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Annual Press Conference 2018

Wednesday, December 6, 2017 Vortragssaal, Haus der Kulturen der Welt

As of December 6, 2017 Subject to change


Press Contact: Anne Maier, Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin, Phone +49 30 397 87-153, Fax +49 30 3948679, [email protected], www.hkw.de

Table of Content Berlin, December 6, 2017 Bernd Scherer: Looking backwards – looking forwards Long term projects: 100 Years of Now 2015–2019 Kanon-Fragen 2016–2018 National and international cooperation partner Program and Dates: Bestiarium An interactive round of sound January 18 – 21, 2018 Saving Bruce Lee – African and Arab Cinema in the Era of Soviet Cultural Diplomacy Film program, talks, lectures January 19 – 21, 2018 State 1–4 Rimini Protokoll Theater March 1 – 25, 2018 Top Secret International (State 1) at the Neues Museum: Mar 1-4, Mar 8-11, Mar 15-18, Mar 22-25 Society under Construction (State 2) at HKW: Mar 1-4 Dreaming Collectives. Tapping Sheep (State 3) at HKW: Mar 1-2, Mar 8-10 Davos - state of the world (State 4) at HKW: Mar 8-10 Ticket sales begin on Feb 1, 2018 Dangerous Conjunctures Resituating Balibar/Wallerstein‘s Race, Nation, Class Symposium March 15 – 17, 2018

Dictionary of Now Series of talks March 2018 #10: Image, April 2018 #11: Justice, May 2018 #12: Animal



Anthropocene Lectures Lecture series 2017-2019 March 27, May 31, 2018 and further dates

Neolithic Childhood. Art in a False Present, c. 1930 Exhibition and conference; publication April 13 – July 9, 2018 Opening: April 12, 2018, Conference: May 25-27, 2018 100 Years of Beat Theme Days Concerts, DJ sets, talks, films, performances, installations April 26 – 29, 2018 Schools of Tomorrow Ideas competition, experimental school projects, closing festival June 13 & 14, 2018 Rencontres Internationales Paris/Berlin New film and contemporary art June 19 – 24, 2018 10thInternationaler Literaturpreis – Haus der Kulturen der Welt Award for Translated Contemporary Literatures Celebration of the Shortlist & Award Ceremony June 28, 2018 Wassermusik UK Goodbye UK – and Thank You for the Music Festival Concerts, films, discourse July 27 – August 18, 2018 on the weekends 100 Years of Copyright Theme Days Concerts, talks, films, installations, performances, publication October 18 – 21, 2018 Radiophonic Spaces Walk-in radio space, experimental archive, sound studio and stage November 1, 2018 – January 6, 2019



Anthropocene Curriculum Web platform: www.anthropocene-curriculum.org Since 2013 Technosphere Magazine Online magazine; multimedial (text, video, audio, photo, etc.); texts variie from scientistic articles to artistic formats and essays www.technosphere-magazine.hkw.de Since November 1, 2016 Education Competence network Kulturelle Integration und Wissenstransfer (KIWit) Since 2017 Education Arriving in Berlin App Smartphone app Since 2017 IOS Version From 2018 intercalations: paginated exhibition series exhibition series in paperback format and open access digital edition (www.synapse.info) Edited by Anna-Sophie Springer & Etienne Turpin in association with Kirsten Einfeldt & Daniela Wolf HKW & K. Verlag, Berlin Spring 2018

Partner projects Transmediale.18 face value Festival: January 31 – February 4, 2018 Forecast Festival Forum & Festival May 7 – 13, 2018 & October 8 – 15, 2018 Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media and by the Federal Foreign Office.

http://www.anthropocene-curriculum.org/

http://www.technosphere-magazine.hkw.de/



Looking backwards – Looking forwards Bernd Scherer, director Berlin, December 6, 2017 The world’s new disorder and the mobilization of resentments, the challenges that accompany

algorithms, bitcoins and fragmented publics, the attitudes and values of art in times of crisis, the

search for alternative designs for the future: HKW has addressed all of these issues over the past

year. After extensive renovations were completed in January 2017, the former Congress Hall has

shone in renewed splendor. Our second exhibition hall allows us to deepen and expand our

exhibitions.

Thanks to the funds pledged to us by the German Bundestag and the continuous support of the

Federal Government Commissioner for Culture and the Media and the Foreign Office, HKW is on solid

footing until 2021. Our long-term projects 100 Years of Now (2014-2019), Kanon-Fragen (2016-

2019) and The New Alphabet, to launch in 2019, are research projects developed from our ongoing

cooperation with international as well as national artists, curators and academics. Their focus is on

grappling with the dynamic transformation processes of the global present.

Seeing beyond the radar of the now, how can we tie into what has been imagined over the past 100

years to tap into horizons for action? In 2018, 100 Years of Now begins with Rimini Protokoll’s

theatrical cycle State 1-4, an examination of the major construction site of democracy. The

international conference 30 Years of “Race, Nation, Class”: Ambivalent Balance of Power (working

title) undertakes to redefine the escalations of racism, unequal class relations and nationalisms based

on Étienne Balibar’s and Immanuel Wallerstein’s path-breaking work of 1988. Schools of Tomorrow

tests drafts for the future in everyday school life.

The music festivals 100 Years of Beat and 100 Years of Copyright tell the story of (pop) music and the conditions under which it is produced. Radiophonic Spaces presents experiments, forms of production and methods of composition our of 100 Years of Radio Art.

The Dictionary of Now will be continued with new episodes on the words Image and Justice. In

Hangzhou, Moscow, New Delhi, Tokyo and Sao Paulo, the exhibition and research project Bauhaus

Imaginista will launch, which is developed with the Bauhaus Cooperation Berlin Dessau Weimar and

the Goethe-Institut and will be the finale of 100 Years of Now in Berlin in 2019. HKW’s five years of

foundational research will lead to a multi-volume Library of Now.

In exhibitions and conferences, the long-term project Kanon-Fragen (2016–2019) deals with crises

and paradoxes in global art history. The exhibition Parapolitics: Cultural Freedom and the Cold War,

an examination of the free spaces that artists created for themselves in the competing systems of the

USA and the Soviet Union, will run until January 8. In January 2018, Saving Bruce Lee – African and

Arab Cinema in the Era of Soviet Diplomacy will address the impacts of the USSR’s foreign cultural

policies.



In April 2018, Neolithic Childhood. Art in a False Present, c. 1930 will open to undertake a re-

evaluation of artistic avant-gardes. Then, in the fall of 2018, the exhibition Matrix of All Possible

Narratives will critically grapple with the genre of universal history.

The Wassermusik summer festival, entitled Goodbye UK – and Thank You for the Music, will trace the

“Britishness” of pop music. The Internationale Literaturpreis will celebrate global contemporary

literatures and their first translation into German. The Anthropocene Lectures continue our many

years of dealing with the epoch of humankind. Technosphere Magazine publishes artistic and

academic online dossiers on the technological structures and conditions on our planet.

Numerous cooperation projects with actors from society, the arts, education and research

complement the program of events in Berlin. Our many international partnerships will also be

continued.

Following the research done by The Anthropocene Project (2013-2014), 100 Years of Now and Kanon-

Fragen, we are developing the foundations for our new long-term project The New Alphabet (2019-

2021). It examines the conditions that enable our languages and narratives as well as the shifts

accompanied by digitization. Together with leading institutions, artistic, scientific and social bodies

of knowledge of our time are being developed in a nationwide archival project. In cooperation with

the Goethe-Institut, the multi-year project Hubert Fichte: Love and Ethnology, which will be on our

program in Berlin in 2019, has already begun in this context in Portugal and in Brazil.

Considering today’s extensive political upheavals, differentiated diagnoses of the present are needed

more than ever. In many places in the world, the freedom of art and science are under attack. HKW

has set itself the mission of developing new concepts and arguments to meet the challenges of our

time. This unique program is made possible thanks to the creativity of the artistic management team

of HKW, the division managers Detlef Diederichsen, Anselm Franke, Katrin Klingan and Silvia

Fehrmann, who will be leaving us in January, thanks to the collaboration of many artists, academics

and curators and thanks to the commitment and the experience of all of the staff at HKW.


