Mobile Academy Berlin

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The Mobile Academy Berlin ( MAB ) is a changing ensemble of artists , scientists and architects under the direction of Hannah Hurtzig . The MAB designs and produces installations and productions in the area between theater , science and art .

The Mobile Academy Berlin

The performances and installations of the Mobile Academy Berlin deal with academic knowledge and scientific language . They combine current political issues with academic discourse and contributions from changing actors and experts from different areas. Since its founding in 1999 “Internationale Theaterakademie Ruhr”, the MAB has staged “stage appearances and meeting places of knowledge and non-knowledge” in specially designed stage architecture and performative locations. Their best-known format is the “black market for useful knowledge and ignorance”. In recent years, various collective learning and production spaces for imparting knowledge have emerged in different places around the world, including Novosibirsk , Tel Aviv , Delhi , São Paulo and Taipei .

Every year since 2009 the MAB has produced a production that deals with the "present absence of the dead" and the late modern life sciences . After the undead were the subject of productions, the dead were more present in the works in recent years, e.g. B. in the performances on the milieu of the dead in Vienna , Hamburg and Berlin .

In addition to its installations and performances , the MAB produces video works and artistic-scientific publications. Some events are not organized by the MAB itself, but are licensed and copylefted. The MAB lists all discussions that have been held with experts from all over the world since 1999 and feeds them into an online archive . In addition, various mobile archive units have been developed, e.g. B. in the form of a Russian kiosk , a flight case or a film set . The mobile archive units are both recording and playback media, in which events are shown live, recorded and played back at other locations.

Black market for useful knowledge and ignorance

The “black market for useful knowledge and ignorance” has taken place 19 times in 11 different countries. Each black market presents a specific theme. Up to 100 primarily local experts from various areas and disciplines offer their knowledge in 30-minute one-to-one discussions at individual tables. The audience can either conduct dialogues with the experts or listen to selected conversations via headphones using so-called “black market radio”. Between intimate entertainment and concentrated exchange on the one hand and public entertainment on the other, a common space for discourse or communication should arise in which learning and unlearning, knowledge and non-knowledge, change hands in a non-institutional way. Experts can be scientists , craftsmen , artists , philosophers or the neighbor who has specific knowledge on the overarching topic and wants to share it.

The black market for useful knowledge and ignorance follows a strictly timed dramaturgical and administrative process. The viewer or “the client ” can choose between several experts or “knowledge service providers”. An Edison light bulb hangs over each expert table and lights up when the round begins. As soon as they enter the black market, viewers are given a detailed encyclopedia listing all conversations. The encyclopedia is used for information and knowledge organization , but is provided with absurd associations. Karin Harrasser speaks of a " pataphysical taxonomy ". In every black market there is a sign with the quote from Oswald Wiener : "Only when I heard you understand me did I know what I was saying."

In his article "Intimate Confessions of a Black Market Visitor", Wolfgang Behrens emphasizes that it is not about "instilling existing knowledge" into the visitors, but rather about "extracting knowledge and ignorance from the respective interlocutor" in a Socratic dialogue . Bojana Cvejic points out that the black market is a place where knowledge is produced and presented at the same time. Beyond the traditional logic of representation of the theater, this creates a place that, according to Dirk Baecker, stages the complicated “economy of knowledge” and allows communication processes to be observed in action. Here, the theater would become a place for critical observation of the way in which knowledge is communicatively generated and processed in society and a reflection on the public . The theater, like the audience, observes itself while observing . Markus Krajewski pointed out the special role of the light bulb on the black market.

The scenography of the black market plays with the metaphor of the archive and refers to meeting places such as the reading room , the stock exchange and the waiting room . In their knowledge organization, black markets represent an analog model , or analog counter-model , to Wikipedia . The black market is understood here as a space of cultural memory bound in bodies and people, which competes against a memory delegated to databases. This place is a memory training, the independent associations produced and ties and not from storage and search functions is addictive technical devices.

Not only knowledge , but also ignorance is traded on the black market. In the understanding of the MAB, however, ignorance is understood as the opposite of knowledge or ignorance , but rather as a place of retreat for all "things that have not yet been defined, are not yet part of the canon, but which still exist."

