{"id":152,"date":"2024-10-17T17:15:31","date_gmt":"2024-10-17T15:15:31","guid":{"rendered":"https:\/\/krisol-wissenschaft.org\/?page_id=152"},"modified":"2025-10-31T13:42:15","modified_gmt":"2025-10-31T12:42:15","slug":"facing-the-drift","status":"publish","type":"page","link":"https:\/\/krisol-wissenschaft.org\/en\/facing-the-drift\/","title":{"rendered":"Facing the Authoritarian Drift: Art Schools as Sites of Critique"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":7,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"class_list":["post-152","page","type-page","status-publish","hentry"],"grid":"{\r\n \"colCount\": 17,\r\n \"colGutter\": 2,\r\n \"rowGutters\": [\r\n 0,\r\n 0,\r\n 1,\r\n 8,\r\n 5,\r\n 2,\r\n 5,\r\n 5,\r\n 2,\r\n 15,\r\n 5,\r\n 0,\r\n 0,\r\n 1,\r\n 1,\r\n 10,\r\n 0,\r\n 0,\r\n 1,\r\n 1,\r\n 10,\r\n 0,\r\n 0,\r\n 1,\r\n 1,\r\n 10,\r\n 4,\r\n 0,\r\n 0,\r\n 1,\r\n 1,\r\n 10,\r\n 0,\r\n 0,\r\n 1,\r\n 1,\r\n 10,\r\n 0,\r\n 0,\r\n 1,\r\n 1,\r\n 10,\r\n 0,\r\n 0,\r\n 1,\r\n 1,\r\n 10,\r\n 0,\r\n 0,\r\n 1,\r\n 1,\r\n 10,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 10,\r\n 0,\r\n 10,\r\n 0,\r\n 10\r\n ],\r\n \"frameMargin\": 5,\r\n \"leftFrameMargin\": 1,\r\n \"rightFrameMargin\": 1,\r\n \"topFrameMargin\": 10,\r\n \"mus\": {\r\n \"colGutterMu\": \"%\",\r\n \"rowGutterMu\": \"%\",\r\n \"topFrameMu\": \"px\",\r\n \"bottomFrameMu\": \"px\",\r\n \"frameMu\": \"%\"\r\n },\r\n \"bottomFrameMargin\": 20,\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 15\r\n },\r\n {\r\n \"relid\": 9\r\n },\r\n {\r\n \"relid\": 12\r\n },\r\n {\r\n \"relid\": 3\r\n },\r\n {\r\n \"relid\": 195\r\n },\r\n {\r\n \"relid\": 199\r\n },\r\n {\r\n \"relid\": 212\r\n },\r\n {\r\n \"relid\": 202\r\n },\r\n {\r\n \"relid\": 207\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 215\r\n },\r\n {\r\n \"relid\": 151\r\n },\r\n {\r\n \"relid\": 155\r\n },\r\n {\r\n \"relid\": 154\r\n },\r\n {\r\n \"relid\": 150\r\n },\r\n {\r\n \"relid\": 161\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 163\r\n },\r\n {\r\n \"relid\": 160\r\n },\r\n {\r\n \"relid\": 168\r\n },\r\n {\r\n \"relid\": 167\r\n },\r\n {\r\n \"relid\": 172\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 171\r\n },\r\n {\r\n \"relid\": 177\r\n },\r\n {\r\n \"relid\": 176\r\n },\r\n {\r\n \"relid\": 182\r\n },\r\n {\r\n \"relid\": 181\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 187\r\n },\r\n {\r\n \"relid\": 35\r\n },\r\n {\r\n \"relid\": 37\r\n },\r\n {\r\n \"relid\": 24\r\n },\r\n {\r\n \"relid\": 96\r\n },\r\n {\r\n \"relid\": 59\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 11\r\n },\r\n {\r\n \"relid\": 49\r\n },\r\n {\r\n \"relid\": 27\r\n },\r\n {\r\n \"relid\": 110\r\n },\r\n {\r\n \"relid\": 57\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 99\r\n },\r\n {\r\n \"relid\": 30\r\n },\r\n {\r\n \"relid\": 53\r\n },\r\n {\r\n \"relid\": 112\r\n },\r\n {\r\n \"relid\": 122\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 105\r\n },\r\n {\r\n \"relid\": 55\r\n },\r\n {\r\n \"relid\": 41\r\n },\r\n {\r\n \"relid\": 114\r\n },\r\n {\r\n \"relid\": 7\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 103\r\n },\r\n {\r\n \"row100vh\": false,\r\n \"relid\": 31\r\n },\r\n {\r\n \"relid\": 22\r\n },\r\n {\r\n \"relid\": 116\r\n },\r\n {\r\n \"relid\": 21\r\n },\r\n {\r\n \"collapse\": true,\r\n \"relid\": 107\r\n },\r\n {\r\n \"relid\": 133\r\n },\r\n {\r\n \"relid\": 132\r\n },\r\n {\r\n \"relid\": 140\r\n },\r\n {\r\n \"relid\": 138\r\n },\r\n {\r\n \"relid\": 129\r\n },\r\n {\r\n \"relid\": 109\r\n },\r\n {\r\n \"relid\": 101\r\n },\r\n {\r\n \"relid\": 126\r\n },\r\n {\r\n \"relid\": 13\r\n },\r\n {\r\n \"relid\": 1\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Facing<\/span> the Authoritarian Drift: Art Schools as Sites of Critique<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 17,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.2,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 2,\r\n \"absolute_position\": false,\r\n \"zIndex\": 0\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Abdrift ins Autorit\u00e4re, oder Kunsthochschulen als Orte der Kritik<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 17,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.2,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 8,\r\n \"absolute_position\": false,\r\n \"zIndex\": 1\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

A Series of Events Organized at German-speaking Art Schools<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0.5,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 4,\r\n \"absolute_position\": false,\r\n \"zIndex\": 2,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

This series of events, organized jointly by teachers at German-speaking art schools, confronts the current authoritarian drift. In the aftermath of the Covid-19 pandemic, under the pressure of the climate crisis, and in the face of wars and increasing militarization, conflicts are also intensifying within universities: Occupations by students are evicted by the police \u2013 rarely since the late 1960s has a student movement been reacted to with such vehemence. Teachers and researchers experience defamation, are disinvited for political reasons, contracts are not renewed. Practices of denunciation, digital policing, and hate speech are encroaching upon university politics. Political actors are putting pressure on universities and curtailing their autonomy.<\/p>

This authoritarian drift can also be clearly seen in the art world.\u00a0The debates surrounding the Ruhrtriennale, documenta fifteen<\/span>, the Berlinale<\/span> and the Internationale Kurzfilmtage Oberhausen<\/span>, among others, raise the question of why has the field of contemporary art become such a prominent arena for debates and curbs and restrictions while those processes are kept out of other fields of social and cultural life? How are art schools changing under the impact of these conflicts?<\/p>

The lecture series is committed to an understanding of (art) universities as places of critical art and knowledge production, where arguments can be developed, controversies aired in public, and dissent can exist. Contributions will analyze current politics and eroding democratic orders in various formats; they will address the delegitimization of postcolonial art and theory; they will theorize intertwined articulations of antisemitic, racist and sexist violence. They will discuss forms and effects of a politically right-wing anti-antisemitism directed against emancipatory movements and increasingly openly against critical Jewish positions and individuals. They will point to the omissions of post-migrant memory culture. The series will touch upon the aesthetics of protest and occupation as well as the tense relationship between art and politics; it will examine neoliberal restructurings of art schools, look at the aesthetics of protest and occupation, and at the tensions between art and politics.<\/p>

Does authoritarianism follow from this drift? If we analyze the present and resist it, which lines of flight can be found, and which possibilities will open up?<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 6,\r\n \"absolute_position\": false,\r\n \"zIndex\": 3,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Upcoming Program<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 4,\r\n \"col\": 0,\r\n \"colspan\": 10,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 198,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