Press Contact: Anne Maier, Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin, Fon +49 30 397 87-153, Fax +49 30 3948679, [email protected], www.hkw.de

100 Years of Now 2015 - 2019 Events and publications Berlin, December 6, 2017 The past century has profoundly changed our present. The way that we view history is no longer the same. Now, extrapolating historical backgrounds means altering our political imaginations and aesthetic judgment. What socio-political upheavals, what societal infrastructures, categories and scales form the foundations of the present and determine the time to come? How are they intertwined with our present time? How can they, looking back at history, be changed? From 2015 until 2019, 100 Years of Now juxtaposes our conventional understanding of the present and other concepts of time in numerous events, exhibitions, concerts, conferences and congresses. The 100 Years of Now Library continues the deep paradigmatic explorations and reflects them in each of its volumes. Central questions of the last one hundred years are being renegotiated: the housing question, the connection between war and technology, data production and cybernetics, the history of colonial media, the influence of historical feminist and anarchist movements, pedagogical utopias, questions of political classification systems, the invention of the “environment” as well as notions of history and time itself. What concepts can be taken up once again and re-evaluated and where does history offer alternatives? In 2018, 100 Years of Now begins with State 1- 4, theatrical productions by the authors’ collective Rimini-Protokoll, which will be seen simultaneously for the first time in Berlin. In conjunction with today’s virulent debates over democracy, we will present a contribution about the centenary of the Weimar Republic. The conference 30 Years of “Race, Nation, Class”: Ambivalent Power Relations (working title) will explore the links between racism, class relations and nationalism based on the book of the same name with É tienne Balibar and Immanuel Wallerstein, Antonio Negri and experts from younger generations. Results of the Schools of Tomorrow project, which theoretically and practically examines how schools can be places for alternative drafts for the future, will be presented in June. The music festivals 100 Years of Beat and 100 Years of Copyright will relate how the shifts in the beat and changed production conditions in music can be traced over the past one hundred years. Radiophonic Spaces presents experiments, forms of production and methods of composition out of 100 Years of Radio Art. The Dictionary of Now will continue with new issues on the words Image and Justice. The long-term project, which began its diagnoses of the times with Wohnungsfrage, will end in 2019 with Bauhaus Imaginista, exploring the history of the famed architectural and design school’s international impact.



The following volumes will be released in 2018 in the 100 Years of Now Library (in German): Gezeitendenken – Recherchen abseits des Nationalstaatensystems Édited by Katrin Klingan, Nanna Heidenreich and Rana Dasgupta 100 Jahre Copyright Édited by Detlef Diederichsen and Rike Maier Technosphäre Édited by Katrin Klingan and Christoph Rosol Wörterbuch der Gegenwart Édited by Bernd Scherer, Olga von Schubert and Stefan Aue Kosmismus Édited by Boris Groys and Anton Vidokle Utopie und Feminismus Édited by Annemie Vanackere and Sarah Reimann Schools of Tomorrow Édited by Silvia Fehrmann The following volumes have already been published: Die Zeit der Algorithmen, Wohnungsfrage, Krieg singen, Nervöse Systeme and Pop 16. 2 or 3 Tigers will be released December 11, 2017. Online productions since 2015 100 Years of Now Journal TechMag Anthropocene Curriculum A review of the projects 2015 (from September) 100 Years of Now. The Opening, Wohnungsfrage, Acting within a humane society, 2016 (January – May) Singing the War, Civil Society 4.0 – Refugees and Digital Self Organization, Tatort Schlachtfeld (since 2015), Technosphere × Knowledge, Nervous Systems, Pop16 2017 Utopian Realities, Now is the Time of Monsters, Free! Music, 2 or 3 Tigers, New Experts!, Art Without Death: Russian Cosmism, Why Are We Here Now?, The Readymade Century, No! Music, 1948 Unbound, Soundtracks (since 2016) 100 Years of Now is supported by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag. The 100 Years of Now Library is edited by Bernd Scherer, Haus der Kulturen der Welt. Haus der Kulturen der Welt is funded by the Federal Government Commissioner for Culture and the Media and the Foreign Office.



Kanon-Fragen 2016-2018

Berlin, December 6, 2017 History is always written in the present, saying just as much about that present as it does about the past. Within the context of the broader re-evaluation of modernity, to which HKW lent a platform, for example with the Anthropocene project, the Kanon-Fragen programs are devoted to the crises and paradoxes of global art histories. Their focus is on the relationship of formal issues to ideological and political factors that have significantly shaped our understanding of art since the beginning of the twentieth century. With surprising approaches and historical recourses, Kanon-Fragen examines the tectonic shifts in the conditions of artistic production today. Parapolitics. Cultural Freedom and the Cold War will run until January 8, 2018. The exhibition project on post-war modernity makes use of the history of the CIA-backed Congress for Cultural Freedom to survey the ideological foundations of contemporary art. An extensive publication will be issued in the fall of 2018. From January 19 to 21, 2018, Saving Bruce Lee – African and Arab Cinema in the Era of Soviet Cultural Diplomacy will explore the impact of the USSR’s scholarships in the field of film production for Arab and African filmmakers based onrecordings, films and personal memories of graduates, in a program that includes conversations, presentations and film screenings. HKW will produce two major exhibitions in 2018 for Kanon-Fragen. Neolithic Childhood. Art in a False Present, c. 1930 will open on April 12. Taking the writings of anti-academic art historian Carl Einstein (1885-1940) as a starting point, this exhibition will showcase numerous loaned artworks and rare archival materials. The accompanying conference will illuminate the concepts of the “present” formulated by the avant-gardes of the 1930s and investigate the political and intellectual contexts of in which they operated. This project will also produce an extensive publication in English. On September 12, the exhibition The Matrix of All Possible Narratives will open. The exhibition and publication project sees itself as a critical exploration of the genre of universal history and the historic attempts to identify a “story of all stories” among the world’s narrative traditions. Kanon-Fragen launched in March 2016 with the conference A History of Limits, and a further development of the exhibition Past Disquiet. Narratives and Ghosts from the International Art Exhibition for Palestine, 1978, curated by Rasha Salti and Kristine Khouri. It was followed by “Misfits”: Pages from a loose-leaf modernity in the spring of 2017 in newly opened Exhibition Hall 2 devoted to three notables of late modern and proto-contemporary art from Southeast Asia: Tang Chang, Rox Lee and Bagyi Aung Soe. Kanon-Fragen is conceived by Anselm Franke, head of the department of Visual Arts and Film, in curator collaborations with Nida Ghouse, Paz Guevara, Tom Holert, Koyo Kouoh, Antonia Majaca, Rasha Salti, Erhard Schüttpelz, David Teh, and others. Kanon-Fragen is supported by the Federal Government Commissioner for Culture and the Media based on a ruling of the German Bundestag. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



National and International Cooperation Partners

Berlin, December 6, 2017 Anthropocene Since 2013 Aarhus Universitet, Aarhus University Research on the Anthropocene, Department of Anthropology Anthropocene Working Group of the Subcommission on Quaternary Stratigraphy, International Union of the Geological Sciences Arizona State University Phoenix, School of Life Sciences, Global Institute of Sustainability Concordia University Montre al, Milieux Institute for Arts, Culture and Technology Deakin University Melbourne, Institute for Citizenship and Globalisation Deutscher Kulturrat Deutsches Museum Mu nchen Deutscher Naturschutzring Drexel University Philadelphia, Center for Science, Technology and Society É cole normale supe rieure (ÉNS) de Lyon, Plant Development and Reproduction Laboratory, Institut national de recherche de die au nume rique (INRIA) Fridtjof Nansen Institutt Oslo, Law of the Sea Programm Fritz-Haber-Institute of the Max Planck Society, Berlin Goethe-Instituts Chicago, Delhi, Mumbai and Washington Institute for Advanced Sustainability Studies (IASS), Potsdam KTH Royal Institute of Technology Stockholm, Énvironmental Humanities Laboratory (ÉHL) Lancaster University, Institute for Social Futures Leibniz-Institute of Freshwater Écology and Inland Fisheries (IGB) Leuphana Universita t Lu neburg, Centre for Global Sustainability and Cultural Transformation Max Planck Institute for the History of Science Berlin (Partner in all Anthropocene Projects) Max Planck Institute for Chemistry Mainz Oxford University, Faculty of History Rachel Carson Center for Énvironment and Society, Mu nchen Research Institute for Humanity and Nature (RIHN) Kyoto, Department of History, Department of Geography School of the Arts Institute Chicago, Department of Photography, Liberal Arts The Red Cross/Red Crescent, Climate Centre Toxics Link Delhi Universidade de Lisboa, Centro Interuniversita rio de Histo ria das Cie ncias e da Tecnologia University of Calgary, Department of History, Department of Anthropology University of Cape Town, Énvironmental Humanities South University of Chicago, Department of History / Arts, Science & Culture Initiative University of Delhi, Institute of Économic Growth University of Illinois Chicago, Department of Art, School of Art and Design Universidad Nacional de Colombia, Departamento de Sociologí a University of Notre Dame Indiana, Department of History University of Toronto, Centre for Culture and Technology