Performative installations and staged congresses

The performative installations of the Mobile Academy Berlin often bring academic knowledge and scientific speaking with fictional narratives into theatrical contexts. They create situations of public intimacy and are characterized by an interweaving of history and stories, facts and imaginations. A good example is the performance “The Still People, or Salle des Pas Perdus . The sea as a transit space between life and death ”, in which the viewer runs through a course of six simultaneous stations. In one of the stations, theoreticians tried to use philosophical means to think about improving the milieu of the dead. In another station, the American black studies expert Christina Sharpe and the investigative journalists Max Mönch and Alexander Lahl play through a fictitious case in which the submarine area expansions in the course of the decisions of the commission to limit the continental shelf to the traditional "aqua-utopian" Meet the spheres of the waterbabies of the "Black Atlantic". In other stations, the author and DJ Thomas Meinecke told the story of the "Black Atlantic" in songs and tracks from the last 50 years or you could attend a casting and workshop for corpse actors under the direction of Vaginal Davis and Susanne Sachsse .

The so far largest event of the Mobile Academy on the subject of the life sciences took place in May 2010 under the title "The Undead - Life Sciences and Pulp Fiction" at Kampnagel in Hamburg. The “staged congress” was an initiative project of the Federal Cultural Foundation in cooperation with the Berlin-Brandenburg Academy of Sciences. Among others, Vinciane Despret , Joseph Vogl , Sander L. Gilman , Sandy Stone , Mark Ravenhill , Jae Rhim Lee , Dorothee Wenner , Klaus Theweleit , Nicole C. Karafyllis and Bruce LaBruce took part.

The first installation of the Mobile Academy Berlin (concept by Hannah Hurtzig and Anselm Franke ) was the “Filiale für Zeitmerämmen”, which was performed in Hamburg in 2000 , with u. a. Harun Farocki , Christoph Schlingensief , Alexander von Plato , Jürgen Kuttner , Angela Richter , Daniel Richter , Ulrike Poppe , Lilo Wanders , Wolfgang Ernst .

  • The milieu of the dead. Part 2, The Afterlife of Slavery. Villa Elisabeth, Berlin 2017
  • The milieu of the dead. Part 1, The Application. Silent Green, Berlin 2017
  • The idle or Salle des Pas Perdus. Kampnagel, Hamburg, 2017
  • Conversations from the darkroom. An apparatus for animating lost and blackened texts, Novosibrisk 2016
  • Why Talk to Animals, conference and animal show, National Gallery Prague, DEPO2015, Pilsen 2016
  • An Ecology of the Dead, Biennale du Lyon, 2015
  • At the Table - narratives on the technological, the imagined and the dead body, Sesc Consolação, São Paulo, 2015
  • The eternity. A conference. House of Science, Braunschweig 2015
  • Last Minute Exercise, Indira Gandhi National Center for the Arts, New Delhi, 2014
  • The interface and adapter problem, installation and performance, Bauhaus Dessau Foundation 2013
  • Cerebromatics - about interfaces, equipment, brain images, University of Freiburg 2013
  • The milieu of the dead. Secession, Vienna, 2013
  • The waiting hall. Scenes of Modernity. Taipei Biennial 20012
  • The undead. Life Science & Pulp Fiction. Kampnagel, Hamburg 2011
  • The patient. Conference on the dual citizenship of the disease, steirischer herbst, Graz 2011
  • At the scene of intimacy. A phantasmagoria. Hebbel am Ufer, Berlin 2009
  • The Refugee: Service to Unwanted People, Volksbühne am Rosa-Luexemburg -Platz, Berlin 2002
  • Information retrieval. Dialogues on Archiving, The King's Library, British Museum, London 2001
  • Branch for temporary memories. Hamburger Kammerspiele 2000

Temporary academies

Another format of the MAB are temporary art academies, in which not only current techniques and methods of art production are to be conveyed, but also strategies to avoid art and being an artist are to be tried out. Learning is understood as a confrontation with one's own prejudices.