27.11.2025<\/h1>

Institutional (Self-)Critique
On Art, Teaching and Caring in Times of Urgency\u00a0<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 5,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 201,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

13.30\u201320:00
<\/span>UdK Berlin, Medienhaus
Grunewaldstr. 2\u20135, 10823 Berlin
Aula (Room 110)<\/p>

The campus is a fantasy and a media trope \u2013 this is how Samuel P. Catlin recently described the state of US universities. Art schools in Berlin are fantasies and fictions too. They aspire to ideals of creativity, community, and talent. As a media trope the art school has become subject of scandal and defamation, exposed to constant monitoring from inside and outside. Instead of imagining the art school as detached site, we can see it as a place that actively acknowledges its entanglement with the world \u2013 where art not only connects people but also questions, intervenes, and engages with conflict.<\/p>

What does producing art, teaching, and caring mean in times of urgency? How can we reflect critically on mass murder, systemic violence, and the increasing power of the far right? On racism, antisemitism, and the German memory culture? Do we understand how the logic of fear and hate, of cancellations and complicity works? And how are we part of this logic? What has the institution failed to do? What criticism, what self-criticism must we practice? How can we defend academic and artistic freedom, or has this freedom been a fantasy?<\/p>

We have invited artists and theorists from different backgrounds who discuss these questions in their art, research, and\/or institutional work.<\/p>

\u00a0<\/p>

Please register your attendance by November 26: antidis@udk-berlin.de<\/a><\/p>

Concept and Organisation:<\/span>
Alejandra Nieves Camacho, Kathrin Peters, Lottie Sebes<\/p>

Language:<\/span>
The event will take place in English and German (in spoken language)<\/p>

Access:<\/span>
The event venue is barrier-free.
The building is close to the subway station Kleistpark (U7), which has an elevator, and to the bus stops at Kleistpark with numerous bus lines.
There is a barrier-free all-gender toilet in the rear building. The key is available at our information desk.
Please let us know your access needs: antidis@udk-berlin.de<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 6,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 213,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

13:30<\/span> Welcome and Introduction<\/span><\/h1>


13:50\u201315:50<\/span> Workshop<\/span><\/h1>

In-\/Security\u2009\u2013\u2009How and for Whom?
<\/span>Vulnerabilities, anti-discrimination and political conflict <\/span>in academic institutions in the aftermath of 10\/7<\/span><\/span><\/h1>

Teresa Koloma Beck (Sociology, Helmut Schmidt University\u2009\/\u2009Bundeswehr University Hamburg)<\/span><\/p>

Introduction and Moderation:<\/span> Alejandra Nieves Camacho (UdK Berlin)<\/span>

<\/span><\/p>

15:50\u201316:15\u2002Break

<\/span><\/p>

16:15\u201318:00<\/span> Panel 1<\/span><\/h1>

Film and the Question of Memory<\/span><\/h1>

Nahed Awwad (Filmmaker and Curator, Art in Context, UdK Berlin)<\/span>
Preserving Memory Amid Erasure<\/span><\/p>

Pary El-Qalqili (Writer and Filmmaker, Fellow Berliner Programm K\u00fcnstlerische Forschung)<\/span>
Disobedient Memory<\/p>

Aur\u00e9lia Kalisky (Cultural Studies\/Comparative Literature, Centre Marc Bloch Berlin)<\/span>
For a Cinema That Bears Witness<\/p>

Introduction and Moderation:<\/span> Kathrin Peters (UdK Berlin)<\/span><\/p>

\u00a0<\/p>

18:00\u201318:30\u2002Break

<\/span><\/p>

18:30\u201320:00<\/span>\u2002Panel 2<\/span><\/h1>

Sound Perspectives<\/span><\/h1>

Pedro Oliveira (Artist and Researcher, Sound Studies and Sonic Arts, UdK Berlin)<\/span>
Exercises in \u201cPostura\u201d<\/p>

Eran Schaerf (Artist and Writer)<\/span>
Student Strike and Amateur Reading<\/p>

Introduction and Moderation:<\/span> Lottie Sebes (UdK Berlin)<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 7,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 204,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

All Abstracts and CVs<\/a> \u2193<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 8,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 214,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Teresa Koloma Beck, Prof. Dr.
In-\/Security \u2013 How and for Whom?<\/span>
Vulnerabilities, anti-discrimination and political conflict in academic institutions in the aftermath of 10\/7<\/span><\/p>

Against the background of widespread campus protest against Israel\u2019s military operations in Gaza and the wider region, universities and other academic institutions have moved into the focus of authoritarian discourses and politics. At the center were concerns for the safety and security of students and staff.\u00a0<\/p>

Based on a qualitative study, this session explores how experiences of unsafety and insecurity changed and for whom. And it discusses institutional, political as well as grassroots responses to these developments.<\/p>

Teresa Koloma Beck is a sociologist studying globalization and everyday life under conditions of violence, crisis\u00a0and insecurity. In doing so, she is also interested in the presence of the colonial and imperial past in contemporary societies. \u00a0She is a professor of sociology at Helmut Schmidt University, Hamburg and has undertaken field research in Angola, Mozambique, Afghanistan\u00a0and Germany.\u00a0<\/p>

\u00a0<\/p>

Nahed Awwad
Preserving Memory Amid Erasure <\/span><\/p>

How do you preserve memory in a place under constant assault by foreign forces? When the land is being erased, confined behind segregation walls, and subjected to destruction? In Palestine, where indigenous people\u2019s archives and possessions are looted or destroyed, memory itself becomes a form of resistance. As long as I can remember, being Palestinian has meant holding onto memory \u2014 of people, of place, of a land continually under threat.<\/p>

Nahed Awwad is a Berlin-based independent Palestinian filmmaker and curator with 20+ years of experience. Her work is rooted in socially engaged storytelling and often explores themes of identity, memory, displacement, and resistance. Her films were screened at Cannes, Hot Docs, and more. Awwad co-founded the POC Art Collective and curates programs highlighting diasporic and Global South voices. Her work bridges film, politics, and memory, centring Palestinian narratives and challenging dominant discourses.<\/p>

\u00a0<\/p>

Pary El-Qalqili
Disobedient Memory<\/span><\/p>

Palestinian history is overwritten, distorted, and erased within German memory culture. Orientalist image politics depict Palestinians as threats. How can one exist beyond this violent imagery? My film Speak Image, Speak<\/span> practices looking back at violent images as a refusal to be limited by fixing gazes (Frantz Fanon). As images are reframed, questioned, recontextualized, and counter-narrated, film becomes a tool for disobedient collective memory, challenging consolidated politics of degradation and dehumanization.<\/p>

Pary El-Qalqili is a writer and director based in Berlin. She is working on an Unruly Archive<\/a><\/span><\/span>, <\/span>a long-term project, combining film, peformance and archival work. In her cinematic work, she explores nonlinear narratives that challenge hegemonic storytelling, looking at life that has been disrupted, uprooted, colonized and marginalized. Her current film project Speak Image, Speak<\/a><\/span><\/span> explores a disobedient counter memory of Palestinian past and present in Germany. In 2025, she holds the fellowship Weltoffenes Berlin at the Berliner Programm K\u00fcnstlerische Forschung.<\/p>

\u00a0<\/p>

Aur\u00e9lia Kalisky, Dr.
For a Cinema That Bears Witness<\/span><\/p>

I would like to reflect on the conditions for a cinema that bears witness, as a double struggle: on the one hand, against the invisibilization of Palestinians and against epistemic and aesthetic injustice linked to the so-called Palestine exception; and on the other hand, against aestheticizing or victimizing modes of looking that perpetuate a form of humanitarian compassion. How has the paradigm of the Holocaust, which largely determines our disciplines (film studies, testimony and memory studies) contributed to rendering invisible a genocide unfolding in real time? It is within this context that we must also reflect on the unprecedented attacks currently targeting theoretical approaches in Germany that challenge the very possibility of a genuinely comparative framework.<\/p>