Archive-Project 2019-2021 Arsenal – Institute for Film and Video Art (with: Silent Green Kulturquartier, International Short Film Festival Oberhausen, SAVVY Contemporary) Iziko Museums of South Africa and Johannesburg Pina Bausch Foundation Staatliche Kunstsammlungen Dresden Technische Universita t Berlin, Zentrum fu r Antisemitismusforschung Universite d’Abomey-Calavi, École du Patrimoine Africain Universite Paris I, Centre Maurice-Halbwachs, L’École Normale Supere rieure, É cole des Hautes É tudes en Sciences Sociales Bauhaus Imaginista 2018/19 Bauhaus Cooperation Berlin Dessau Weimar China Design Museum, Hangzhou Garage Museum of Contemporary Art Moskau Goethe-Instituts China, New Delhi, Lagos, Moskau, New York, Rabat, São Paulo and Tokyo Le Cube – independent art room, Rabat Kala Bhavana, Santiniketan Kobe University, Kobe Museum of Art, Tokyo Nottingham Contemporary SESC São Paulo The National Museum of Modern Art Kyoto, Independent Administrative Institution of National The National Museum of Western Art, Tokyo Waseda University, Tokyo Zentrum Paul Klee Bern Hubert Fichte: Love and Ethnology From 2019 on part of The New Alphabet. 2017-2019 Goethe-Institut S. Fischer Stiftung S. Fischer Verlag Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



Bestiarium An interactive round of sound January 18-21, 2018 Performances for schools: Thu, Jan 18 and Fri, Jan 19, please request dates at [email protected] Participation fee: 2 € Public performances: Sat, Jan 20 and Sun, Jan 21, 10.30 am, 2 pm, 4 pm Participation fee: 7€/4€ Info/Registration at [email protected] Berlin, December 6, 2017 On this fable-lous tour of HKW, concert, music theater and sound installation combine to form an interactive adventure. What is real, what is fantasy? Singular sounds whirr through the corridors and rooms, strange figures dart through the hallways and an old gramophone recording calls for help: A unique instrument from the past, once the centerpiece of a significant collection, it was silent for 100 years. In a hidden research lab populated by almost forgotten, whimsical beings, all your senses are called upon to search for solutions. Bestiarium is a music theater production for people ages 5 and up developed by the Berlin ensemble DieOrdnungDerDinge and funded by the Capital City Cultural Fund. DieOrdnungDerDinge originated at the Graduate School at the Berlin University of the Arts and develops music programs enabling children and adults alike to explore the sphere between concert, theater and performance. Previous projects were performed at HKW, several theaters and concert halls in German-speaking countries, at international theater and concert festivals as well as at the Guggenheim Museum, Bilbao and on Deutschlandfunk Kultur.

mailto:[email protected]



Saving Bruce Lee – African and Arab Cinema in the Era of Soviet Cultural Diplomacy Film program, talks, lectures January 19-21, 2018 Berlin, December 6, 2017 How did the Cold War’s cultural diplomacy influence the course of film and film production in the African continent and Arab world, from the 1960s until the end of the 1980s? These territories were coveted alliance partners during the Cold War for both the USA and for the USSR. With Saving Bruce Lee – African and Arab Cinema in the Era of Soviet Cultural Diplomacy, the curators Koyo Kouoh and Rasha Salti explore the impact of the USSR’s policy of granting scholarships and training professionals in the field of film production, in a program of film in screenings, talks and lectures from January 19-21, 2018. Saving Bruce Lee will discuss the legacy of Soviet filmmaking on the film history of African and Arab countries based on, for instance, recordings, films and the personal memories of students enrolled at the Gerasimov Institute of Cinematography (VGIK) in Moscow who took part in the program from the early 1960s to in the late 1980s. In the opening program, the filmmaker Ossama Mohamed will show a film by his mentor Igor Talankin alongside his own feature film Sacrifices (2002). The following day, historian Constantin Katsakioris, will give a general lecture on the forgotten chapter of Soviet-African relations and educational aid. Later, filmmaker Valérie Osouf, will screen a documentary film about Abderrahmane Sissako, that will be followed by the screening of Sissako’s diploma film, The Game (1991), and Rostov-Luanda (1997), where Sissako sets off from Mauritania to Angola, looking for a long-lost classmate from the days in Moscow. Historian Elena Razlogova will talk about the politics of live translations at Soviet Union film festivals, particularly the Festival for Asian and African Film in Tashkent. The political scientist and specialist of Soviet and post-Soviet history Gabrielle Chomentowski will talk about the effects of this exchange in African and Soviet film history. Filmmaker Ali Essafi will present his research on filmmaker and artist and former VGIK student Mohamad Aboulouakar, followed by a screening of Aboulouakar’s graduation film. Filmmaker Suhaib Gasmelbari will present his research on Sudanese filmmaker Suleiman Ibrahim Elnur, another VGIK graduate, and the two will have a conversation after the screening of Elnur’s films. Egyptian filmmaker and author Jihan El Tahri will present her study on the Guinean filmmaker and VGIK graduate Costa Diagne and two of the films he directed when he was in Moscow will be screened. The event will end with a screening of the film Hadda (1984) by Mohamed Aboulouakar, which is regarded today as a gem of Moroccan realism. In 2012, Koyo Kouoh curated the Chronicle of a Revolt exhibition at HKW, Rasha Salti curated the Past Disquiet exhibition in 2016. Saving Bruce Lee – African and Arab Cinema in the Era of Soviet Cultural Diplomacy is part of Kanon-Fragen, which is supported by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



Rimini Protokoll: State 1–4 Theater March 1-25, 2018 Top Secret International (State 1) at the Neues Museum: Mar 1-4, Mar 8-11, Mar 15-18, Mar 22-25 Society under Construction (State 2) at HKW: Mar 1-4 Dreaming Collectives. Tapping Sheep (State 3) at HKW: Mar 1-2, Mar 8-10 Davos - state of the world (State 4) at HKW: Mar 8-10 Ticket sales begin on Feb 1, 2018

Berlin, December 6, 2017 How do intelligence agencies become power apparatuses with their own agendas? What do major construction sites reveal about today’s society? What significance does the digital space have for democratic processes? And how do economic elites influence world politics? In the four productions State 1–4, the writer-director collective Rimini Protokoll sets out to explore fields outside of what can be organized and controlled by the nation-state today. The complete tetralogy can be seen in March 2018 at Haus der Kulturen der Welt and the Neues Museum. Globalization, digitization, fear of terrorism and public enemies, lobbyism and many other factors interlock in the search for clues by Rimini Protokoll. They are looking for the players in the background, for the areas in the political sphere where state influence starts to blur. Four exemplary themes form the starting points for four theater evenings. The first three parts premiered in Munich, New York, Düsseldorf and Dresden in 2016 and 2017. On January 12, 2018, State 4 will premier in Zürich. All four parts of the co-production by HKW with the Münchner Kammerspiele, Düsseldorfer Schauspielhaus, Staatsschauspiel Dresden and Schauspielhaus Zürich will come to Berlin in March of 2018. Do intel agencies protect the citizens or do citizens need to protect themselves from the state? The international network of secret services can be experienced in an interactive museum visit in Top Secret International (State 1). How is the allocation of multi-million-euro infrastructure projects to construction companies influenced and who benefits from it? The theatrical building site tour of State 2, Society under Construction, looks at it from eight different viewpoints. Are elections as they are held today up-to-date? Together with the audience, Dreaming Collectives. Tapping Sheep (State 3) draws an arc from the lottery in ancient democracies to visions of future technological plebiscites. Davos - state of the world (State 4) examines the entanglements of political and economic forces that gather each year at the World Economic Forum (WEF) in Davos with the self-declared goal of improving the world. In whose name are they negotiating there and who has access to these meetings? A publication will be issued by Verlag Theater der Zeit in March 2018 with contributions by Lukas Bärfuss, Timon Beyes, Matthias Fuchs, Gabriela Muri Koller, Rimini Protokoll, Imanuel Schipper, Benno Tobler, and others. The series State 1-4 is a cooperation between Haus der Kulturen der Welt, Münchner Kammerspiele, Düsseldorfer Schauspielhaus, Staatsschauspiel Dresden, Schauspielhaus Zürich, and Rimini Protokoll, as part of 100 Years of Now, funded by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag. State 1 was co-initiated by the Goethe-Institut.