  • 2015 The Copycat Academy - A master class with an absent master, Second edition, Toronto, Canada
  • 2014 The Copycat Academy, A master class with an absent master Toronto, Canada
  • 2006 Ghosts, ghosts , phantoms and the places where they live, Warsaw, Poland
  • 2004 FAKELORE - Construction and Inventions of Urban Folklore, Berlin
  • 2002 DER FLÜCHTLING: Services to Unwanted People, Berlin
  • 1999 THE FUTURE OF WORK. A meeting point for theater, field research and philosophy on post-industrial grounds, Bochum

Traveling theater and mobile archive units

The mobile archive units are transportable architectures in which the performances take place and can be installed in waiting halls or other public spaces. One example is the “Flight Case Archive”, which exists in two editions: one in the Dutch Van Abbemuseum , a second as a mobile edition.

  • The rolling road show of the Volksbühne on Rosa-Luxemburg-Platz , together with Bert Neumann (2000/2001)
  • Useful knowledge kiosk. Tales of places, cities and territories. 3 parts, (2003–12) Concept: H. Hurtzig and Anselm Franke. Architecture: Stephen Craig
  • Flight Case Archive. Architecture: Florian Stirnemann (since 2004)
  • The archive of the undead (on tour 2011–2015)
  • The mechanical arena (since 2017)
  • The MAB audio archive now includes over 1000 dialogues and stories.

Videos

  • An Ecology of The Dead, with Vinciane Despret and guests. Video, length 47 '. Shown: 13th Biennale d'Art Contemporain de Lyon, 2016
  • The figurine, with Susanne Sachsse, video length 03´. Shown: man-space-machine. Stage experiments at the Bauhaus, Bauhaus Dessau Foundation , 2013
  • The Milieu of the Dead, Secession , Wiener Festwochen, 2013
  • 20 silhouettes on the shade. Based on the true story of Susanne Sachsse and Marc Siegel. With Vaginal Davis, Diedrich Diedrichsen , Jennifer Doyle, Guy Maddin, Douglas Crimp, Keren Cytter, Stephan Geene , and others. a. Length 55 '. Shown: On the Scene of Intimacy, Hebbel am Ufer, Berlin 2009
  • Night lesson. About procrastination, with Joseph Vogl , Manifesta 7, Trient, Italy, 2008
  • Memory how beautiful. Philosophers - Karaoke. Based on a text by Moritz Rinke. Length: 09 ´ Shown: in the People's Palace in the former Palace of the Republic , 2005

Participation in exhibitions of the Mobile Academy Berlin

  • 13th Biennale de Lyon, 2015
  • Death is Your Body, Frankfurter Kunstverein, 2014
  • From procrastination, Württembergischer Kunstverein, Stuttgart, 2013
  • Restlessness of form. Drafts by the political subject Wiener Secession, 2013
  • Modern Monsters / Death and Life of Fiction, Taipei Biennial 2012
  • Too late, too little, (and how) to fail gracefully KunstFort Asperen, Netherlands 2011
  • KUB Arena: Living Archives, Kunsthaus Bregenz, 2011
  • Play Van Abbe. Part 3: The Politics of Collecting - The Collecting of Politics, Van Abbemuseum , Eindhoven, Netherlands 2010
  • 53rd La Biennale di Venezia 2009 "Making Worlds" Venice Biennale, 2009
  • Manifesta 7, Trentino-Alto Adige, 2008
  • Floating territories - a Trans-Biennial-Project, Public Space, Istanbul, 2009
  • A Life in Four Hours II, KW Institute for Contemporary Art, Berlin, 2006
  • Migration Roadmap to Europe project, Cologne, 2006
  • Migration on principle, Kunstverein in Hamburg, 2005

ensemble

In addition to Hannah Hurtzig, the ensemble of the Mobile Academy Berlin currently includes: the literary scholar Philipp Ekardt, the cultural scientist and media theorist Karin Harrasser , the philosopher Petra Gehring , the director and actress Susanne Sachsse, the media philosopher Christiane Voss, the filmmaker and curator Dorothee Wenner, the curator Sarah Lewis-Cappellari, the media theorist Marian Kaiser and the visual architect Florian Stirnemann.