Aur\u00e9lia Kalisky is a researcher in Comparative Literature and Cultural Studies at the Centre Marc Bloch in Berlin, where she leads the project FIMEMO (First Memories and Forms of Knowledge in the Aftermath of Genocide in the Cases of the Holocaust and Rwanda). She worked at the Zentrum f\u00fcr Literaturforschung in Berlin and has been a visiting fellow at, among others, the Vienna Wiesenthal Institute for Holocaust Studies, the NIOD Institute for War, Holocaust and Genocide Studies in Amsterdam, the Moses Mendelssohn Center in Potsdam and the K\u00e4te Hamburger Kolleg CURE in Saarbr\u00fccken in 2024\u20132025.<\/p>

She teaches at the EHESS in Paris and has long served as secretary and later co-president of the Association Internationale de Recherches sur les Crimes contre l\u2019Humanit\u00e9 et les G\u00e9nocides in France. In 2024, she co-founded the Association of Palestinian and Jewish Academics.<\/p>

\u00a0<\/p>

Pedro Oliveira, Dr.
Exercises in \u201cPostura\u201d<\/span><\/p>

<\/em><\/em>In this talk I will briefly discuss examples of my artistic and pedagogical work focused on how borders traverse the body in different institutional spaces. My intention is to outline what I call \u201cposturas of listening\u201d \u2013 a form of studying not bound by academic or artistic frameworks but as a set of dispositions of bodies in space and in relation to one another.\u00a0 In Portuguese, \u201cpostura\u201d is more than bodily posture; it includes contingent orientations, attitudes and dispositions: ethical, political, moral and sometimes spiritual. I seek to move beyond questions of whether we can listen from the perspective of the other, to ask instead which forms of positioning we might take, collectively and towards one another, to form newer alliances.<\/p>

Pedro\u00a0Oliveira is a sound artist and researcher studying listening and its material intersections with the violences of the European border. In his performances and installations echo, distortion, and feedback probe the limits and failures of human and machine listening, and their encounters with the (migrant) body as a site of struggle for identity and belonging. Currently he is part of the guest faculty in Sound Studies and Sonic Arts at the Berlin University of the Arts.<\/p>

\u00a0<\/p>

Eran Schaerf
Student Strike and Amateur Reading<\/span><\/p>

Student Strike and Amateur Reading Cairo, 1935. In protest against the British occupation of Egypt, Muslim students go on strike. They storm the French law faculty, where members of Jewish, Greek, Armenian, Syrian, and other minorities study, and demand that they join in a solidarity strike. For visiting student and later author Jacqueline Kahanoff the encounter between a majority and minorities leads to reflections on the interdependence of different power relations, forms of knowledge acquisition, divided loyalties, and the use of contrary value systems.<\/p>

Eran Schaerf is an artist based in Berlin and Brussels. Recent projects include \u201cOnly Six Can Play this Game\u201c, co-author: Eva Meyer, Droste Festival 2020; \u201cLevantinism: The Anachronic Possibilities of a Concept\u201d, co-Autor: Eva Meyer, bakonline.org<\/span> 2021; \u201cBlinded in Remembering the Present? Ask Franz,\u201d in Hijacking Memory. The Holocaust and the New Right,<\/span> Haus der Kulturen der Welt, Berlin 2022; Ein j\u00fcdischer Garten,<\/span> co-editors: Hila Peleg, Itamar Gov, Munich 2022; \u201eNomadesque,\u201c in Machinations<\/em>, Museo Nacional Centro de Arte Reina Sof\u00eda, Madrid 2023; Gesammeltes Deutsch,<\/span> Vienna 2023.<\/p>

\u00a0<\/p>

Kathrin Peters, Prof. Dr.,
is professor for visual culture studies at Berlin University of the Arts. Recent publications Am Rand des Wissens. \u00dcber k\u00fcnstlerische Epistemologien,<\/span> ed. With Kathrin Busch, Barbara Gronau, 2023; \u201cKritik der Wissenschaftsfreiheit\u201d, in Zeitschrift f\u00fcr Medienwissenschaft,<\/span> 33, 2025.<\/p>

Alejandra Nieves Camacho
works as Diversity and Anti-Discrimination Officer at the Berlin University of the Arts, with a special focus on anti-racism. She completed a Master\u2019s in International Relations at Humboldt University, Freie Universit\u00e4t Berlin, and the University of Potsdam, focusing on migration, gender, and intersectionality. She has participated in research projects on film and social change, migration, as well as anti-discrimination in media.\u00a0<\/p>

Lottie Sebes
is a sound artist and researcher working across installation and performance. She holds a BFA (Hons, University Medal) from UNSW\/USYD in Sydney, Australia and an MA from the Berlin University of the Arts, where she has been part of the community for nearly a decade\u2014first as a student and currently as program coordinator in Sound Studies and Sonic Arts. Her work has been shown internationally at Elsewhere Living Museum (USA), PICA (AU), iMAL (BE), and iii (NL), with writing published in Sonic Scope, ECHO,<\/span> and her solo publication and record Veritas Ventriloquist.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 9,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 216,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Program Summer Semester 2025<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 0,\r\n \"colspan\": 10,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 152,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Show\/hide all texts<\/a>
<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 10,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 153,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 42,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

29.04.25 <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 11,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 156,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

A Common State. Potential Conversation (Eyal Sivan, 2012)<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 11,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 157,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"pxwidth\": null,\r\n \"zIndex\": 11\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Film Screening and discussion with guests: Rose-Anne Gush and Helmut Krieger<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 12,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 158,\r\n \"absolute_position\": false,\r\n \"zIndex\": 13\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

7<\/span> pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 13,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 175,\r\n \"zIndex\": 65,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

University of Applied Arts Vienna
Applied Photography Studio<\/p>

Schwanzer Trakt 4th Floor
Oskar Kokoschka Platz 2, 1010 Vienna<\/p>

Moderation and Organisation:<\/span>
Movie Nights Group: Anahita Asadifar, Sofia Bempeza, Antonia Birnbaum, Yasmina Haddad, Fine Freiberg, Nanna Heidenreich, Amanda Holmes, Annette Krauss, Alexi Kukukljevic, Andrea Lumplecker, Zeynep Turel, Maria Ziegelb\u00f6ck<\/p>

Attendance:
<\/span>on-site<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 13,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 159,\r\n \"absolute_position\": false,\r\n \"zIndex\": 14\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>A<\/span>bstract\/CVs<\/span><\/a>\u00a0<\/span>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 14,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 162,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 43\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

What is utopian, what is realist? Do these terms even mean anything regarding the situation in Palestine-Israel? In 2012, Eyal Sivan, an Israeli filmmaker, and Eric Hazan, the french editor of the \u00e9ditions La Fabrique<\/span> which has consistently published on the situation in Palestine for the last thirty years, published a book together, accompanying the film. The title: A common state between Jordan and the sea.<\/span><\/p>

The diagnostic and the thesis are as follows: the supposedly realist solution to the ongoing occupation is a partition into two independent states, a Palestinian and an Israeli one, the supposed utopia is a common state with equal rights for all. This presupposition needs to be undone and inverted.<\/p>

