discussion will also be live-streamed on Oyoun's online platforms - Youtube\, Vimeo and Facebook. \n  \nThe films will be available for 24 hours starting at 14:00 on 17th April. \nContact us at hallo@oyoun.de to get sent the link and password to view this film. (This is limited to people in Germany)  \n  \n"Inspired by the poetry of Meena Kandasamy\, the writings of Christina Crosby and Balbir Krishan’s art\, I began my reflections on embodied memories connected to loss and grief. Their work helped me map new areas of inquiry and pose questions away from a more conventional outlook on the linear notions of loss’s predestined path\, in a culture frantic for resolution. And instead\, look at loss as holding social\, political\, and aesthetic implications for the body. A loss that doesn’t rely on linearity but that is profoundly intimate\, from the deep space and time of the self. One that is birthed from the deepest parts of our bodies and times. Moreover\, from this position of embodied knowing\, could (re) engaging with loss generate sites for memory and history\, rewriting of the past and reimagining the future? And could this engagement with loss: the irrecoverable\, become\, paradoxically\, the condition of a new anti-colonial hope and agency." - Sana Rizvi \n  \nLet My Body Speak\nMadonna Adib\n10” | UK/ Lebanon | 2020 | Arabic with English subtitles \n \n“'When I left Syria\, my body became my only land. It is the only thing I own.” \nThis documentary is a personal and intimate journey exploring the repression experienced by the filmmaker during her childhood when she faced sexual control in a Damascus also experiencing a growing socio-political repression in the late 80s early 90s. Through the creative use of family archive in Damascus mixed with current footage of her body she reconstructs the pain of the past absorbed by her body. \nIndependent filmmaker and artist\, Madonna Adib was born in Damascus\, Syria\, in 1986. She has received her B.A. in Fine Arts from the University of Damascus and went on to study Film Animation at Concordia University. She created experimental documentaries and experimental short drama films that were screened in film festivals and contemporary art museums across the world. She is one of the six founders and a photographer in the project Syrian Eyes of The World. She currently lives in Beirut\, Lebanon. \nDirector: Madonna Adib\nProduction: Noe Mendelle for Scottish Documentary Institute\nCinematography: Elsy Hajjar\nEditing: Sandra Fatte \n  \nNo Crying at the Dinner Table\nCarol Nguyen\n2019 | Canada | 15 min | Vietnamese\, English with English subtitles \n \nFilmmaker Carol Nguyen interviews her own family to craft an emotionally complex and meticulously composed portrait of intergenerational trauma\, grief\, and secrets in this cathartic documentary about things left unsaid. \n\nCarol Nguyen is a Vietnamese Canadian filmmaker based in Toronto and Montreal. Her films often explore the subjects of cultural identity\, family and memory. Carol is a 2018 Sundance Ignite fellow\, Adobe Creativity Scholar and a TIFF Share Her Journey ambassador\, where she strives to empower diverse voices and women through her own stories and personal experiences in the film industry. Today\, Carol is working towards developing her first documentary feature as well as an animated short. \nDirector: Carol Nguyen \nProducers: Carol Nguyen\, Aziz Zoromba (Concordia Film School)\nCinematographer: Walid Jabri \nEditors: Carol Nguyen and Andrés Solis \nSound Design: Giulio Trejo-Martinez \nMusic Composer: Arie Van de Ven \nCast: Thao Nguyen-Duong\, Ngoc Nguyen\, Michelle Nguyen\, Carol Nguyen \ncarolnguyenfilms.com/no-crying-at-the-dinner-table \nThis short film is also available online here. \n--- \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/talk-let-my-body-speak-no-crying-at-the-dinner-table/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Talk
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210418T180000
DTEND;TZID=Europe/Berlin:20210418T193000
DTSTAMP:20260901T214630
CREATED:20210408T115716Z
LAST-MODIFIED:20210417T164336Z
UID:15143-1618768800-1618774200@oyoun.de
