Genullt (2014), performance
The series of video-pictograms Genullt I-VII (Nullified I-VII) (2013) observe the building blocks of contemporary social relations in an ultra-reduced fashion. Some of these spots are reassembled in the performance Genullt (2014) in the context of TFPM. As if in an elementary course of social geometry, three actors practice an array of mechanical gestures ranging from unfriendliness to hostility without any sign of involvement or affect. Rather than leading to solidarity and cooperation, the small-group dynamics here just seems to mirror abstract economical, juridical and ideological modes of relation dominant in capitalist societies at large. Thus it is precisely on those levels of abstraction that the piece urges the viewers to reinvent post-socialist kindness by strategically depriving them of it.
She turns her head, she lifts the pen (2014), a performance by Elske Rosenfeld
She turns her head, she lifts the pen (2014), Rosenfeld’s performance at TFPM, is part of Rosenfeld’s ongoing research and exhibition project A Vocabulary of Revolutionary Gestures, developed in collaboration with Scriptings, Berlin and Galerie im Turm, Berlin. it is based on three filmic sequences that are projected next to her. Displaying the uniqueness and seriality of body actions in a revolutionary climate, these images are actualized by the performers’ real-time and recorded movements, gestures and speech.
Yugoslavia – How Ideology Moved our Collective Body (2013) (Serbia/ France/ Germany, 62min, 2013), Regie: Marta Popivoda
Produced by TkH [Walking Theory], Belgrade, Les Laboratoires d’Aubervilliers, Paris, Universität der Künste Berlin, Berlin joon film, Berlin.
Film screening and discussion with Sophie Goltz (Curator, Hamburg und Berlin), Marta Popivoda (Artist und cultural worker, TkH [Walking Theory], Berlin/Belgrade) and Ana Vujanović (Theorist of performing arts and cultural worker, TkH [Walking Theory], Berlin/ Belgrade