DISKURS 2019 - NEVER AGAIN. ARTS/TALKS/THEORY
The DISKURS34-Festival will take place in Gießen from 7 to 10 November 2019. This years edition is entitled never again. art/talks/theory. The international festival has been organised for 34 years on a voluntary basis by students of Applied Theatre Studies independently operated by Kunstrasen giessen e.V. In addition to theatre productions and performative works, the festival includes installations, films, lectures and lectures and offers artists, scientists and audiences the opportunity to engage in lively debate through various discussion formats. The focus is on experimental works that give new impulses to artistic research, both on an aesthetic and on a content level.
never again can be understood as a claim, a slogan, an oxymoron, an imperative or a social agreement. The title connects two mutually exclusive temporalities: the conclusion, the negation and the prohibition, which resonate in never and the repetition and incompleteness, which are contained in again. We use this dynamic as a starting point to examine the manifold implications of never again within contemporary production in arts and academia.
Program and further Informations:
www.diskursfestival.de
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P R O G R A M
In their video performance "Agitation", the Leipzig artists Julia Lübbeke, Francis Kussatz and
Alexander Klaubert examine current and historical forms of resistance and protest culture. In her work "PUKE LOVE", Italian artist Sara Leghissa addresses the physical dimensions of indignation and contradiction and interrupts everyday life with performative interventions.
Mareike Kajewski is a research assistant at the Institute of Philosophy at the University of Hildesheim. Her research interests include political philosophy, social philosophy and aesthetics. Her lecture "The Spontaneity of Revolutionary Action" develops the thesis that spontaneity as an experience of freedom in revolutionary action explains its form of execution and possibility.
In her performance "MEDUSA is GAIA", the Portuguese artist Sall Lam Toro decodes and updates the Medusa figure of Greek mythology from a queer-postcolonial perspective and questions the temporal structure of never again by means of repetition and re-signification. The Indonesian artist Kelvin Atmadibrata also negotiates within his performative installation "Forcing Hyacinth" the conflictive temporality of past and future, to which never again refers. The living sculpture designed by him refers to the ancient Greek mythological figure of Hyacinthus and interrogates memories and reflections on growing up. Jannis Steincke and Joschua Ben Pesch, two scientists of the "Rheinische Sektion der kompostistischen Internationalen" (Rhenish Section of the Compostist International), trace similar themes and in their lectures deal with the dimensions of heritage, responsibility and memory.
The video entitled "the[video]Flâneu® shoots Auschwitz" by Konstantinos-Antonios Goutos from Marburg puts the provocative thesis of a strolling camera walk through Auschwitz into space and in the resulting images addresses both the question of memory culture and the depiction of Auschwitz. Nina Rabuza studied philosophy and political science in Halle an der Saale and Berlin. In her lecture, she examines constellations of memory of National Socialist crimes in (Western) Germany. Starting from the design of the Dachau concentration camp memorial, she attempts to sketch the various meanings of memory after 1945. The focus is on the question of dimensions and conflicts of the demand "Never again!
never again, the Slovakian choreographer Alica Minarova takes on the challenge of declaring war on current inequalities in her dance piece "SAUDADE", in which she transfers classical movements from stripdance into new contexts and in this way questions a male gaze that has supposedly always been there. In her lecture performance "I PUT A SPELL ON YOU; DESCARTES; BECAUSE YOU MESSED UP MY LIFE ONCE", the Berlin artist and doctor Vera Piechulla examines the inherent power relations of the seemingly objective view of female anatomy in connection with this complex of themes. In her theoretical contribution "Feminist discourses on corporeality and deconstruction", Merve Winter discusses the apparent contrast between (de)constructivist and essentialist approaches using the example of medicine in relation to gender theories and shows where and how points of mediation between these two points of view can be found. Winter studied psychology at the Free University of Berlin. She is particularly interested in the connection between psychology and psychoanalysis from a socio-critical perspective and following critical theory.
Finally, the collective Avoec Performance, consisting of the Brazilian artist Luiza Moraes and the American artist Lori Baldwin, will thematize farewell in its lecture performance „Relic": How do we know that something is over, how can we say goodbye and how do we deal with different farewells? When do we know that something really can never happen again?
Festival
by Maria Obermeier, Helena Waldvogel, Calendal Klose, Paula Trummer, Laura Schilling
Past Performances
- 2019-11-07, GBS, PBII, taT, AUB
- 2019-11-08, GBS, PBII, taT, AUB
- 2019-11-09, GBS, PBII, taT, AUB
- 2019-11-10, GBS, PBII, taT, AUB