SUMMARY:THE BODY IS: A MAP\, A CAGE\, A KEY: Embodied practice as research methodologies
DESCRIPTION:Join us for some embodied reflections during the last event of Oyoun's EMBODIED ARTS FESTIVAL before the closing ceremony:\nA panel discussion about embodied and body-based practice as a generative tool for excavation and research and its potential pitfalls of reductionism and the re-application of oppressive body politics. Moderated by Kopano Maroga. \nThrough the diverse practices of Dr. Maiada Aboud\, Ahmad Hijazi (Cyclomorphosis) and Gugulethu 'Dumama' Duma we will investigate the ways in which embodied and body based practices can serve as tools for excavation and research while also posing potential pitfalls of reductionism and the re-application of oppressive body political lenses. When is the body a map\, when is it a key\, when is it a cage? \nThis event will stream on YouTube\, Vimeo & Facebook \n--- \nAhmad Hijazi (Cyclomorphosis)\,  is a Lebanese Multidisciplinary performer\, a social artist \, and a Masters student of Dance Movement Therapy\, based in Berlin . With an academic background in performing Arts from Beirut\, he’s been focusing his work on claiming more visibility for underrepresented communities such as the LGBT+ refugees community in Berlin\, and creating dance/storytelling projects such as “10/01 Q-Nights : de-orientalized edition “ and QueeЯevolutions a Collective based workshops investigating the concept of queerness as modern colonial discourse on people from SWANA. Ahmad’s performances are movement\,theatrical and digital pieces\, proposing materials\, such as old arabic manuscripts based performances\, different rooted traditions\,rituals\,terminologies\, breaking the stereotype image of what a queer arab performer must and is allowed to offer in the west. From 2017 on\, he’s been walking balls as part of the berlin ballroom scene and since 2019 is a member of "Queer Arab Barty" collective and ASDIQA اصدقاء mentoring program. He performed and produced his own production in Staatstheater Darmstadt \, performed in Heimathafen Neukölln \, Acud Theater\, Tak Theater \, Oyoun\, Uferstudios \, Replika theater.  \nDumama\, born Gugulethu Duma\, is a South African future folk performing artist\, songwriter and cultural researcher. Inspired by issues around inequality and displacement\, she is concerned with projects exploring cultural preservation\, presence and contemplations on futurity. Her interests intersect as practice based performance research\, and interdisciplinary\, collaborative bodies of work centred around political-poetic imaginations. Reimagining folk music of ancestors\, living and deceased\, Dumama works with the voice\, live loops\, hand-made bow instruments\, glitches and distortions. Fascinated by sound’s power\, the tonal emergence and decay in certain frequencies and emotions evoked within these frequencies\, Dumama passionately explores sound as a tool for social transformation and healing. \nDr. Maiada Aboud‘s work deals with ways that social and religious structures interconnect and influence the individual.Using endurance art\, her interest in social\, political\, and religious issues draws on a unique and personal perspective. Born in Palestine (Arab Israeli)\, graduated from Haifa University\, and received her education in the UK: Masters at Coventry University\, and Ph.D. at Sheffield Hallam University. Her studies attempt to connect the social-cultural analysis to the individual‘s experience by way of using performance and relating it to cultural and social life. The intention is to investigate cultural identity using endurance art with the objectives to establish if these performances are linked to collective identities. \nKopano Maroga (they/them) is a performance artist\, writer\, cultural worker and co-founding director of the arts organization ANY BODY ZINE. They are currently living in Brussels\, Belgium and working as a curator and guest-dramaturge at Kunstencentrum Vooruit in Ghent\, Belgium. Their debut anthology of poetry Jesus Thesis and Other Critical Fabulations was released in 2020 through uHlanga Press. They very much believe in the power of love as a weapon of mass construction.