The realist \u201csolution\u201d has actually been prone since 1937, in the famous Peel report following the 1936 insurrection of Palestine. It has given rise to countless peace processes, agreements (Oslo I and II 1993-1995), and actually benefits from a consensus; Sharon, Netanyahu, Uvi Avneri (peace movement), and the Palestine Liberation Organization, agree on it. Yes, even Hamas, whose Charta programs the destruction of Israel, is part of that consensus:\u00a0 in a declaration of 2009 in the NYT, Khaled Meshal declares that he is in disagreement on everything with Fatah, except the necessity for an independent state, in the limits of 1967. If everyone agrees, why then is this realistic solution never implemented? Because it is not a solution, but a discourse, a discourse which maintains the status quo,<\/span> if one can call status quo<\/span> the ongoing occupation and genocide of the Palestinian people.<\/p>

By contrast, the supposedly utopian solution of one State with equal rights for all starts, not with a discourse, but with the observation that partition is impossible, that there exists one State which today exercises its power, civil or\/and military everywhere, and that the occupied territories are already a part of it. Thus, undoing the violence of the Israeli State entails transforming this unjust state into a common state. This common state is not, to paraphrase Godard, a just State, but it is just a State, a State like other States, devoid of exceptionality.<\/p>

The film of the same name assembles a series of 24 conversations regarding the issue of a common state, with political actors, artists, jurists, young and old, Israelis Jews, Arabs of the occupied territories and of Israel. The same questions are asked and each person answers in their maternal tongue, in dialogue with the filmmaker: the screen is partitioned between an Israeli Jew and a Palestinian: one talks and the other listens, and vice versa. The screen brings together what the fragmentation of the situation separates, producing the encounters that occupation hinders day after day.

<\/p>

Movie Nights:<\/span><\/p>

is a format for a transdisciplinary exchange: Starting each time from one film, we open the space for a conversation about the relations between production of images and their conditions \u2013 modes of narration, authorship, history, politics and effects on society. We show fiction, documentaries, movie and television productions in regard to the actual situation, focusing on Palestinian and Israeli films. The movie nights are hosted and organized by the departments of Applied Photography, Klasse f\u00fcr Alle, Art and Communication Practices, Philosophy, and Transcultural Studies at the University of Applied Arts Vienna.<\/p>

Dr. Rose-Anne Gush<\/span><\/p>

is currently Assistant Professor at IZK \u2013 Institute for Contemporary Art at TU Graz. Her research interests include political aesthetics and theories of \u2018global art\u2019, the relationships between colonialism, fascism and capitalism, and gender and ecology. Recent articles are published in Berlin Review, FKW \/\/ Zeitschrift f\u00fcr Geschlechterforschung und visuelle Kultur, Camera Austria, Brand-New-Life Magazine, Third Text, and Kunst und Politik. Her first monograph, Artistic Labour of the Body, is forthcoming in the Historical Materialism book series with Brill and Haymarket<\/p>

Dr. Helmut Krieger<\/span><\/p>

senior scientist and senior lecturer at the Department of Development Studies at the University of Vienna, holds a PhD in political science. His research areas are, among other things, Israel\/Palestine, social movements in the Arab speaking world, transformative research epistemologies for conflict and war zones as well as critical political economy perspectives combined with decolonial approaches.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 15,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 164,\r\n \"absolute_position\": false,\r\n \"zIndex\": 53\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

08.05.25 <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 16,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 165,\r\n \"absolute_position\": false,\r\n \"zIndex\": 9\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Anti-Discrimination Revisited \u2013 Paradoxical Entanglements of Anti-Semitism, Racism and Gender<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 16,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 166,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"pxwidth\": null,\r\n \"zIndex\": 11\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Panel discussion with Wolfgang Kaleck (European Center for Constitutional and Human Rights, ECCHR)<\/span>, Deborah Feldman (author of Judenfetisch<\/span>, 2023)<\/span>, Monika Mokre (political scientist and migration policy activist)<\/span> and Isabel Frey (ethnomusicologist and founder of the Jewish-Arab peace initiative Standing Together Vienna)<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 17,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 169,\r\n \"absolute_position\": false,\r\n \"zIndex\": 13\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

6<\/span> pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 18,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 186,\r\n \"zIndex\": 65,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Universit\u00e4t f\u00fcr Musik und darstellende Kunst Wien<\/p>

Clara Schumann-Saal, AWCEG01
Anton-von-Webern-Platz 1, 1030 Wien<\/p>

Attendance:<\/span>
on-site
<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 18,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 170,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>Abstract\/CVs<\/span><\/a>\u00a0<\/span>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 19,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 174,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 43\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

In the course of the current authoritarian turn and global fascist developments, hard-won anti-discrimination policies are increasingly coming under pressure. In the USA, for example, trans and queer rights are under massive attack from the right, and institutional equality measures are being suspended. At the same time, anti-discrimination rhetoric is being hijacked to discredit or sanction critical political voices. In the German-speaking context, of all places, accusations of anti-Semitism are being used to silence criticism of current war crimes and violations of international law.<\/p>

As part of the inter-university lecture series Against the Authoritarian Drift<\/span> and the ICGP series Performing the Political<\/span>, we will discuss international and local legal issues and their social dimension, the interconnection between anti-Semitic, racist and sexist violence, and current attacks on university autonomy.<\/p>

Funded by the Gender|Queer|Diversity Call_mdw<\/p>

On 12 May 2025, a follow-up workshop on the topic \u2018Defining Anti-Semitism\u2019 with Isabel Frey will take place in the IKM Library.<\/p>

13:00\u201315:00
IKM Bibliothek (E 01 22)
Anton-von-Webern-Platz 1
1030 Wien<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 20,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 173,\r\n \"absolute_position\": false,\r\n \"zIndex\": 52\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

15.07.25 <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 21,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 178,\r\n \"absolute_position\": false,\r\n \"zIndex\": 9\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pause_Strategize_Abundance <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 21,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 179,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"pxwidth\": null,\r\n \"zIndex\": 11\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Reflecting back on the lecture series Facing the Authoritarian Drift<\/span>, transforming experiences of backlash into subversive knowledge of abundant resistance, and strategizing in an environment of joyful company.<\/p>

Guest: Dean Hutton (Johannesburg)<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 22,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 180,\r\n \"absolute_position\": false,\r\n \"zIndex\": 13\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

6<\/span> pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 23,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 185,\r\n \"zIndex\": 65,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Kunsthochschule Mainz and Online<\/p>

An der Johannes Gutenberg Universit\u00e4t
Am Taubertsberg 6
D-55122 Mainz<\/p>

Organisation:<\/span>
Carmen M\u00f6rsch (Kunsthochschule Mainz)<\/span>
Marc Siegel (Johannes Gutenberg-Universit\u00e4t Mainz)<\/span>
Katharina Fink (Art Residency Schloss Balmoral)<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 23,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 183,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>Abstract\/CVs<\/span><\/a>\u00a0<\/span>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 24,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 184,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 43,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Dean Hutton<\/p>

(they\/them) makes trouble. Working at the intersections of trans media visual culture, performance and community action, their practice bridges genres of documentary, fiction and fantasy to produce radical queer counter narratives, and experiences for repair and resistance. Their strategy of simple disruptive actions share moments of soft courage, affirming the rights of all bodies to exist, be celebrated, and protected. An artist-in-residence at the University of Johannesburg, their research embraces collaborative praxis and embodied play to produce new forms of artWork \u2013 sculptural objects made from sustainable materials and living biomatter that works to support ecosystem health, and build cultural and ecological value for local communities.(1976, ZA)<\/p>

\u00a0<\/p>

As the last lecture of the series \u201cFacing the Authoritarian Drift: Art Schools as Sites of Critique\u201d (https:\/\/krisol-wissenschaft.org\/en\/facing-the-drift\/), our session invites you for a hybrid encounter - both online and at the Kunsthochschule Mainz - to PAUSE, STRATEGIZE and be in ABUNDANCE together. There has been a lot of - largely productive - discussion in our various organizational contexts over the past months. The title of the lecture series has also unsurprisingly proved to be performative since several events were met with institutional resistance. Strategies were developed to ensure that events would nevertheless take place. These experiences have led to the production of knowledge about ways of facing the authoritarian drift, together.<\/p>