Web links

Individual evidence

  1. ↑ http://www.mobileacademy-berlin.com/deutsch/2017/milieu-of-the-dead-de.html
  2. ↑ [1]
  3. ↑ https://www.freitag.de/autoren/der-freitag/expedition-ins-ungewisse
  4. ↑ [2]
  5. ↑ [3]
  6. ^ The Undead, Life Science & Pulp Fiction.Retrieved December 16, 2017
  7. ↑ http://www.stnds.de/de/was-wir-foerdern/programme/schwarzmarkt-fuer-nuetzliches-wissen-und-nicht-wissen
  8. ↑ http://buehrig.info/Dialog-Extrem
  9. ↑ http://www.ufg.ac.at/Schwarzmarkt.13749+M54a708de802.0.html
  10. ↑ http://ca.blouinartinfo.com/news/story/1028013/interview-german-curator-hannah-hurtzig-on-copying-general#sthash.n26mcyXo.dpuf
  11. ↑ http://audio-archive.com/#/
  12. ↑ The hours of narrators tanznetz.de
  13. ↑ http://www.mobileacademy-berlin.com/deutsch/index.html
  14. ↑ http://www.mobileacademy-berlin.com/deutsch/2005/schwarzm.html
  15. ↑ http://www.kampnagel.de/de/programm/schwarzmarkt-fuer-nuetzliches-wissen-und-nicht-wissen-nr19/
  16. ↑ http://www.perfomap.de/map4/aufzeichen%20und%20aufhaben/oekonomie-des-exzesses
  17. ↑ Karin Harrasser “A Personal Alphabeth. Hannah Hurtzig`s Blackmarket of Useful Knowledge and Non-Knowledge “, in Florian Malzacher and Joanna Warsza, Empty Stages, Crowded Flats: Performativity as Curatorial Strategy, Alexander Verlag 2017
  18. ^ Oswald Wiener: Cybernetics and Ghosts. In the no man's land between science and art. manuskripte, 207 (2015): 143-162 http://www.goethe.de/wis/bib/prj/hmb/the/158/de10444372.htm
  19. ↑ http://www.goethe.de/wis/bib/prj/hmb/the/158/de10444372.htm
  20. ↑ Bojana Cvejic “Pretend, hallucinate and exhaust production. The black market for useful knowledge and non-knowledge "
  21. ↑ Dirk Baecker: As an expert on a "black market for useful knowledge and non-knowledge". In: Why theater? In the series Recherche 99, Theater der Zeit
  22. ↑ Hannah Hurtzig: It wasn't until I heard you understand me that I knew what I was saying in: Artifacts: Knowledge is Art - Art is Knowledge. Reflections and practices of scientific-artistic encounters, Hermann Parzinger, Stefan Aue, Günbter Stock (eds.), Transcript Verlag Bielefeld 2014
  23. ↑ Markus Krajewski: The secret of the dilettante. Be a professional, 30m long. In: Philipp Blom: I fear the Danaer, reflections on the black market topic “The gift”.
  24. ↑ Hannah Hurtzig: It wasn't until I heard you understand me that I knew what I was saying in: Artifacts: Knowledge is Art - Art is Knowledge. Reflections and practices of scientific-artistic encounters, Hermann Parzinger, Stefan Aue, Günbter Stock (eds.), Transcript Verlag Bielefeld 2014
  25. ↑ Black Market Handbook for Useful Knowledge and Not-Knowing
  26. ↑ https://www.freitag.de/autoren/juloeffl/ein-schillernder-irrsinn
  27. ↑ http://www.mobileacademy-berlin.com/deutsch/2017/hamburg-2017-the-immobilized-de.html
  28. ↑ http://www.untot.info/
  29. ↑ http://www.untot.info/160-0-Kongressarchiv.html
  30. ↑ Monika Nellissen: A whole house becomes "Wunderkammer des Wort". In: welt.de . July 11, 2000, accessed October 7, 2018 .
  31. ↑ http://www.mopo.de/hamburger-kammerspiele---filiale-fuer-erinnerung-auf-zeit----ein-interaktives-theater-projekt-dialoge-vom-keller-bis-zum-dach- -19778642
  32. ↑ http://ca.blouinartinfo.com/news/story/1028013/interview-german-curator-hannah-hurtzig-on-copying-general#sthash.n26mcyXo.dpuf