Dangerous Encounters Workshop

In recent years, the performance collective Turbo Pascal has realized artistic works that occupy the theater in different ways as a space for encounters and gatherings. In interactive performances, Turbo Pascal takes up controversial social debates or dynamics, inviting people to question their own position or to be unsettled.
In their workshop "Dangerous Encounters", Janina Janke and Eva Plischke (Turbo Pascal) explore and develop encounter spaces together with the participants. They do not want to understand encounters as something harmonious or harmonizing, but rather as something surprising, irritating, challenging or confrontational and yet unifying. Dangerous spaces of encounter are spaces with risk, which can be unusual to uncomfortable; spaces of mixing, which confront with counter-positions or attack one's own position.
During the workshop different spatial settings of Turbo Pascal performances will be presented and tried out with the participants. Based on a jointly developed task on the topic of "Dangerous Encounters", these will be further developed or other settings will be designed that make it possible to enter into dangerous encounters or to create dangerous encounters. These can be encounters with people, materials or media, loud or quiet encounters, exploratory or intellectual encounters.

Dangerous encounters are happening of course within the Corona Rules.
Location: Großes Studio

About Turbo Pascal

Turbo Pascal works as a collective in the field of direction/text/performance and develops interactive performances that turn the theater into a collective assembly and negotiation space for social processes, dynamics and utopias. In addition, the collective, which was founded in the context of the Cultural Studies and Aesthetic Practice program in Hildesheim, realizes participatory projects with citizens or young people, thus conceives formats for conversation and communication. The collective has been based in Berlin since 2008 and works continuously with the Sophiensälen, as well as with the HAU, the Deutsches Theater and the Theater an der Parkaue.

www.turbopascal.info

Eva Plischke is a performer, research artist, director and co-founder of Turbo Pascal. She studied Cultural Studies and Aesthetic Practice with a focus on theater in Hildesheim. She has worked with artist groups such as geheimagentur, Fräulein Wunder AG and Martin Clausen/Lajos Talamonti. Since 2009 Eva Plischke has been working as an artist in projects of cultural education and research, among others at the Forschungstheater Hamburg, the Junges Theater Freiburg and the FELD Theater, Berlin. From 2012 to 2014 she was a fellow in the artistic-scientific research training group "Assembly and Participation - Urban Public Spheres and Performative Arts" (Hamburg).
Janina Janke is a research artist, director, stage designer and member of Turbo Pascal since 2013. She is co-founder of the transdisciplinary formation Opera Dynamo West (2006-16) for the development of contemporary music theater in urban space. Since then, her works have been created in dialogue with buildings and spaces in Berlin and internationally, such as Le Corbusier's Unités d'habitation in Berlin and Marseille or the UN headquarters in Vienna, Nairobi, New York City and Geneva. She conceives and realizes spatial interventions, experimental performances and artistic research at the intersection of art, theater, architecture, music and science.

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Reuse and Hijack Installations Workshop

Reuse and hijack installations allow basic structural concepts to be tested and have the advantage of being quick to set up, providing more spontaneity for construction and instinctive decision-making. The workshop aims at promoting the resources deployed for the OPEN CAMPUS, a place of experimentation with space and materials, and encourage participants to improve the layout of their living environment.
From elements already built or materials waiting to be recycled, a first phase of deconstruction, analysis of materials and understanding of the action of deconstruction should be developed.
To best respond to the ephemeral dimension of the project, and for the sake of saving materials, the deconstructed objects will be kept as much as possible in their original state and can serve as a reusable resource by the HfG and the students, offering them a new life. From this new catalog of materials created on the first day, the group will decide together on a collective construction to be deployed on day 2. The subject could be the simple improvement of the design of what already exists or else complete the area with new functions and new uses. The objective will be to install these structures and allow their future appropriation by the public.

Workshop with Rémi Chaudagne and Jean-Baptiste François
Location: Open Campus

About - Collective Parenthése

The Collective Parenthèse is made up of architects, driven by the common desire to experiment, explore and practice design in a different way. The group meets around projects that question and engage it in areas associated with designing and building. The Collective Parenthèse constitutes a frame for reflection and experimentation around the practices of space and the city. The desire to create differently, to question the disciplines and trades of architecture, as well as its working methods, is the origin of our collective. The development of each of the collective's projects follows a complete process, from idea to drawing and from conception to completion. We seek to develop an interactive, human and responsible approach to creation through all the mediums that arouse our interest. Whether it is about scenographies, plastic interventions, ephemeral architectures or tactical urbanism, the collective's practices are part of an experimental approach and in a plurality of mediums (architecture, scenography, constructions, installations, graphics, design, video, photography ...), from conception to realization, indoors or in public spaces. Working on different spatial and temporal scales, the collective aims to create playful and evolving situations in which other relationships are initiated with uses and architectural or urban environments.