We therefore think it\u2019s an ideal time to pause, to listen, to exchange and to learn.<\/p>

We invited Dean Hutton, artist and troublemaker, based in Johannesburg, South Africa, to join us online for a conversation-input about STRATEGIZING. In their contribution, they will share experiences from the past two years of working in solidarity with a number of movements in the shape of CAMP - the Community Art Mobilisation Project. They are the director of CAMP where they \u201cmake soft spaces for hard questions.\u201d They leverage art practice and cultural production to create \u201cnarrative repair\u201d by developing impactful visual strategies, content and material. They collaborate with artists, activists, and frontline communities for direct actions and interventions that connect intersectional struggles, green development, and climate justice with our daily lives and potent futures.<\/p>

The conversation between Dean Hutton and Katharina Fink will be followed by an exchange of knowledge, questions and thoughts between all of us, moderated by Marc Siegel. In this, we stay ABUNDANT - sharing practices and exercises to pause and to remain in action. In the analogue space of H\u00f6rsaal @ Kunsthochschule Mainz, there will be the opportunity to simultaneously do stuff with your hands and bodies, like cutting out CAMP stickers, eating fruit and staying hydrated.<\/p>

\u201cCAMP is a tactical resourcing unit that is fleet, fluid, and flexible. We design and act when others ponder their theory of change. We are problem solvers who prepare and resource intersectional movements through art builds; developing counter propaganda strategies and leverage the attention economy in actions that engage evolving audiences in new contexts in high visibility and low risk ways. We work in service and that means our outputs depend on what we are asked, what is required of us and what we can offer with abundance.\u201d<\/p>

\u201cAt CAMP we create a space that nurtures the courage to act, pushing ourselves and each other to embrace change in ways that are both loving and transformative. By resisting alienation, apathy, and nihilism, we model how to thrive in a world fraught with systemic injustice and fear. We refuse silence and complicity, instead choosing to foster connection, encourage courage, and reject isolation.\u201d<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 25,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 188,\r\n \"absolute_position\": false,\r\n \"zIndex\": 52,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Program Winter Semester 2024\/25<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 26,\r\n \"col\": 0,\r\n \"colspan\": 10,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 10,\r\n \"absolute_position\": false,\r\n \"zIndex\": 4\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Show\/hide all texts<\/a>
<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 26,\r\n \"col\": 10,\r\n \"colspan\": 6,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 102,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 42\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

06.11.24 <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 27,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 40,\r\n \"absolute_position\": false,\r\n \"zIndex\": 9\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Before\/After Palestine
<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 27,\r\n \"col\": 3,\r\n \"colspan\": 11,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 38,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"pxwidth\": null,\r\n \"zIndex\": 11\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Panel Discussion with
Yasmeen Daher, Sami Khatib, Basma al-Sharif (engl.)<\/span>
<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 28,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 26,\r\n \"absolute_position\": false,\r\n \"zIndex\": 13\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

2\u20134<\/span> pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 29,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"relid\": 25,\r\n \"zIndex\": 65,\r\n \"colspan\": 3,\r\n \"col\": 0,\r\n \"push\": 0,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

University of the Arts Berlin
Medienhaus<\/p>

Grunewaldstra\u00dfe 2\u20135
10823 Berlin<\/p>

Moderation:<\/span>
Angela Harutyunyan (Contemporary Art History and Theory,\u00a0UdK Berlin)<\/span><\/p>

Attendance:\u00a0<\/span>
The event is fully booked<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 29,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 98,\r\n \"absolute_position\": false,\r\n \"zIndex\": 14\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>Abstract\/CVs\u00a0<\/span><\/a>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 30,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 61,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 43\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

We ask, is it possible to think the potential genocide \u2013 historically, politically, critically \u2013 without turning the event itself into a figure of thought? Can we conceive of thinking as active, interventionist and intricately connected to the very material reality it thinks, rather than as merely contemplative? Is there a philosophy before\/after Palestine, in the protracted temporality of Palestinian political non-subjectivization? Given the way in which every second is being recorded, documented, and shared, often instantly and by the victims themselves, what can art do or how can it do differently?<\/p>

\u00a0<\/p>

Yasmeen Daher:<\/span><\/p>

is a feminist activist and writer with a PhD in philosophy from the University of Montreal, specializing in ethics and political philosophy. She is currently co-director and editorial director of Febrayer, a Berlin-based network for independent Arab media organizations.

Sami Khatib:<\/span><\/p>

is a research associate at the Orient-Institut Beirut and a founding member of the Beirut Institute for Critical Analysis and Research (BICAR). He co-edited Critique: The Stakes of Form<\/span> (2020) and authored Teleology without End: Walter Benjamin's Dislocation of the Messianic<\/span> (2013).

Basma al-Sharif:<\/span><\/p>

is a Palestinian artist and filmmaker exploring cyclical political histories and conflicts. She has exhibited at MoMA, the Whitney Biennial, and the New Museum. Based in Berlin and represented by Galerie Imane\u00a0Far\u00e9s in Paris.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 31,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 97,\r\n \"absolute_position\": false,\r\n \"zIndex\": 52,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

21.11.24 <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 32,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 44,\r\n \"absolute_position\": false,\r\n \"zIndex\": 15,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Securitisation on\/of Campus <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 32,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 50,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 17\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Lecture (engl.) <\/span>by Teresa Koloma Beck
and discussion (dt.\/engl.)<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 33,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 29,\r\n \"absolute_position\": false,\r\n \"zIndex\": 21\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

5\u20137<\/span> pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 34,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 28,\r\n \"absolute_position\": false,\r\n \"zIndex\": 19,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

online<\/span><\/p>

Moderation:<\/span>
<\/span>Katrin M. K\u00e4mpf (Queer Studies, Kunsthochschule f\u00fcr Medien K\u00f6ln)<\/span>
<\/span><\/p>

Attendance:<\/span>
<\/span>Please register with facingthedrift@krisol-wissenschaft.org<\/a> for the Zoom link
<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 34,\r\n \"col\": 3,\r\n \"colspan\": 14,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 111,\r\n \"absolute_position\": false,\r\n \"zIndex\": 22,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>Abstract\/CVs\u00a0<\/span><\/a>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 35,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 58,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 44\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Securitisation is a process by which issues of public concern are transformed into matters of security. It leads to the emergence of securitised social spaces which are marked by a complex entanglement of individual experiences, discourse and public policy. Based on preliminary insights from an ongoing qualitative study the lecture explores recent dynamics of (in)security and securitisation in\/of academic institutions and everyday campus life and discusses their relevance in the horizon of broader societal transformations.<\/span><\/p>

\u00a0<\/p>

Teresa Koloma Beck:<\/span><\/p>

researches globalisation and everyday life under conditions of violent conflict and crisis, with an interest in the present of the colonial and imperial past. She is a professor of sociology at Helmut Schmidt University, Hamburg.

