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DTSTART;TZID=UTC:20210419T140000
DTEND;TZID=UTC:20210419T160000
DTSTAMP:20260410T115121
CREATED:20210304T221752Z
LAST-MODIFIED:20210407T180032Z
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SUMMARY:a'21: Absorbing Ignorance: Experiential Illusions_amberPlatform
DESCRIPTION:►a'21: Absorbing Ignorance: Experiential Illusions_amberPlatform \nWhile chronologically reviewing the relationship of the moving image with the observer and the way cinematic editing manages mass perception as an art of creating reality\, we will examine the concept of Immersion as the purpose of breaking away from existence. \n:: ABOUT THIS EVENT (EN/AR) :: \nBut man is the most ignorant in moments in which he trusts himself the most.'' - Ape and Essence\, Aldous Huxley In these short video essays that explore the virtual plane of reality and the realism of virtuality through today's popular culture that evolved from myths\, tales and legends\, we will investigate the history of our gaze now lost in the hypnotic flow of a kind of ignorance glorified under the name of knowledge. While chronologically reviewing the relationship of the moving image with the observer and the way cinematic editing manages mass perception as an art of creating reality\, we will examine the concept of Immersion as the purpose of breaking away from existence. We will touch upon the physical impact of developing ""absorbing"" technologies on the masses\, its relationship with ancient practices such as meditation and hypnosis\, and our main motivations behind our ""Suspension of Disbelief"" processes. Our biggest misconception about ""New Media” - which are the new versions of old formations that have been constructed several times and updated with modern technologies - is perhaps that they are new. By referring to early examples in history and questioning the physicality created by the transformation of Cinematic Technologies\, we will look at concepts such as New\, Media\, Virtual\, Reality from a different perspective. As we discover our efforts to create a seamless illusion of reality\, and therefore the story of the term Virtual Reality dating back to the dawn of our civilisation\, we will approach the narrative-based functioning of human perception - which is at the origin of all these mechanisms - on the basis of the concept of mental fiction. As the ever-growing world of experiential delusions draws us in\, are we also being drawn into our own selves? Is the current form of reality subjective or collective? Or is it time for us to re-define reality all over again? \n► Click "going" on Facebook to stay up to date.\n► Join the event through vimeo. \n:: LINKS :: \n►Lara Kamhi  \nWebsite\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-absorbing-ignorance-experiential-illusions-amberplatform/2021-04-19/
CATEGORIES:a’21,Screening
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/historyofcinema.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210416T160000
DTEND;TZID=UTC:20210416T180000
DTSTAMP:20260410T115121
CREATED:20210304T221752Z
LAST-MODIFIED:20210407T203442Z
UID:13066-1618588800-1618596000@oyoun.de
SUMMARY:a'21: Threshold Infrastructures of Residual Spaces-II Migrating images
DESCRIPTION:►a'21: Threshold Infrastructures of Residual Spaces-II\nMigrating images \n:: ABOUT THIS EVENT (EN/TR) :: \nAfter several years spent on the global agenda with its normalised images of misery circulating both in mainstream and alternative channels\, in September 2020 the infamous Moria camp was burned to the ground as a result of a riot. Perhaps this is an example of a residual space being “re-residualised” as a form of resistance by its inhabitants. Since the Moria camp burned down\, migrants applying for protection and asking for asylum have been forced to live in the “provisory” camp also known as Moria 2.0\, built on the toxic ground in an old military shooting area on Lesbos Island. At the same time\, a new migrant camp is now planned to be constructed in an area adjacent to the only garbage dump of the island\, in a way that makes the concept of “waste place” extremely concrete. What is the role of the self-representative images of migrants in all these oppressive dynamics? In which ways do these images resist against mainstream representations that normalise pain with countless repetitions? What is the meaning of a “self-residualising” image of a migrant taking a souvenir photo among the ruins of the burned down old Moria camp? How is it possible to produce resisting images and create circulation networks in a place where the self-representative images are prohibited and criminalised by the authorities? This border region\, whose militarisation has been increased through increasing fluxes of capital\, is not only hindering the freedom of movement and the legitimate claims to asylum\, but it is also trying to criminalise the migrants’ practices of visual self-representation and to prohibit the free movement of images. On the one hand\, there is the ongoing circulation of stereotyping mainstream images that contribute to the normalisation of suffering\, while on the other hand\, the anonymous images used by migrants to document their own situation constitute an attempt to controvert this condition. We will discuss all these issues and questions based on the direct experiences of the Lesbos based video-activism migrant collectives. \n► Click "going" on Facebook to stay up to date.\n►Join the event through vimeo. \n:: LINKS :: \n► Özge Çelikaslan\nFacebook\nInstagram\n► Pelin Tan\nInstagram\n►Nagehan Uskan\nFacebook\nInstagram \n* This event is part of Oyoun's a’21 Festival - Post Digital Ignorance x Techno Utopia aiming to challenge the status quo while centring 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-threshold-infrastructures-of-residual-spaces-ii/
CATEGORIES:a’21,Panel
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/158973165-290950712455456-9050338816936475544-o.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210415T160000
DTEND;TZID=UTC:20210415T180000
DTSTAMP:20260410T115121
CREATED:20210304T221752Z
LAST-MODIFIED:20210407T203452Z
UID:13064-1618502400-1618509600@oyoun.de
SUMMARY:a'21: Threshold Infrastructures of Residual Spaces-I “Surplus of Destruction”