Dangerous Conjunctures Resituating Balibar/Wallerstein‘s Race, Nation, Class

Symposium

March 15–17, 2018

Berlin, December 6, 2017

Racism articulates itself through class relations and intensifies in nationalist currents. A new understanding of this dynamic is needed in order to create emancipatory-solidary social models. This is the diagnosis of the seminal volume Race, Nation, Class: Ambiguous Identities by Étienne Balibar and Immanuel Wallerstein. Thirty years after it was first published—at a time when this sinister triad rises again—theorists and activists redefine the ways their ambiguous relations work. In addition to lectures by Étienne Balibar and Immanuel Wallerstein many others will join the discussion at HKW: Verónica Gago, social scientist and founding member of Colectivo Situaciones in Buenos Aires; Antonio Negri, who addresses issues of globalized agency in his writings with Michael Hardt; the sociologist Zimitri Erasmus, who researches anti-racism and apartheid; Ruth Wilson Gilmore, who studies revolution and reform, the prison-industrial complex, and the African diaspora; and Maria Chehonadskih, a philosopher focusing on post-Soviet policy and art theory. Both state and society are undergoing widespread change, whether through the effects of global financialization on local markets, the logistical interpenetration of production and everyday life, or digitization, which presents new challenges to the concept of (state) citizenship. Through the course of global capitalism, racist structures have been realigned and the previously established class structures are being transformed. In contrast, new transnational social movements are forming—such as feminist initiatives in Latin America, the #Black Lives Matter movement, and the struggle for self-determination by immigrants in Europe. This conflicting situation makes necessary a redefinition of the conjunction of racism, unequal class relations, and nationalisms. Race, Nation, Class has been translated into nine languages since it was first published in French in 1988. The reception of the work in Greece, Israel, Italy, Japan, Palestine, Russia, South Korea, Sweden, the UK, and the USA will be researched in the run-up to the symposium. Workshops currently taking place in Ankara, Belgrade, Berlin, Buenos Aires, Cape Town, and Kolkata are discussing the book’s currency and will form the basis for the symposium at HKW. The event will be accompanied by a publication compiling research on the book’s reception and the workshop findings. A film by the researchers and filmmakers Charles Heller and Lorenzo Pezzani with Étienne Balibar and Immanuel Wallerstein in conversation with cultural scientist Manuela Bojadžijev illuminates the context of the book’s genesis, discusses its approach, and, in a dialogue between the two authors, updates central theories from today’s perspective. With Étienne Balibar and Immanuel Wallerstein, Petar Bojanić, Maria Chehonadskih, Zimitri Erasmus, Verónica Gago, Ruth Wilson Gilmore, David Theo Goldberg, Raquel Gutiérrez Aguilar, Charles Heller and Lorenzo Pezzani, Geraldine Heng, Sandro Mezzadra, Antonio Negri, Philippe Rekacewicz, Ranabir Samaddar, Nishant Shah, Kaushik Sunder Rajan, Françoise Vergès, and many others. Curated by Manuela Bojadžijev and Katrin Klingan Is part of 100 Years of Now, which is supported by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



Dictionary of Now Series of talks 2015-2018 Publication Appearing in Spring 2019

Berlin, December 6, 2017 The changes and disruptions of the past hundred years have shaped our conception of reality, our thought, and our language. The Dictionary of Now series reflects on the capacity of language to both depict and create reality. Since the modern age this has gone hand in hand with the search for universal truths and codified usages. The Dictionary of Now confronts this assertion of linguistic universalism with specific contemporary positions. Over the course of 2018, the last three issues of the series will be devoted to the shifts and spectrums of meanings, possible interpretations and subtexts of the terms Image, Justice and Animal. How does cultural knowledge reproduce itself in images and what and how do these processes change in virtual spheres? What are the limits of justice, where do they lie and how are they negotiated today? What significance does the animal hold for humankind’s understanding of itself? These and other questions will be dealt with by W. J. T. Mitchell, John Tresch, Hito Steyerl, Nikita Dhawan, Christoph Möllers, Anne Peters, Philippe Descola and others. Since 2015, renowned representatives from academia, politics and the arts have been questioning and updating the established meanings of selected words: Jonas Mekas devised a perspective of Time; Dipesh Chakrabarty and Eyal Weizman debated the meaning of the political along the term Forum; Wole Soyinka and Manthia Diawara examined concepts of Truth; Sharon Macdonald, Tony Bennett and Arjun Appadurai scrutinized the Thing in the museum, Kader Attia and Françoise Verge s developed a filmic and theoretical narrative on the Body; Taiye Selasi, David Goldberg and Achille Mbembe studied the normalization of racist Violence; Joseph Vogel, Allen Feldman and Sinaan Antoon discussed the interconnections of Fear, terror and trauma; Herta Mu ller and Marcel Beyer explored the facets of Language; Karin Knorr-Cetina, Philip Mirowski & Nick Srnicek on the topic Market in December 2017. Dictionary of Now is part of 100 Years of Now, which is supported by the Federal Government Commissioner for Culture

and the Media due to a ruling of the German Bundestag. Haus der Kulturen der Welt is supported by the Federal

Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



Anthropocene Lectures Lecture series 2017-2019 March 27, May 31, 2018 and further dates Berlin, December 6, 2017 Which potentials for human action should be explored in the Anthropocene? Which new forms of cooperation could arise from the awareness of the human role in interlacing nature and technology? The Anthropocene Lectures are devoted to the entanglement between cultural and material processes in the geological epoch of humankind. In lectures and talks, prominent actors in the Anthropocene debate expand upon and re-accentuate this paradigm shift as it transforms society and shapes the future. The series, developed jointly by HKW, the Institute for Advanced Sustainability Studies and the Max Planck Institute for the History of Science, will continue at HKW on March 27 with a lecture by the anthropologist Anna Lowenhaupt Tsing. Tsing studies the socio-ecological feedback effects that trouble life on Earth. In her 2015 book The Mushroom at the End of the World that will be released in German translation in 2018, she advocates making these destructive processes legible in transdisciplinary collaboration between scientists and artists in order to discover new forms of coexistence within the ruins of the capitalist system. On May 31, the anthropologist Lesley J. F. Green will present her approach to the de-colonialization of the Anthropocene articulated in her 2018 book Rock, Water, Life: Science, Environmentalism and Decoloniality in South Africa. With the Anthropocene Lectures, HKW continues its long-time focus on the concept of the Anthropocene. Further lectures in the joint series will be held at the partner institutions. The Anthropocene Lectures series is produced in cooperation with the Institute for Advanced Sustainability Studies, Potsdam, and the Max Planck Institute for the History of Science, Berlin.



Neolithic Childhood. Art in a False Present, c. 1930 Exhibition and conference; publication April 13-July 9, 2018 Opening: April 12, 2018, Conference: May 25-27, 2018

Berlin, December 6, 2017 Based on the writings of the anti-academic art historian Carl Einstein (1885-1940), the exhibition is devoted to despair over the present and the pressing interest in “altering” humanity, as manifested from the 1920s to the 1940s in the artistic avant-gardes and the sciences. In addition to works of art, publications and archival materials will be presented that demonstrate the intensive interplay of the visual arts, politics, philosophy, ethnology, psychology and the natural sciences in this epoch of historic turmoil and totalitarian projects. Neolithic Childhood examines how the artistic avant-gardes reacted to the multiple crises of European modernity around 1930 – the “crisis of consciousness,” the revisions of early and pre-history, the imperialist struggle, the barbarism of technological mass war, the shock of capitalist industrialization, the failure of the Second (Socialist) International, the endgame of bourgeois humanism and the hypocrisies of colonial discourse. The title of the project, Neolithic Childhood, is based on a 1930 essay by Carl Einstein in which he interprets the pictorial symbols in Jean Arp’s art as a repetition of children’s ritual, “prehistoric” play. The perceived need to re-establish European civilization after the disaster of the First World War led to an interminable reconstruction of such origins and beginnings – making “ground zero” the limiting function of modernity. The exhibition will show artworks by Jean Arp, Willi Baumeister, Georges Braque, Claude Cahun, Lux T. Feininger, Max Ernst, Barbara Hepworth, Hannah Höch, Heinrich Hoerle, Valentine Hugo, Paul Klee, Germaine Krull, André Masson, Alexandra Povòrina, Anita Rée, Gaston-Louis Roux, Kurt Seligmann, Kalifala Sidibé, Jindřich Štyrský, Toyen, Frits van den Berghe, Paule Vézelay, Catherine Yarrow and others. Printed matter and archival material, including manuscripts and typescripts from the Carl Einstein Archive of the Academy of the Arts in Berlin, will be exhibited side-by-side with the works of art. They are among the manifold material evidence of the diverse and active role played by art and art theory in the perception and radicalization of the upheavals around 1930. The exhibition will be catalogued and contextualized by a comprehensive, richly illustrated publication. The authors include Irene Albers, Joyce Cheng, Anselm Franke, Charles W. Haxthausen, Tom Holert, Erich Ho rl, Susanne Leeb, Sven Lu tticken, Jenny Nachtigall, Kerstin Stakemeier, Maria Stavrinaki, Zairong Xiang and Sebastian Zeidler. Curated by Anselm Franke and Tom Holert; with academic consulting by Irene Albers, Susanne Leeb, Jenny Nachtigall, and Kerstin Stakemeier. Neolithic Childhood is part of Kanon-Fragen, which is supported by the Federal Government Commissioner for Culture

and the Media due to a ruling of the German Bundestag. Haus der Kulturen der Welt is supported by the Federal

Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



100 Years of Beat Theme Days Concerts, DJ sets, talks, films, performances, installations April 26-29, 2018 Berlin, December 6, 2017 The first drum set came on the market in 1918. It conquered urban dance music and established the triad of bass drum, snare and hi-hat as the globally used combination. Percussion became the pulse of European-influenced music. This history can also be interpreted as the African backbeat being introduced to European music via the detour of North America. 100 Years of Beat tells this story and investigates the relationship between played and programmed beats. It presents style-influencing drummers and explores (back) beat concepts from Brazil, Cuba, Haiti and New Orleans, from Arabic and Indian music. While drums in European music had mainly an embellishing function, they were actually prohibited in North America in the first half of the eighteenth century. “No Drumming” laws were enacted across the United States because it was feared that enslaved Africans and African Americans would use drums as a means of communication to organize revolts. Instead of using instruments, people then drummed on barrels and with spoons and the “pattin’ juba” (also known as the “hambone”) evolved. The dance that uses the entire body as a drum introduced the roles given to the various frequencies that were later transferred to the bass drum, snare and hi-hat. The first proto-jazz dance orchestras of the late nineteenth century performed with multiple drummers, each playing on one drum. Then, in 1918, the Ludwig Drum Company in Chicago put the first drum set on the market with bass drum, snare, hi-hat, tom toms and cymbals. With two foot pedals, drummers are now able to play four instruments at one time. Similar to “pattin’ juba,” now only one body was responsible for the beat. The popularization of the drum set was accompanied by the spread of the backbeat. HKW curator Detlef Diederichsen explores the music of the past 100 years and traces leitmotifs of pop history from unexpected perspectives. 100 Years of Beat is part of 100 Years of Now, which is supported by the Federal Government Commissioner for Culture and

the Media due to a ruling of the German Bundestag.

Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by

the Federal Foreign Office.



Schools of Tomorrow Ideas competition, experimental school projects, closing festival June 13 & 14, 2018 Berlin, December 6, 2017 What visions do schools need as laboratories of tomorrow’s society? With Schools of Tomorrow, HKW has teamed with teachers, students, artists and experts to develop models for state-of-the-art schools that measure up to the demands of tomorrow. An ideas competition makes the students’ points of view visible, school projects test future themes. At the closing festival on June 13 and 14, all of the findings will come together in an experimental class schedule. During the 2017-2018 school year, teachers, artists and digital experts are working on seventeen experimental school projects. In Berlin, Tu bingen, Malchin, Naples and other cities, they are developing models for schools fit for the future. They are investigating digital topics such as the Internet of Things or Augmented Reality, testing self-determined approaches to ground schools in neighborhoods, exploring natural processes in urban and rural areas and designing their own teaching materials. These projects form the basis of the experimental class schedule taking place at the closing festival on June 13 and 14 for students and teachers, parents and experts. Action fields and ranges of topics for the school projects originated during the kick-off conference in May 2017 where international educational theorists and school practitioners, artists, parents and students discussed how schools can co-create the future. In cooperation with the ZEIT publishing group and under the patronage of the Federal President, HKW invites students of all grades to enter an ideas competition to express their desires for the school of tomorrow by January 31, 2018. A publication issued in the spring of 2018 will compile the most important contributions. School projects with the artists, architects and collectives Katja Berls, bu ro etaboeklund, Nika Dubrovsky, Constanze Fischbeck, Jugend hackt, kollektiv orangotango, Gergely La szlo & Vira g Major, Projekthof Karnitz, Raumlabor Berlin, Isabell Spengler and others. The ideas competition It’s Our School! is a project by Haus der Kulturen der Welt and the ZEIT Verlagsgruppe under the patronage of the Federal President. Schools of Tomorrow is part of 100 Years of Now, funded by the Federal Government Commissioner for Culture and the Media based on a ruling of the German Bundestag. Haus der Kulturen der Welt is funded by the Federal Government Commissioner for Culture and the Media and the Foreign Office.

http://www.hkw.de/en/programm/projekte/2017/schools_of_tomorrow/auftaktkonferenz/sot_auftaktkonferenz.php



Rencontres Internationales Paris/Berlin New film and contemporary art June 19-24, 2018 In cooperation


Contemporary image culture always moves at the interface of aesthetic, social and political issues, reflecting the ongoing development of production and distribution methods. In our time, the demarcations between documentary and fictional approaches are increasingly disappearing. With a selection of more than 100 previously unreleased international films from 40 countries, most shown for the first time in Germany, the Rencontres Internationales Paris/Berlin open up a critical and forward-looking view of these practices in film and art. The festival presents works by world-renowned artists and filmmakers as well as young talents whose works will be seen in Berlin for the first time. In addition to the film screenings, workshops, panel discussions and conversations with international artists, filmmakers and experts invite visitors to discover and reflect new documentary, fictional and multimedia approaches. In 2017, filmmakers such as Filipa Ce sar, Clemens von Wedemeyer, Antoni Muntadas, Jasmina Cibic, Peter Downsbrough, Lina Selander, and AES+F accepted the curators’ invitations. Rencontres Internationales Paris/Berlin is curated by Nathalie He non and Jean-François Rettig and is a joint project with Haus der Kulturen der Welt. More information and the program will soon be available at www.art-action.org

http://www.art-action.org/



10th Internationaler Literaturpreis – Haus der Kulturen der Welt Award for Translated Contemporary Literatures Celebration of the Shortlist & Award Ceremony June 28, 2018 Online submission open: December 11, 2017 Deadline for book submissions: January 31, 2018 Announcement of the shortlist: May 23, 2018 Announcement of the award-winning duo: June 12, 2018 Berlin, December 6, 2017 Fiction by all available means: What literary forms do current narratives assume? What multiplications and interrelations of texts and realities are set in motion by the processes of translation? Under which conditions does our imagining and thinking, our writing, translating and reading take place? How does the contemporary text negotiate the complexities and distortions faced by mobile and incessantly self-observant societies? Who writes the texts in which the world is present? In 2018, HKW and Stiftung Elementarteilchen will award the Internationaler Literaturpreis for the tenth time. Since 2009, the prize money of €35,000 – € 20,000 for the author and € 15,000 for the translator – has been conferred to an outstanding work of contemporary international literature translated into German for the first time, thereby honoring the relationship between the original work and its translation. The award will be presented on June 28, 2018 during a literature festival: The Celebration of the Shortlist & Award Ceremony will not only present the prize-winning book, but delve into the narrative spectrum of the entire shortlisted texts. In a variety of formats – readings, conversations on literary materials, discussions – the authors and translators will offer insights into their own modes of production and reading and undertake literary investigations of the present with the jury and other guests. Using a multi-stage method, a jury of seven will first determine the shortlist and then the awardee duo. In 2018, the jury will consist of the literary critic and author Verena Auffermann, the journalist and writer Jens Bisky, the literary translators Katy Derbyshire and Frank Heibert, the dramaturge, author and curator Jens Hillje, the literary scholar and editor Daniel Medin, and Daniela Seel, editor and poet. Since 2017, the award has been accompanied by the residency program of the Literarische Colloquium Berlin (LCB), where the awardees present their latest work in the following year. The ideas and conversations surrounding the award are augmented in the EPITEXT blog by interviews, essays and notes and by articles on literature and translation: epitext.hkw.de Previous awardees: 2017 Fiston Mwanza Mujila | Katharina Meyer & Lena Müller: Tram 83; 2016 Shumona Sinha | Lena Mu ller: Erschlagt die Armen!; 2015 Amos Oz | Mirjam Pressler: Judas; 2014 Dany Laferrie re | Beate Thill: Das Rätsel der Rückkehr; 2013 Teju Cole | Christine Richter-Nilsson: Open City; 2012 Mircea Ca rta rescu | Gerhardt Csejka & Ferdinand Leopold: Der Körper; 2011 Michail Schischkin | Andreas Tretner: Venushaar; 2010 Marie NDiaye | Claudia Kalscheuer: Drei starke Frauen; 2009 Daniel Alarco n | Friederike Meltendorf: Lost City Radio The Award for Translated Contemporary Literatures is conferred by the Haus der Kulturen der Welt and the Stiftung Elementarteilchen. The Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