Katrin M. K\u00e4mpf:<\/span><\/p>

researches in the field of history of sexuality and feminist Science & Technology Studies with a particular interest in technosecurity cultures and queerfeminist technologies of care. She is an assistant professor for Queer Studies at the Academy of Media Arts Cologne.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 36,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 100,\r\n \"absolute_position\": false,\r\n \"zIndex\": 53\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

05.12.24<\/del><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 37,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 32,\r\n \"absolute_position\": false,\r\n \"zIndex\": 24\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

The Art of Memory in Times
of Trauma and Grief <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 37,\r\n \"col\": 3,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 52,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 26\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Lecture by Michael Rothberg: From\u00a0Memory Wars to Memory Work:\u00a0Relational Remembrance in P\u0131nar \u00d6\u011frenci's<\/span>\u00a0A\u015f\u00eet\u00a0[The Avalanche]<\/span>,\u00a0<\/span>subsequent conversation with Marianne Hirsch and \u00c7i\u011fdem Inan, Jumana Manna and Michael Rothberg (engl.)<\/span><\/span><\/p>

ATTENTION: The university management of the HGB Leipzig has cancelled the event.
\u2193 Statement by the Organizers on the Postponement of the Events at the Academy of Fine Arts Leipzig<\/a><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 38,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 33,\r\n \"absolute_position\": false,\r\n \"zIndex\": 28\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

6\u20138<\/span> pm<\/del>
cancelled<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 39,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 47,\r\n \"absolute_position\": false,\r\n \"zIndex\": 20\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Hochschule f\u00fcr Grafik und Buchkunst Leipzig
Festsaal
<\/span><\/p>

W\u00e4chterstr. 11
04107 Leipzig<\/span><\/p>

Organisation:<\/span>
Natascha Frankenberg
Katrin K\u00f6ppert
Benjamin Meyer-Krahmer
Ines Schaber
(all Hochschule f\u00fcr Grafik und Buchkunst Leipzig)
<\/span><\/span><\/p>

Moderation: <\/span>
Katrin K\u00f6ppert (Hochschule f\u00fcr Grafik und Buchkunst Leipzig)<\/span>
Marc Siegel (Johannes Gutenberg-Universit\u00e4t Mainz)<\/span><\/span><\/p>

Attendance:<\/span>
Open to members of the university and by invitation, in presence
<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 39,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 113,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Abstract\/CVs <\/a><\/span>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 40,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 123,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 46\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Art can open up a space in which traumas become accessible as zones of indeterminacy and radical unavailability. The fact that the art and culture scene in particular is currently under pressure from state surveillance and political interference may be due to this. At a moment when answers seem urgent and clear demarcations necessary, art in its logic of refusing brevity and explainability is seemingly difficult to endure. The haste to disinvite artists and question funding commitments seems to follow the script of a memory culture that is based on supposed unambiguities and ultimately (re)produces exclusions: Under the premise of the German raison d'\u00e9tat, which centers on unconditional support for Israel's policies, Jewish life is to be protected by partly repressive measures (see\u00a0resolution draft<\/a>), which, among other things, often lead to Palestinian life and Palestinian narratives not being perceived.<\/p>

We associate the question of the art of memory with the wish to discuss remembrance beyond hegemonic scripts. What can art achieve in times of deep grief and how can it be a medium for a practice that does not isolate us from each other in trauma, but rather connects us in grief?<\/p>

\u00a0<\/p>

Marianne Hirsch:<\/span><\/p>

Columbia University, writes about the transmission of memories of violence across generations, combining feminist theory with memory studies in global perspective.

<\/span>\u00c7i\u011fdem Inan:<\/span><\/p>

is an interdisciplinary sociologist with a teaching and research focus on affect theory, queer-feminist and decolonial philosophies and racism studies. Inan is also a publisher at the publishing collective b_books (Berlin) and editor of the publication series re fuse.

Katrin K\u00f6ppert:<\/span><\/p>

is an art and media scholar and currently Assistant Professor of Art History\/Popular Cultures at the Academy of Visual Arts Leipzig. Together with Simon Strick, she is currently head of the research project on \u201cDigital Blackface. Racialized affect patterns of the digital\u201d She is a spokesperson for the Alliance for Critical Scholarship in Solidarity.

Jumana Manna:<\/span><\/p>

is a visual artist and filmmaker who grew up in Jerusalem and lives in Berlin. Her work explores how power is articulated, focusing on the body, land and materiality in relation to colonial heritage and the history of place. Her work addresses the tension between the modernist traditions of categorization and preservation and the recalcitrance of decay, life and its regeneration.

Michael Rothberg:<\/span><\/p>

is the 1939 Society Samuel Goetz Chair in Holocaust Studies and Professor of English and Comparative Literature at the University of California, Los Angeles. He is the author of\u00a0The Implicated Subject: Beyond Victims and Perpetrators,\u00a0Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization<\/span>(published in German by Metropol Verlag),\u00a0and\u00a0Traumatic Realism: The Demands of Holocaust Representation.<\/span>With Yasemin Yildiz,\u00a0<\/em>he is completing\u00a0Memory Citizenship: Migrant Archives of Holocaust Remembrance <\/span>for Fordham University Press. He is currently a Fellow of the\u00a0Wissenschaftskolleg zu Berlin.

<\/span>Marc Siegel:<\/span><\/p>

is Professor of Film Studies at the Johannes Gutenberg University in Mainz. He is currently working with Palestinian and Jewish academics to found an association in German-speaking countries. He is also a member of the Academy of the Arts of the World in Cologne and on the advisory board of the Society for Media Studies.<\/div><\/div>


In cooperation with the DFG Research Network\u00a0<\/span>Gender, Media and Affect<\/a>\u00a0<\/span>and the lecture series<\/span>\u00a0<\/span>Postcolonial Critique, Decolonial Perspectives<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 41,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 106,\r\n \"absolute_position\": false,\r\n \"zIndex\": 54\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

21.01.25
<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 42,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 42,\r\n \"absolute_position\": false,\r\n \"zIndex\": 30\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Together in Difference \u2013 Politische Praxis jenseits von entweder\/oder<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 42,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 54,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 32,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Workshop with Palestinians and Jews for Peace<\/span> (dt.\/engl.)<\/span>
<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 43,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 43,\r\n \"absolute_position\": false,\r\n \"zIndex\": 35,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

5\u20138 pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 44,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 34,\r\n \"absolute_position\": false,\r\n \"zIndex\": 34,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Kunsthochschule f\u00fcr Medien K\u00f6ln
<\/span>
<\/span><\/p>

Organisation:<\/span> <\/span>
Isabell Lorey (Queer Studies, Kunsthochschule f\u00fcr Medien K\u00f6ln)<\/span>
Katrin M. K\u00e4mpf (Queer Studies, Kunsthochschule f\u00fcr Medien K\u00f6ln)<\/span>
<\/span><\/p>

Attendance:<\/span>
For students of the Kunsthochschule f\u00fcr Medien only, register with Katrin M. K\u00e4mpf
<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 44,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 115,\r\n \"absolute_position\": false,\r\n \"zIndex\": 36,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Abstract\/CVs\u00a0<\/a><\/span>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 45,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 63,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 46\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

While the war in Israel, Palestine, and now Lebanon is costing more and more lives, a fierce dispute is taking place in Germany over the authority of interpretation and about war narratives in relation to the Middle East conflict. Racism, antisemitism, and dehumanisation determine the debate about which victims are mourned and whose deaths are justified, denied or even celebrated.<\/p>

In this social climate, what can solidarity with the people affected look like?<\/p>

We want to initiate a process in which we can open up common political spaces with radical empathy and develop our tolerance to ambiguity for different perspectives.<\/p>

\u00a0<\/p>

The <\/span>Palestinians and Jews for Peace initiative:<\/span><\/span><\/p>

consists of Palestinian, Jewish, Israeli, and other emancipatory friends who are committed to a differentiated dialogue and compassionate, respectful interaction with one another in Germany. Their aim is to show that there are infinitely more than just two sides, that all people are learners, and that the struggle against fascism, racism, and antisemitism must always also be fought with oneself.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 46,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 104,\r\n \"absolute_position\": false,\r\n \"zIndex\": 55\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

28.01.25
<\/span>11.02.25 <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 47,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"relid\": 39,\r\n \"zIndex\": 63,\r\n \"colspan\": 3,\r\n \"col\": 0,\r\n \"push\": 0,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