DESCRIPTION:► a'21: Threshold Infrastructures of Residual Spaces-I\n“Surplus of Destruction” \n:: ABOUT THIS EVENT (EN/TR) :: \nOur workshop -in three parts- implicates complex cartographies of images of forced displacement and war circulating in the digital sphere. We are particularly interested in discussing the social\, material\, cultural\, and political dimensions of digital media infrastructures and threshold infrastructures of residual spaces and related diverse issues such as counter-surveillance\, transversal labor conditions\, access\, curation\, and disruption of violence and social inequalities through visual documentation specifically open-source archives.\nInfrastructure is the object between form and law as architect Keller Easterling defines: “Infrastructure is considered to be a hidden substrate—the binding medium or current between objects of positive consequence\, shape\, and law” (K.Easterling\, 2014). Recently\, the discourses of infrastructure reveal the role of infrastructure in more complex ways. Incomplete and failures of infrastructure are often related to the nature of the infrastructural functions that prolong the process of the infrastructure projects. The process becomes more important (than the complete infrastructure itself) where actors such as the state\, local governments\, developers\, and citizens debate or negotiate\, which leads to more profit and surplus. In short\, instead of the complete object or presentation itself; the incomplete\, the continuous failure\, or the process of infrastructure becomes the vital part. Failure of infrastructure or interruption of infrastructural function brings co-existence of alternative ways of infrastructure in the network of such cities. Infrastructure as an assemblage is another current discourse of infrastructure. As geographer Stephan Graham describes: ” …urban infrastructures as complex assemblages that bring all manner of human\, non-human\, and natural agents into a multitude of continuous liaisons across geographic space” (Graham\, 2010). We call “Threshold Infrastructure” as multiple thresholds of spaces and mediums.\nThe first part of our workshop focuses on the specific region in Turkey that has been witnessing intense political\, cultural conflicts\, urban destruction\, internal migration\, and psychological outcomes for over four decades. Thus\, it is possible to witness the neighborhoods where buildings and humans become waste and garbage in the affected region. We present our continuous visual research that focuses on the residual space\, its dynamics and representations\, and the circulation of the subject and object in the towns; Diyarbakır\, Mardin\, and Cizre. While tracing the sociological\, economic\, and cultural reflections of the invisible sign and unrecorded paths that lasted from urban transformation and migration footsteps on the recorded material\, the workshop takes into its center the methodologies of forensics and ge-ontologies of visual documentation. \n► Click "going" on Facebook to stay up to date.\n► Join the event through vimeo. \n:: LINKS :: \n► Özge Çelikaslan\nFacebook\nInstagram\n► Pelin Tan\nInstagram \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-threshold-infrastructures-of-residual-spaces-i/
CATEGORIES:a’21,Panel
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/infrastructure.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210327T200000
DTEND;TZID=Europe/Berlin:20210327T210000
DTSTAMP:20260410T115121
CREATED:20210305T182244Z
LAST-MODIFIED:20210324T090208Z
UID:13215-1616875200-1616878800@oyoun.de
SUMMARY:a'21: Breaking News_WAF & Deena Abdelwahed
DESCRIPTION:► a'21: Breaking News_WAF & Deena Abdelwahed \nAn audiovisual collaboration and video performance work. \n:: ABOUT THIS EVENT (EN/FR/AR) :: \n\nLet’s think of this work as an object.\nAn object without any (injunction)\nAn object as a (proposition)\nProposition et non pas une injonction.\nDes choses sans sens (avec une part d’insignifiant).\nProposer la chose et laisser libre cours à l’interprétation du sens de la chose.\nUn drôle de truc en tension entre l’insignifiant et donner un sens.\nUne invitation au voyage. Un détour oisif pour se re-trouver.\nThis work is a « flânerie/déambulation » dans les passages entre temps réel and réalité du temps.\nAs this work is under the influence of hazardous shadows on the measures of our dialogue with each other and with the self\, it may still under construction even when you will encounter its first representation as an audio/video combination\, that will be diffused online on a suitable date.\nThis work is for any person that knows already about what we want to say\, and have to say\, rather than just wanting a proof to believe in many things said and said\, over and over since ages but NO ONE seems to care.\nMay-be\, a glimpse of the vision of an idea about the automatisation of humanity through social media. A collaboration between Wafa Ben Romdhane aka WAF\, and Deena Abdelwahed. \n:: BIO :: \n►WAF:\nQueer Visual Artist\, actually based in Tunisia after 10 years of living in Europe. Through the experience of exile\, WAF built the skills of Video Jockey as a main passion and the experience of working with various artists and collectives. WAF’s visions & works are politically questioning old/new social norms/medias. \n►Deena Abdelwahed:\nBased in Toulouse\, Tunisian Deena has made a name for herself as a singular electronic music producer and DJ. With her signature blend of bass music\, techno\, and vocals\, her debut album Khonnar was named one of The Quietus' top records of 2018. Deena and French label InFiné followed up in 2020 with the Dhakar EP\, praised by Resident Advisor for its “mesmerising club constructions” with details that “emphasize Abdelwahed's unwavering viewpoint\, inextricable from the traditions – local or otherwise – she channels.” \n► click "going" on Facebook to stay up to date.\n► Join the event through vimeo \n\n:: LINKS :: \n►WAF\nInstagram\nVimeo \n► Deena Abdelwahed\nTwitter\nInstagram\nSoundcloud\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 centring 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\nParticipants 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-breaking-news-waf-deena-abdelwahed/
CATEGORIES:a’21,Performance
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/waf.jpg
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