By working together, the group appeals, when it's possible, to collective intelligence, cooperation and equity. We believe that it is important to distinguish the notions of collaboration and cooperation to reintegrate a touch of humanity into our practices. Collaboration means teamwork that is built around a project that does not always belong to the whole group. People often collaborate on other people's projects without having the initiative or the management of their development, either the responsibility and the affect. Cooperation is a different notion that incorporates the idea of doing a "common oeuvre", building together a common achievement. It therefore implies mutual and permanent responsibility.

Public space is for everyone, culture for everyone, we want to offer users of an architecture, a neighborhood or an event, a visual, physical and social experience.

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Ritualistic Collective Practices

This workshop will engage with ritualistic collective practices and create a consecrated ground. The idea is to use guided performative action as a catalyst for social cohesion, social decompression and consolidation of identity.
The work itself will be like a high-intensity training - a fairly mindless, repetitive physical labour, resembling an act of instinctive animalistic production. A collective mantra of presumed expenditure without gain. The intention behind the process is to exhaust the pool of excess energy from the village-as-organism (excess wealth, warmth, strength, aggression etc.) and to sublimate it into a socially-coalescent artefact or ritual.
The actual installation emerging from this process will be akin to a rhizomatic organelle or merzbau, spun of many sky-bound ligaments, its sticky fascia stretched on a fast-track between cocoon and cathedral. In an act of spontaneous functionality, individual tape lines of each villager will fuse together to form a leviathanic body capable of symbolically lifting the society up towards some kind of higher coherency (redemption?) Yet unspecified sacrificial object, in the role of the “accursed share”, will be wrapped, hoisted and exorcised to demonstrate the group spirit and its infamous strength-through-unity. The workshop will thus aim to act as a creative-destructive outlet, one that threatens and fundamentally sustains the fragile economy.

Workshop with Sven Jonke and Krešimir Pauk
Location: Lichthof

About - Numen/For Use

Numen/For Use is an international collective led by product designers Sven Jonke, Christoph Katzler and Nikola Radeljković. For the past 20 years, the group has been active globally in the fields of industrial and spatial design, scenography and installation art. The founding members base the group’s long-term survival on the carefully balanced relationship of distance and closeness, autonomy and consensus. Apart from the work within the core-collective, Numen's activities unfold through a series of long-standing lateral collaborations which greatly influence the group’s output. Retaining good ratio of creative autonomy yet having access to internal correctives, mutual inspirations and safety nets, are the main benefits of team-authorship. The driving force of collectivity has always been a wild mix of conflict and synergy.

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Emerging Futures - No object Workshop

Is it possible to engage learning environments and short workshops in longlasting spatial interventions? How can we build a learning and making environment, in which every participant contributes and at the same time learns? Could our reflections, acts and exchanges have an impact over time? During the three days conference, “Emerging Futures” will address these questions by exploring the role of education in spatial practices and beyond. Applying a divergent catalogue of exercises, design tools, materials and topics we won’t predefine any concrete output or result but it will be agreed collectively and collaborative taking into account everyone's desires, experience and skills. Those emergent desired results will lead in the creation of different tracks/groups of action that will remix the ideas into a concrete proposal until it’s finished. Those mini-tracks will need to choose their materials, either building, performative, mapping or discursive taking into account the repertoire: Collectivity, Ressource, Practice and Education. By doing so, Making Futures Activities aren’t predefined, they are only framed. The School and Practice takes shape and it’s defined everytime new and depends on the surrounding situation and its participants.

Workshop with Markus Bader and Juan Chacón
Location: Open Campus

About - Making Futures

“Making Futures Bauhaus+” is an action research project that addresses questions of architecture as a collective form and architecture as a resource. Departing from these two perspectives, it operates as an experimental research unit that advances future paths for architectural practice and education. It was initiated in 2018 as a cooperation between raumlabor and the Berlin University of the Arts on the occasion of the Bauhaus’ centenary.

Leading up to a Summer Academy in September 2019, Making Futures Bauhaus+ devised a public learning program that continuously explores future modes of architectural and urban practice. Spanning over a year and a half, a Plug-In at Floating University Berlin (April-September 2018) and three mobile workshops in Istanbul (September 2018), Palermo (October 2018) and Thüringen (March 2019) constitute the project as an open, reflexive and practice driven format. The Summer Academy in Berlin EXPLORED forms of productive cooperation, exchange, solidarity and living.