A Potential History of the
Jewish Muslim World <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 47,\r\n \"col\": 3,\r\n \"colspan\": 14,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 20,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 37,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Conversation with Ariella A\u00efsha Azoulay on her Book The Jewelers of the Ummah<\/span> (dt.\/engl.)<\/span>
<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 48,\r\n \"col\": 3,\r\n \"colspan\": 14,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 36,\r\n \"absolute_position\": false,\r\n \"zIndex\": 39,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

11 am\u20131.30 pm
<\/span>1\u20133 pm<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 49,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 46,\r\n \"absolute_position\": false,\r\n \"zIndex\": 41,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

First meeting
Second meeting<\/p>

Kunsthochschule Kassel, Nordbau
Room 0235<\/p>

Menzelstr. 13
34121 Kassel<\/p>

Moderation:<\/span>
Miriam Schickler (Visuelle Kommunikation, Kunsthochschule Kassel)<\/span>
Johanna Schaffer (Visuellen Kommunikation, Kunsthochschule Kassel)<\/span><\/p>

Attendance:<\/span>
20 Participants, in presence, please register until Jan 13, 2025 with Miriam Schickler.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 49,\r\n \"col\": 3,\r\n \"colspan\": 14,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 117,\r\n \"absolute_position\": false,\r\n \"zIndex\": 40,\r\n \"frameOverflow\": \"right\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>Abstract\/CV\u00a0<\/span><\/a>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 50,\r\n \"col\": 1,\r\n \"colspan\": 5,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 64,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 47\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

We invite Ariella A\u00efsha Azoulay to talk with us about her new book The Jewelers of the Ummah. A Potential History of the Jewish Muslim World<\/span>. Azoulay writes about the disruption of Jewish-Muslim life in the SWANA region (Southwest Asia and North Africa).<\/p>

In the first meeting of the two-part event, we discuss a chapter of the book that each participant has read beforehand. At the beginning, we decide how we want to talk to each other, i.e. we give ourselves rules for communicating with each other in a conflict-laden discursive field.<\/p>

In the second meeting, Ariella A\u00efsha Azoulay will talk to us about her book project via Zoom.<\/p>

We are organising this conversation as part of the event series Against the Authoritarian Drift because we want to counter the repressive narrrowing down of discourse in German-language contexts, and we want to learn from criticism that does not reproduce binary models of thought.

Ariella A\u00efsha Azoulay:<\/p>

is a theorist of photography, a film essayist, a curator, and a Professor of Modern Culture and Media and Comparative Literature at Brown University in the USA.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 51,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 108,\r\n \"absolute_position\": false,\r\n \"zIndex\": 56\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

25.02.25
<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 52,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 131,\r\n \"absolute_position\": false,\r\n \"zIndex\": 30\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

The Art of Memory in Times
of Trauma and Grief <\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 52,\r\n \"col\": 3,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 134,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 26\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Screenings of Foragers and<\/span> A\u015f\u00eet [The Avalanche]<\/span>, exhibition of projects from students of HGB Leipzig with Brenda Berenice Alamilla Cornejo (tbc), Esraa Dayrwan, Nataliia Oliferovych (tbc), Dominik Schabel, Inputs by Marianne Hirsch and Michael Rothberg, roundtable with Marianne Hirsch, Jumana Manna, P\u0131nar \u00d6\u011frenci, Michael Rothberg, Marc Siegel<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 53,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 135,\r\n \"absolute_position\": false,\r\n \"zIndex\": 28\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

1.30\u20135 pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 54,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 1,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 144,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Wolf Kino Berlin, Weserstr. 59, 12045 Berlin<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 54,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 1,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 139,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

5.30\u20139 pm<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 55,\r\n \"col\": 0,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 1,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 142,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Spore Berlin, Herrmannstr. 86, 12051 Berlin\u00a0 <\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 55,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 1,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 141,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Organization:<\/span>
Natascha Frankenberg
Katrin K\u00f6ppert
Benjamin Meyer-Krahmer
Ines Schaber
<\/span><\/p>

Moderation:\u00a0<\/span>
Katrin K\u00f6ppert<\/span><\/p>

Attendance:<\/span>
<\/span>public, registration for the screenings at Wolf Kino are required:\u00a0vortrag@hgb-leipzig.de<\/a><\/span><\/p>

In cooperation with DFG Research Network \u201cGender, Media and Affect\u201d<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 56,\r\n \"col\": 3,\r\n \"colspan\": 13,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 3,\r\n \"relid\": 137,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Contributors in Winter 2025\/26<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 57,\r\n \"col\": 0,\r\n \"colspan\": 14,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 92,\r\n \"absolute_position\": false,\r\n \"zIndex\": 6\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Ruth Sonderegger (Akademie f\u00fcr Bildende K\u00fcnste Wien)<\/span><\/span>
<\/span>Ines Kleesattel (Hochschule f\u00fcr Gestaltung und Kunst Basel)<\/span>
<\/span>Sigrid Adorf, Elke Bippus (Z\u00fcricher Hochschule der K\u00fcnste)<\/span>
<\/span>Kathrin Peters (Universit\u00e4t der K\u00fcnste Berlin)<\/span>
Natascha Sadr Haghighian, Mona Schieren, Asli Serbest, Andrea Sick (Hochschule f\u00fcr K\u00fcnste Bremen<\/span>)<\/span>
Andrea Bellu, Marie-H\u00e9l\u00e8ne Gutberlet, Angelika Levi (Hochschule f\u00fcr Gestaltung Offenbach<\/span>)<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 58,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 48,\r\n \"absolute_position\": false,\r\n \"zIndex\": 62\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Statement by the Organizers on the Postponement of the Events at the Academy of Fine Arts Leipzig <\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 59,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0.5,\r\n \"spacebelow\": 0.5,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 127,\r\n \"absolute_position\": false,\r\n \"zIndex\": 6,\r\n \"html_id\": \"stellungnahme\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Guests and\u00a0organizers of the series \u201cFacing the Authoritarian Drift: Art Schools as Sites of Critique\u201d have been subjected to\u00a0major\u00a0attacks on social media and\u00a0in news outlets, such as \u201cDie Welt\u201d.\u00a0Amidst\u00a0these attacks and despite intensive discussion, the\u00a0Rectorate\u00a0of the Academy of\u00a0Fine\u00a0Arts Leipzig postponed the multi-day event\u00a0\u201cThe Art of Memory in Times of Trauma and Grief\u201d\u00a0on the\u00a0opening\u00a0day\u00a0for an indefinite period\u00a0of time, stating that it wanted to legally examine the conditions for holding the event.\u00a0Previously, the workshop \u201cBefore\/After Palestine\u201d at the Berlin University of the Arts had been attacked and could only take place\u00a0after\u00a0organizers\u00a0agreed to\u00a0sign\u00a0a private liability agreement.\u00a0<\/p>

We, the organizers of the event series,\u00a0want to make clear that\u00a0the\u00a0attacks\u00a0are\u00a0part\u00a0of targeted campaigns that follow\u00a0distinct\u00a0racist patterns:\u00a0social media activities of Palestinian and Jewish artists, academics, students in solidarity with Palestine are monitored, postings and repostings are decontextualized, and prejudicially labeled antisemitic without substantiating this accusation. Reporting on the matter is rife with defamatory terms, insinuations, and dishonest omissions. The artist Jumana Manna, for example, has long since commented on postings<\/a><\/span> that are now again scandalized. Often,\u00a0these\u00a0reportings\u00a0are\u00a0accompanied by\u00a0photographs of\u00a0those targeted\u00a0thus\u00a0posing\u00a0a direct threat to their\u00a0physical\u00a0safety.\u00a0<\/p>

We call on university administrations to stand up to these attacks and unconditionally defend artistic and academic freedom as guaranteed by Basic Law. We insist that art academies are sites of critique, places of dispute, of questioning the status quo, and of debating differences, including political ones.\u00a0<\/p>