Wassermusik UK Goodbye UK – and Thank You for the Music Festival Concerts, films, discourse July 27-August 18, 2018 Berlin, December 6, 2017 In 2018, Wassermusik takes the Brexit as an opportunity to pay homage to the extraordinary musical creativity that made the United Kingdom the world’s leading pop nation, alongside the US, in terms of music as well as thought, fashion, style and other concepts. Entitled Goodbye UK – and Thank You for the Music, the festival traces the “Britishness” of pop music and investigates its mode of action. The program not only focuses on some particularly British-sounding artists of the past six decades of music history, but above all non-British musicians who say goodbye to the United Kingdom, some more, some less gratefully. Another thematic strand concerns the history of immigration, largely unknown in Germany, which brought musicians in droves to the postwar UK without whom British pop music would probably not sound as we learned to love it. As always, the concerts will be supplemented by films, panel discussions and the Wassermarkt. The past ten editions of Wassermusik dealt with themes ranging from Surf and Tiki (2008) and Deserts (2011), The New Pacific (2013) and Mother India (2015) to The Other Caribbean (2016) and in 2017, for its tenth year, celebrated itself. Wassermusik X invited the “best of” and artists the makers of Wassermusik had always wanted to engage but who were unable to take part for various reasons. In 2018, the festival, curated by Detlef Diederichsen, will again be held on the popular HKW roof terrace unless the weather does not allow, then in the exhibition hall. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media and by the Federal Foreign Office.



100 Years of Copyright Theme Days Concerts, talks, films, installations, performances, publication October 18-21, 2018 Berlin, December 6, 2017 A titanic struggle is currently raging over copyright. Publishers, labels and production companies battle the representatives of the digital economy over exploitation and remuneration. In this conflict, where are the interests of the artists? What about those of consumers with their desire to use high quality cultural goods? 100 Years of Copyright investigates the evolution of copyright since the birth of the cultural industry, concepts of intellectual property and artistic freedom. Initially intended as a research project, it will culminate in the fall of 2018 with concerts, talks, films, installations and performances. What is an original? Who owns the rights and who earns money with them? 100 Years of Copyright critically illuminates various legal concepts, their strengths and weaknesses and, not least, the role of collecting societies. How are they legitimized, how do they work? What reform proposals exist and what are the interests behind them? The victims of the current conflict dispute are, on the one hand, the creative people, for whom it is increasingly difficult to make a living from their work because the legal basis on which they generate their income originated in the pre-digital age. But users are also impaired when copyright and artistic freedom are played against one another. Can music, literature and films still be produced independently at all? The festival explores concepts of intellectual property and reproduction not only in Europe and the US, but also in Asia and Africa with the aim of taking global stock of the situation. What alternative ideas exist globally for the protection and promotion of artistic creativity? While the project is under development, a publication is being realized. In the follow-up project Right the Right (starting in 2019), attempts will be made to formulate proposals for copyright reform or a new copyright law. HKW curator Detlef Diederichsen investigates the music of the past 100 years and traces leitmotifs of pop history from unexpected perspectives. 100 Years of Copyright is part of 100 Years of Now, which is supported by the Federal Government Commissioner for Culture and the Media based on a ruling of the German Bundestag. Haus der Kulturen der Welt is funded by the Federal Government Commissioner for Culture and the Media and the Foreign Office.


Press Contact:: Anne Maier, Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin, Fon +49 30 397 87-153, Fax +49 30 3948679, [email protected], www.hkw.de

Radiophonic Spaces Walk-in radio space, experimental archive, sound studio and stage November 1, 2018 – January 6, 2019 Berlin, December 6, 2017 What does an archive of radio art sound like? How do we hear and how does hearing establish our knowledge, our experience of the present and the world? Based on the results of a multi-year research project, Nathalie Singer, a radio writer and professor of experimental radio at Bauhaus-Universita t Weimar, and a team of radio researchers are producing a radiophonic room designed by the artist, architect and musician Cevdet Erek. Visitors can enter it to individually hear and explore more than 200 works of international radio art. Radiophonic Spaces presents experiments, forms of production and methods of composition in, with and for the radio, its apparatuses, studio techniques and discourses. Mediated by immersive audio technology, by moving within the space, visitors – like the needles on a radio search dial – trigger individual works from 100 years of radio art. Cevdet Erek, who performed at the Turkish pavilion of the 2017 Venice Biennale, is specifically designing an architecture for the room in which the interplay of sound and space can be enabled and examined. This architecture is interwoven with a digital reference work on the history of radio art. This makes Radiophonic Spaces a walk-in radio space, experimental archive, sound studio and stage all in one. Radiophonic Spaces correlates current and historic, known and unknown positions. László Moholy-Nagy’s phonograph experiments meet the signals chosen by Carl Sagan for the Voyager probe. John Cage’s Imaginary Landscapes resound alongside Christoph Schlingensief’s Rocky Dutschke 68. Olaf Nicolai meets Orson Welles, Eran Schaerf and Friederike Mayröcker encounter Stereo Total, Antonin Artaud, Ammer & Console, Michaela Melián and many more. In addition, in cooperation with national and international radio stations, artists and researchers are invited to activate the radiophonic room and to rewrite, adapt and further write the history of radio art in lectures, concerts and performances. Radiophonic Spaces is part of the interdisciplinary research project Radiophonic Cultures – Sonic Environments and Archives in Hybrid Media System, which has been underway at the University of Basel and the Bauhaus-Universita t Weimar since 2015. Radiophonic Spaces will travel three stations: In the spring of 2018, the walk-in radio space can be seen at the Tinguely Museum Basel, in the winter of 2018-2019 in Berlin and in the summer of 2019 at the Weimar university library. Artistic director of Radiophonic Spaces: Nathalie Singer, Bauhaus-Universita t Weimar. Director of the Radiophonic Cultures research group: Ute Holl, University of Basel. In cooperation with ARD, Deutschlandradio, Ö sterreichischer Rundfunk, Schweizer Rundfunk, BBC, Radio France, Deutsches Rundfunkarchiv, Zentrum fu r Ku nstlerpublikation Weserburg, Lautarchiv der Humboldt-Universita t zu Berlin, New Radiophonic Workshop, INA/Groupe de Recherches Musicales, Film und Medien Stiftung NRW, Goethe-Institut and many others. Radiophonic Spaces is a project by the Bauhaus-Universität Weimar in collaboration with Haus der Kulturen der Welt and funded by the German Federal Cultural Foundation and it is part of 100 Years of Now, which is supported by the Federal Government Commissioner for Culture and the Media due to a ruling of the German Bundestag. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



Anthropocene Curriculum Forms of knowledge in the Anthropocene: Research experiment and online platform (since 2013) www.anthropocene-curriculum.org Berlin, December 6, 2017 Which methods and knowledge practices are needed to develop new potentials for action in the face of the present-day situation – both in academic and general societal collaboration? The complex material, cultural and technological transformation processes of the Anthropocene demand that institutions become leaders of new forms of transdisciplinary production and dissemination of knowledge. The Anthropocene Curriculum is an international research experiment that is continuously being conducted and further developed toward this aim as it articulates itself through multiform campuses and a dynamic, collaborative online platform at anthropocene-curriculum.org. Since the first two campus events held in Berlin in 2014 and 2016 along with the launch of the online platform, an international network of partner initiatives has developed. Out of this international network the project will now continue into the years 2017/2018 on a case-study and method-specific basis in places including Lyon, Philadelphia, Chicago, Montreal, Melbourne, Lisbon, Cape Town, Delhi, and Kyoto. Starting in Montreal, a research group of the Speculative Life Cluster at Concordia University queries the effects of technological and digital infrastructures on future forms of knowledge and ways of life. The artist-activist group Deep Time Chicago negotiates new dimensions of socio-political change and action in various formats and field studies with a conference and exhibition in the summer of 2018. A pan-African network of critical environmental sciences coordinated at the University of Cape Town is working on linking the transformative potential of the Anthropocene concept with a cooperative curriculum in sub-Saharan Africa. In Japan, an international working group is investigating specific material knowledge practices that reveal local and global cultures of environmental understanding. In 2019, these worldwide partner initiatives of the Anthropocene Curriculum will gather at HKW for yet another event. After the first seven years of the project, the partners will have an opportunity to evaluate their experiences and frame their respective outlooks on the future of the project. As local manifestations of the global, they will elaborate a global topography and topology of the Anthropocene and its epistemic practices as well as the future forms of living and acting that evolve from it. Heads of project: Katrin Klingan (HKW), Christoph Rosol (Max Planck Institute for the History of Science) Anthropocene Curriculum is initiated by HKW and the Max Planck Institute for the History of Science, Berlin, and developed in collaboration with Aarhus University Research on the Anthropocene (AURA); Institute for Advanced Sustainability Studies (IASS), Potsdam; Research Institute for Humanity and Nature (RIHN), Kyoto; Center for Global Sustainability and Cultural Transformation (CGSC) of Leuphana, Lüneburg and Arizona State University; Concordia University Montréal; Drexel University, Philadelphia; École normale supérieure (ENS) de Lyon; Environmental Humanities Laboratory of the KTH Royal Institute of Technology, Stockholm; Goethe Institute Chicago; Institute for Advanced Sustainability Studies (IASS), Potsdam; Rachel Carson Center for Environment and Society (RCC), Munich; Research Institute for Humanity and Nature (RIHN), Kyoto; School of the Arts Institute Chicago (SAIC); University of Cape Town; University of Toronto, and many more. Haus der Kulturen der Welt is funded by the Federal Government Commissioner for Culture and the Media and the Foreign Office.