“Making Futures” works towards building up alliances and making transversal connections with people across disciplines, institutions and territories that transcend the boundaries of the academic world and go beyond the borders of Europe. This is underpinned by the belief that social change cannot be limited to a dispersed few but must instead manifest as part of a wider, synergized system. Making Futures is definitely a pluralistic endeavour, there is not one future, but many. Currently, “Making Futures” is an independent group developing its activities in different formats and places. For the “Collective Spatial Practices” Conference, part of the Making Future team: Markus Bader (raumlabor) and Juan Chacón (zuloark) will be leading the workshop.

www.making-futures.com
https://raumlabor.net
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Lecture / Film Screening

Karrabing Film Collective/Elisabeth Povinelli Established in 2013 in Australia. Karrabing Film Collective produces films and artistic works that are centred around aesthetic experimentations with new forms of collective indigenous agency and thus intervene in global depictions of indigeneity. In the focus of the projects are unconventional representations of their lives and the lands and coasts along northwestern Australia being jeopardized by capitalist and neo-colonial exploitation. Filmmaking as a mode of self-organization is practiced against inequality and hierarchical structures. Elisabeth Povinelli, one of the founders says: “Karrabing is not a place or a people. Karrabing refers to the state when the vast coastal tides are at their lowest and is contrasted to karrakal, when the tides at their highest. Karrabing don’t operate on a model of together or separate, mutual or divided, but together and separate, mutual and disagreeing.” Elizabeth Povinelli is a critical theorist and filmmaker. Her critical writing has focused on developing a critical theory of late settler liberalism that would support an anthropology of the otherwise. This potential theory has unfolded across five books, numerous essays, and a thirty-five years of collaboration with her Indigenous colleagues in north Australia including, most recently, six films they have created as members of the Karrabing Film Collective. Within the conference, we will screen The Mermaids, or Aiden in Wonderland, a film about: “surreal exploration of Western toxic contamination, capitalism, and human and non-human life.“

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Conference Concept

The concept for this event/conference was developed within a seminar that has been organized at the Department of Exhibition Design and Scenography (University of Arts and Design, Karlsruhe). It grew out of a collaborative effort to research, think and test out forms of collective action. To explore questions of collectivity linking them to spatial practices, implied to critically interrogate the figure of individual/sovereign authorship and invite to Karlsruhe five artistic collectives, whose work is situated in performance art, installation, architecture, design and film. Although the conference was planned for November 2020, we decided to postpone it because we stubbornly believed that a workshop conference in an online format would fail to deliver the embodied/performative frame, in which we wanted the event to happen. In other words, we intended to set up a format with no clear-cut borders between building, performing, doing, listening, thinking and eating. Such an experimental and interactive setting seeks to convert the classical academic conference model into an open space of encounters and lived spatial experience. The audience is invited to contribute to the emergence of a multisensorial and polycentric assembly, whose territories are in a state of permanent motion. More than a series of lectures and Q&As, the performative texture of the event fosters participation, with the purpose of generating spatial practices by intertwining action with speculation and dialogue. Thus, we aim to reveal liminal zones of potentialities in which the being-in-common can emerge.

Collective Spatial Practices Collective

The Collective Spatial Planning Collective of HFG are: Hajo Eickbusch, Prof. Constanze Fischbeck, Josephine Gerhardt, Julia Ihls, Jannik Lang, Dr. Andrej Mirčev, Gloria Müller, Philipp Schell, Leon Stark, Christina Vinke, and Ebba Fransén Waldhör. We are an international collective of students and teachers with different backgrounds in scenography, design, philosophy, dramaturgy, film and visual arts.

About HFG

Prompted by the urgency in the postmodern society of the 1980s to rethink economy, politics and art in the future no longer solely by means of classical industries, ideological rhetoric and aesthetics, the state government of Baden-Württemberg initiated with the city of Karlsruhe a location where relationships between art and technology should be deepened. Under the direction of Heinrich Klotz, the Center for Art and Media Technology (ZKM) and the University of Design in the early 1990s created a mixture of teaching, research and exhibition machinery that was unique in Europe. As with the historic Bauhaus model, the boundaries between the liberal and applied arts were to be erased here, as were those between theory and experimental practice. ZKM and HfG moved into the hall building of the former Industriewerke Karlsruhe-Augsburg (IWKA), which had been built between 1915 and 1918 by the architect Phillip Jacob Manz as the Deutsche Waffen- und Munitionsfabrik (DWM). The founders of the ZKM and HfG decided to convert this masterpiece of industrial architecture, which consists mainly of load- bearing columns and glass. The architectural firm Schweger + Partner was responsible for the conversion of the 10 atriums. The symbolic groundbreaking ceremony took place in 1993, and the topping-out ceremony in 1995.

HFG Spatial Infrastructure

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