URL:https://oyoun.de/event/the-body-is-a-map-a-cage-a-key/
CATEGORIES:Embodied Arts Festival
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BEGIN:VEVENT
DTSTART;TZID=UTC:20210418T190000
DTEND;TZID=UTC:20210418T203000
DTSTAMP:20260901T214630
CREATED:20210304T221752Z
LAST-MODIFIED:20211102T135934Z
UID:13068-1618772400-1618777800@oyoun.de
SUMMARY:a'21: Safety From Artificial Intelligence_amberPlatform
DESCRIPTION:►a'21: Safety From Artificial Intelligence_amberPlatform \nHow can we protect ourselves from this surveillance? What kind of application is artificial intelligence used in social issues? How much can we trust artificial intelligence? Can we fool him? \n:: ABOUT THIS EVENT (EN/TR) :: \nBesides the positive aspects of artificial intelligence technology\, which has entered almost every area of our lives\, there are also negative usage areas. What results can our data use without our knowledge or confidentiality agreements we accept without reading? What can be done with synthetic image production? Are we safe enough while the cameras around us detect and record our age\, gender\, and emotions? How can we protect ourselves from this surveillance? What kind of application is artificial intelligence used in social issues? How much can we trust artificial intelligence? Can we fool him? While looking for answers to such questions about the negative uses of artificial intelligence today\, we will mention the use of artificial intelligence as a control and control mechanism\, methods of detecting synthetic images\, studies on 'ethical artificial intelligence' and measures and studies developed against these algorithms. \n► Click "going" on Facebook to stay up to date.\n► Join the event through vimeo \n:: LINKS:: \n►Hakan Gündüz \nInstagram\nFacebook \n* This event is part of Oyoun's a’21 Festival - Post Digital Ignorance x Techno Utopia aiming to challenge the status quo while centering perspectives on non-human life\, queer ecology\, decolonising knowledge\, forced displacement\, and more.The project was financed by Berlin’s Hauptstadtkulturfonds. \nProduced by: Oyoun in collaboration with amberPlatform \nCuratorial Team: Amirali Ghasemi\, Ali Cem Doğan\, Cenkhan Aksoy\, Christoph Wachter\, Ebru Yetişkin\, Ekmel Ertan\, Hamza Chamas\, Mathias Jud\, Milad Forouzandeh\, Mohsen Hazrat\, Nina Martin\, Rajaa Shamam\, Youssef El Idrissi Participants include: Eda Sütunç\, Danielle Brathwaite-Shirley\, Mary Maggic\, Rachel Uwa\, Renata Salecl\, Seloua Luste Boulbina\, Pelin Tan\, Yara Mekawei\, and many more. \nFunded by: Capital Cultural Fund \n► For media and press inquiries\, please email hallo@oyoun.de
URL:https://oyoun.de/event/a21-safety-from-artificial-intelligence-amberplatform/
CATEGORIES:a’21,Gespräche / Conversations
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BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210418T200000
DTEND;TZID=Europe/Berlin:20210418T210000
DTSTAMP:20260901T214630
CREATED:20210322T132150Z
LAST-MODIFIED:20210322T132201Z
UID:14560-1618776000-1618779600@oyoun.de
SUMMARY:Closing Ceremony | Embodied Arts Festival
DESCRIPTION:It is within the intersections of body memory and history that our bodies are potentially at their most revealing. Memories interrupt history and open up another possibility of embodied living\, one that spatialises time and temporalises space. Hence\, treating the body as memory and discussing the role of the body in witnessing authoritarian capitalism\, memorialising the torture carried out by dominant socio-political structures\, thus resisting the narrative erasure reproduced by the imperialism at national and global levels. Oyoun's first curatorial focus EMBODIED TEMPORALITIES offered a community-centered approach as a framework for participants to voice their experiences of ancestry\, rituals\, trauma\, death\, loss\, and finding expression for experiences that are otherwise un-shareable\, and often stigmatised in mainstream public discourses while paving the way for collective healing. \nThe EMBODIED ARTS FESTIVAL will present and celebrate the outcomes of this body of work. Join us for the closing ceremony on 18th April. \nThis event will be streamed online. Direct links will follow! \n 
URL:https://oyoun.de/event/closing-ceremony-embodied-arts-festival/
CATEGORIES:Embodied Arts Festival
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