http://www.anthropocene-curriculum.org/



Technosphere Magazine www.technosphere-magazine.hkw.de

Online magazine – launched 2016 Berlin, December 6, 2017

Technosphere Magazine has been tracing the mechanisms and impacts of the technosphere since 2016. The online magazine explores the range and traits of the technosphere, investigates isolated incidents and phenomena and tests their logics and protocols in a multidisciplinary context that ties together the arts, sciences, and humanities. Since the magazine began, nine curated thematic dossiers have been published that focus on themes such as Earth, Infrastructure and Trauma. They use various focuses and scales to measure the field of investigation to create new narratives through discursive and artistic engagement. In 2018, Technosphere Magazine will be expanded by a series of dossiers that survey and research the constitutive elements of the technosphere in essays, video and images that take on materiality, the “sphere” of the technological and the structural function of trust. The MATERIALS dossier will examine and discuss the conditions of the material world in terms of their function within the technosphere. The dossier tells of things and materials, about digging up and discarding. In the process, the substances as such will be taken into consideration as well as the surrounding logistical structures and their relationships with each other.

SPHERES will explore the question of what it really means to conceive the technological structures and conditions on our planet as an Earth system sphere. The contributors will examine what forms and parameters are created by contingent technical mega-structures and how they metabolically form a sphere of the technological.

Trust is the prerequisite for stabilizing and habituating the circulation of goods, ideas and policies. The TRUST dossier explores how technological structures proffer forms of trust both in everyday life and in various practices that affect relationships between people and their world. With current articles by Elaine Gan, Sander van der Leeuw & Daniel Niles, Esther Leslie, Sophia Roosth, Jens Soentgen. Articles since 2016 written by Anil Bawa-Cavia, Ana Dana Beroš, Josh Berson, Axel Braun, François Bucher, Andrew Chubb, David Edgerton, Sasha Engelmann, Eberhard Faust & Scott Knowles, Orit Halpern, Gerda Heck, Carola Hein, Bernd Kasparek & Isabelle Saint-Saëns, Alexander Klose, Karin Knorr Cetina, Nile Koetting, Nik Kosmas, Chowra Makremi, Eden Medina, Sandro Mezzadra, Gerald Nestler, Luciana Parisi, Matteo Pasquinelli, Kim Rygiel, Jenna Sutela, Hannes Wiedemann, and many others Editors: Katrin Klingan, Christoph Rosol, Nick Houde, Anna Luhn (-2016), Johanna Schindler, and Mira Witte. Collages by Nina Ja ger Technosphere 2015-2019 is part of 100 Years of Now. Together with the online journal continent. it draws up experimental forms of publication for project materials and results. 100 Years of Now is supported by a special fund from the Federal Government Commissioner for Culture and the Media and the Foreign Office. Haus der Kulturen der Welt is funded by the Federal Government Commissioner for Culture and the Media and the Foreign Office.

http://www.technosphere-magazine.hkw.de/



Competence network Kulturelle Integration und Wissenstransfer (KIWit)


How can diversity be promoted in art and culture? What’s needed to further develop institutional structures and personal behaviors? The newly established competence network Kulturelle Integration und Wissenstransfer – or KIWit – will ask these and other questions and discover practical approaches to their answers. The network, which took up work this fall, combines the expertise of the Bundesakademie Wolfenbu ttel, Bundesverband Netzwerke von Migrantenorganisationen (NeMO), Haus der Kulturen der Welt, netzwerk junge ohren and Stiftung Genshagen. The goal is to develop a systematic concept of quality development and assurance in the critical exchange of artists and art mediators, researchers, entrepreneurs, politicians, civil society initiatives and cultural institutions and administrations. To this end, the network will conduct workshops, advanced training, dialogue events and artistic laboratories throughout Germany in cooperation with other partners in practice. The Bundesakademie Wolfenbu ttel offers diversity-oriented further education and advice for disseminators and federally funded cultural institutions and also coordinates all KIWit activities. Affiliated with Haus der Kulturen der Welt, the online platform Kultur öffnet Welten sees itself as a forum that critically reflects transformation processes in cultural practice and makes diversity-oriented cultural actors visible. The netzwerk junge ohren feeds knowledge from civil society and cultural initiatives into the network, in particular the participants of Kultur öffnet Welten. It pursues the goal to make artistic practice non-discriminatory and equal, for example in conferences. Cross-border, European stimuli are taken up and passed on by the Stiftung Genshagen. The foundation sees itself as an artistic laboratory for and with management staff and decision-makers from culture and industry and is further expanding its work on the Netzwerk Kulturelle Bildung und Integration. The Bundesverband Netzwerke von Migrantenorganisationen (NeMO) pools post-migrant and migrant perspectives and stakeholders in urban society, thus ensuring the transfer of diversity-oriented competencies and standards for our immigration society. The online platform www.kultur-oeffnet-welten.de is part of the KIWit competence network. It offers a platform to cultural creators and institutions for which cultural participation is a fundamental concern. It aims to purposefully plan, implement and mediate cultural programs for people of all ages, regardless of their social situation, impairment or ethnic origin. The KIWit competence network is funded by the Federal Government Commissioner for Culture and the Media. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.


Press Contact: Haus der Kulturen der Welt, Anne Maier, John-Foster-Dulles-Allee 10, 10557 Berlin, Fon +49 30 397 87-153, Fax +49 30 3948679, [email protected], www.hkw.de

Arriving in Berlin App Free app for Android smartphones Arabic, German, English, Farsi, French, Sorani/Kurdish

December 6, 2017

What does it mean to arrive in a city like Berlin for the first time? What is it like for refugees who not only have to face everyday questions of urban life, but also fundamental challenges? Who can help me if I do not understand how the asylum procedure works? Where can I find a pediatrician for my daughter? Where are German classes? The new Android app is a digital map containing helpful information for refugees and newcomers to Berlin. The further development of the browser-based mapping project Arriving in Berlin – a map made for refugees is available for free in six languages and can display information and places offline as well. The map is being further optimized in continuing workshops that are now organized by refugees themselves. An iOS version will be rolled out in a few months. More on arriving-in-berlin.de Available from the Google Play Store The project is part of the Berlin Mondiale initiative in cooperation with Haus der Kulturen der Welt, Berliner Stadtmission and Refugees on Rails. With kind support from the Verein der Freunde – Haus der Kulturen der Welt e.V.


Press Contact: Haus der Kulturen der Welt, Anne Maier, John-Foster-Dulles-Allee 10, 10557 Berlin,

Fon +49 30 397 87-153, Fax +49 30 3948679, [email protected], www.hkw.de

intercalations: paginated exhibition series exhibition series in paperback format and open access digital edition (www.synapse.info) edited by Anna-Sophie Springer and Etienne Turpin in association with Kirsten Einfeldt and Daniela Wolf HKW & K. Verlag, Berlin, Spring 2018 Berlin, December 6, 2017

In 2018, HKW und K. Verlag continue their collaboration within the publication series intercalations: paginated exhibition with two volumes, intercalations 5: Decapitated Economies and intercalations 6: These Birds of Temptation. The series expands the discourse of curatorial knowledge production by enabling explorations of the book as an experimental exhibition format in relation to other aesthetic practices in the Anthropocene. It establishes thereby a compact library of its own by asking how the Anthropocene thesis urges us to rethink traditional fields of knowledge.

Whereas each of the six volumes focuses on one distinct topic addressed by collaborators of SYNAPSE – The International Curators’ Network at Haus der Kulturen der Welt, the series as a whole seeks to confront the entangled relationships of inherited distinctions between binary categories such as nature and culture, human and non-human, fact and fiction.

intercalations 5: Decapitated Economies brings together positions of provocation that tell the reader-as-exhibition-viewer that the “head,” despite its interminable rule over the body, necessarily underestimates the sophistication of corporeal desire. The volume explores with manifold contributions how desire is unleashed in accord with the principles of a general economy.

intercalations 6: These Birds of Temptation is a queer refrain, populated with both acoustical lines of flight and the sorrows of captivity. The sixth and final volume of the series is dedicated to the minor science of ornithology. Text, art and design contributions investigate avifauna and their diverse flirtations with aesthetics, science, and sexuality.

Contributors include Nora Al-Badri, David Bonter, Bertholt Brecht, Finn Brunton & Sara Dean, Lêna Bùi, D.T. Cochrane, Revital Cohen & Tuur van Balen, Amanda DeLisio, Tim Furstnau & Andrea Steves (Museum of Capitalism), Anne Geene & Arjan de Nooy, Sophia Gräfe, Mary Ellen Hannibal, Lisa Hirmer, Kelly Jazvac, Thomas Kaiser, Nina Katchadourian, Anna-Katharina Laboissiere, Renan Laru-An, Armin Linke, Nashin Mahtani & Junichi Ushiba, Hannah Meszaros Martin, Jeff Monaghan, Skye Moret, Anaïs Nin, Rob Nixon, Vincent Normand, Nataša Petrešin-Bachelez, Nina Power, Priyanka Basu & Steve Rowell, Bruno Schulz, AbdouMaliq Simone, Anna-Sophie Springer & Etienne Turpin, Frank Steinheimer, Jenna Sutela, Bik Van der Po, Xiaoyu Weng.

The book-as-exhibition-series emerged from HKW’s first curatorial program SYNAPSE. The network meeting in 2013 was dedicated to the Anthropocene and gave rise to the publication series whose first four volumes were published in 2015 and 2017. Under the artistic direction of Kirsten Einfeldt and Daniela Wolf, SYNAPSE, with its online platform and biannual network workshops in 2011, 2013 and 2015, laid an important cornerstone for the sustained promotion of young curatorial and scientific talent.

The intercalations: paginated exhibition series is published in cooperation with K. Verlag and made possible by the Ernst Schering Foundation. Haus der Kulturen der Welt is supported by the Federal Government Commissioner for Culture and the Media as well as by the Federal Foreign Office.



Partner projects Berlin, December 6, 2017

Salon für Ästhetische Experimente Talks, Performances, Screenings and Discussions In cooperation with Berlin Center for Advanced Studies in Arts and Sciences (BAS), Universität der Künste Berlin January – July 2018 Miss Read: The Berlin Art Book Fair 2018 Art book fair In cooperation with Miss Read: The Berlin Art Book Fair May 4 – 6, 2018 51th Congress AICA international 2018 Conference In cooperation with The International Association of Art Critics (AICA) September 27, 2018 Concerning Matters and Truths. Postmodernism's Shift and the Left-Right-Divide Closing conference of the Graduiertenkolleg „Das Reale in der Kultur der Moderne“, University of Konstanz in cooperation with Haus der Kulturen der Welt October 4 – 6, 2018

Die Unübersetzbarkeit des Museums Conference In cooperation with the British Museum (London), Centre national de la recherche sientifique and École nationale supérieure Paris, Collège de France (Paris) and TU Berlin. November 15. – 17, 2018

transmediale/festival

31.01.–04.02.2018 HKW, Berlin

face value: transmediale 2018 explores the political, economic, and cultural divides of our time Things are what they are—but could they be different? Under the title of face value, transmediale 2018, directed by Kristoffer Gansing for the seventh time, is probing the values, as well as the processes of value creation, that have contributed to our present moment of extreme political, economic, and cultural divides. The 31st edition of the festival is taking place at Haus der Kulturen der Welt from 31 January to 4 February 2018. Its participants will seek possible new ways of resisting and deconstructing the alarming development of digital populism, the radicalization of net culture, and the new culture wars. “Taking things at face value” seems to have become the norm of public discourse—as has the reduction of life to economic motives, which is widespread in neo-liberalism. transmediale wants to look at less visible issues instead, which run deep across all sectors of society: How can artists, cultural workers, and speculative theorists respond to the current politics of taking things at face value and, at the same time, face their own values? First program announcements Among the participants of transmediale 2018 are the Demystification Committee with their art and research project Offshore Investigation Vehicle. CAMP will present From Gulf to Gulf to Gulf / The Wharfage, which traces the informal maritime trade routes between Sharjah Creek and various Somali ports as well as the everyday lives of the sailors on their boats. Amidst everyday racism, celebrity worship, stereotypes, and the overwhelming power of finance, traveling culture workers of different origins tell each other about their experiences and dreams in Stefan Panhans’ and Andrea Winkler’s hybrid work HOSTEL Sequel#1: Please Be Careful Out There, Lisa Marie – Hybrid Version. The artistic documentary Also Known As Jihadi by Eric Baudelaire follows a young man’s journey from France to Syria and back to France, where he is incarcerated for allegedly joining the so-called Islamic State. Angela Nagle, author of Kill All Normies: From 4chan and Tumblr to Trump and the Alt-Right, will engage in an in-depth conversation with media theorist Florian Cramer about the role of counterculture in a time of resentment and radicalization. One of the keynote speakers is Lisa Nakamura, professor at the University of Michigan. She is a leading scholar on the topics of race, gender, ethnicity, and identity, more specifically the forms of social inequality that emerge, recur, and persist in the digital sphere. Artist and writer Aria Dean will talk about blackness and blaccelerationism in a panel focusing on shared territories and new forms of collective being within and beyond the web today. transmediale is a project by Kulturprojekte Berlin GmbH in collaboration with Haus der Kulturen der Welt. It is funded as a cultural institution of excellence by Kulturstiftung des Bundes. Tabea Hamperl [email protected] tel: +49 (0)30 959 994 235 https://2018.transmediale.de/

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Forecast 2018 – Forum and Festival Third edition of Forecast, the international platform for pioneering ideas Forecast Forum: May 11-12, 2018 Forecast Festival: October 12-13, 2018 How should the future look? Forecast asks this question of international young trailblazers – be they artists, designers, or engineers – without any limitations or pressure to produce predefined results. Forecast is about mutual engagement amongst various disciplines whose protagonists can freely use their imaginations and innovative spirit to tackle pressing questions. Forecast pairs these pioneering minds with accomplished mentors. Mentors in 2018 In the current edition, six mentors offer their expertise in developing and bringing their groundbreaking project proposals to fruition. “Museums of Applied Arts can become a forum for how we want to design our world.” Museum director Tulga Beyerle (AUT) dedicates herself to the field of ‚Invasive Design‘. “The art of the present, molded by the past, provides a springboard for the future.” The act of ‚Looking‘ is what fascinates curator David Elliott (UK) and is a topic that he would like to explore with curators and artists. “I like to hope that I approach my subjects openly, looking for peculiarities or problems, inventing them if I cannot find any.” Video artist Omer Fast (Israel/Germany) tells and retells stories with ‚Moving Image‘. “Nostalgia doesn’t interest me. Instead, I look for fresh ways of expressing new ideas.” Musician Holly Herndon (USA) dedicates her work to contemporary musical expression through ‚Composition‘. “My work is about restoring the fluidity between the living and the non-living.” Artist Laura Lima (Brazil) deals with the notion of ‚Living Matter‘. “The notion that the dissemination of ideas through sound to a broad audience can again be used for artistic expression feels very current.” Producer und curator Peter Meanwell (UK/Norway) searches for ideas that go ‚Beyond Radio‘.

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From Open Call to Forecast Festival Forecast promotes interdisciplinary exchange and public discussion of groundbreaking, pioneering concepts. Until December 20, 2017, creative talents from around the world can submit their project proposals within a range of disciplines. Thirty applicants will then be invited to discuss their proposals at the Forecast Forum, May 11–12, 2018, in the Haus der Kulturen der Welt (HKW) and present them to the public. At the end of the Forecast Forum, each of the six mentors chooses a project to accompany for six months, bringing it to fruition with its creator. The results of these cooperations will be presented at the Forecast Festival, October 12–13 in the HKW in the form of performances, concerts, exhibitions, design prototypes, and film screenings. Forecast is a project by Skills e.V. in cooperation with Haus der Kulturen der Welt. It is supported by the Federal Government Commissioner for Culture and the Media. More information at http://forecast-platform.com https://vimeo.com/243092425 Contact Freo Majer [email protected] +49 30 530005 932

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