Michael Rothberg, Holocaust researcher, current guest of the Wissenschaftskolleg zu Berlin and invited speaker at the event at the HGB Leipzig, has written a statement<\/a><\/span> on the postponement.<\/p>

Dec. 9, 2024<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 60,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 124,\r\n \"absolute_position\": false,\r\n \"zIndex\": 40\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

We are a loose association of lecturers at German-speaking art schools, which was formed in the context of the Alliance for Critical Scholarship in Solidarity.<\/span><\/p>

Contact:
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Facing<\/span> the Authoritarian Drift: Art Schools as Sites of Critique<\/span><\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 2,\r\n \"absolute_position\": false,\r\n \"zIndex\": 0\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Abdrift ins Autorit\u00e4re, oder Kunsthochschulen als Orte der Kritik<\/span><\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 8,\r\n \"absolute_position\": false,\r\n \"zIndex\": 1\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

A Series of Events Organized at German-speaking Art Schools<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 4,\r\n \"absolute_position\": false,\r\n \"zIndex\": 2\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

This series of events, organized jointly by teachers at German-speaking art schools, confronts the current authoritarian drift. In the aftermath of the Covid-19 pandemic, under the pressure of the climate crisis, and in the face of wars and increasing militarization, conflicts are also intensifying within universities: Occupations by students are evicted by the police \u2013 rarely since the late 1960s has a student movement been reacted to with such vehemence. Teachers and researchers experience defamation, are disinvited for political reasons, contracts are not renewed. Practices of denunciation, digital policing, and hate speech are encroaching upon university politics. Political actors are putting pressure on universities and curtailing their autonomy.<\/p>

This authoritarian drift can also be clearly seen in the art world.\u00a0The debates surrounding the Ruhrtriennale, documenta fifteen<\/span>, the Berlinale<\/span> and the Internationale Kurzfilmtage Oberhausen<\/span>, among others, raise the question of why has the field of contemporary art become such a prominent arena for debates and curbs and restrictions while those processes are kept out of other fields of social and cultural life? How are art schools changing under the impact of these conflicts?<\/p>

The lecture series is committed to an understanding of (art) universities as places of critical art and knowledge production, where arguments can be developed, controversies aired in public, and dissent can exist. Contributions will analyze current politics and eroding democratic orders in various formats; they will address the delegitimization of postcolonial art and theory; they will theorize intertwined articulations of antisemitic, racist and sexist violence. They will discuss forms and effects of a politically right-wing anti-antisemitism directed against emancipatory movements and increasingly openly against critical Jewish positions and individuals. They will point to the omissions of post-migrant memory culture. The series will touch upon the aesthetics of protest and occupation as well as the tense relationship between art and politics; it will examine neoliberal restructurings of art schools, look at the aesthetics of protest and occupation, and at the tensions between art and politics.<\/p>

Does authoritarianism follow from this drift? If we analyze the present and resist it, which lines of flight can be found, and which possibilities will open up?<\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 6,\r\n \"absolute_position\": false,\r\n \"zIndex\": 3\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Upcoming Program<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 4,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 198,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

27.11.2025<\/h1>

Institutional (Self-)Critique
On Art, Teaching and Caring in Times of Urgency\u00a0<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 5,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 201,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

13.30\u201320:00
<\/span>UdK Berlin, Medienhaus
Grunewaldstr. 2\u20135, 10823 Berlin
Aula (Room 110)<\/p>

The campus is a fantasy and a media trope \u2013 this is how Samuel P. Catlin recently described the state of US universities. Art schools in Berlin are fantasies and fictions too. They aspire to ideals of creativity, community, and talent. As a media trope the art school has become subject of scandal and defamation, exposed to constant monitoring from inside and outside. Instead of imagining the art school as detached site, we can see it as a place that actively acknowledges its entanglement with the world \u2013 where art not only connects people but also questions, intervenes, and engages with conflict.<\/p>

What does producing art, teaching, and caring mean in times of urgency? How can we reflect critically on mass murder, systemic violence, and the increasing power of the far right? On racism, antisemitism, and the German memory culture? Do we understand how the logic of fear and hate, of cancellations and complicity works? And how are we part of this logic? What has the institution failed to do? What criticism, what self-criticism must we practice? How can we defend academic and artistic freedom, or has this freedom been a fantasy?<\/p>

We have invited artists and theorists from different backgrounds who discuss these questions in their art, research, and\/or institutional work.<\/p>

\u00a0<\/p>

Please register your attendance by November 26: antidis@udk-berlin.de<\/a><\/p>

Concept and Organisation:<\/span>
Alejandra Nieves Camacho, Kathrin Peters, Lottie Sebes<\/p>

Language:<\/span>
The event will take place in English and German (in spoken language)<\/p>

Access:<\/span>
The event venue is barrier-free.
The building is close to the subway station Kleistpark (U7), which has an elevator, and to the bus stops at Kleistpark with numerous bus lines.
There is a barrier-free all-gender toilet in the rear building. The key is available at our information desk.
Please let us know your access needs: antidis@udk-berlin.de<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 6,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 213,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

13:30<\/span> Welcome and Introduction<\/span><\/h1>


13:50\u201315:50<\/span> Workshop<\/span><\/h1>

In-\/Security\u2009\u2013\u2009How and for Whom?
<\/span>Vulnerabilities, anti-discrimination and political conflict <\/span>in academic institutions in the aftermath of 10\/7<\/span><\/span><\/h1>

Teresa Koloma Beck (Sociology, Helmut Schmidt University\u2009\/\u2009Bundeswehr University Hamburg)<\/span><\/p>

Introduction and Moderation:<\/span> Alejandra Nieves Camacho (UdK Berlin)<\/span>

<\/span><\/p>

15:50\u201316:15\u2002Break

<\/span><\/p>

16:15\u201318:00<\/span> Panel 1<\/span><\/h1>

Film and the Question of Memory<\/span><\/h1>

Nahed Awwad (Filmmaker and Curator, Art in Context, UdK Berlin)<\/span>
Preserving Memory Amid Erasure<\/span><\/p>

Pary El-Qalqili (Writer and Filmmaker, Fellow Berliner Programm K\u00fcnstlerische Forschung)<\/span>
Disobedient Memory<\/p>

Aur\u00e9lia Kalisky (Cultural Studies\/Comparative Literature, Centre Marc Bloch Berlin)<\/span>
For a Cinema That Bears Witness<\/p>

Introduction and Moderation:<\/span> Kathrin Peters (UdK Berlin)<\/span><\/p>

\u00a0<\/p>

18:00\u201318:30\u2002Break

<\/span><\/p>

18:30\u201320:00<\/span>\u2002Panel 2<\/span><\/h1>

Sound Perspectives<\/span><\/h1>

Pedro Oliveira (Artist and Researcher, Sound Studies and Sonic Arts, UdK Berlin)<\/span>
Exercises in \u201cPostura\u201d<\/p>

Eran Schaerf (Artist and Writer)<\/span>
Student Strike and Amateur Reading<\/p>

Introduction and Moderation:<\/span> Lottie Sebes (UdK Berlin)<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 7,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 204,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Abstracts and CVs<\/a> \u2193<\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 8,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 214,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Teresa Koloma Beck, Prof. Dr.
In-\/Security \u2013 How and for Whom?<\/span>
Vulnerabilities, anti-discrimination and political conflict in academic institutions in the aftermath of 10\/7<\/span><\/p>

Against the background of widespread campus protest against Israel\u2019s military operations in Gaza and the wider region, universities and other academic institutions have moved into the focus of authoritarian discourses and politics. At the center were concerns for the safety and security of students and staff.\u00a0<\/p>

Based on a qualitative study, this session explores how experiences of unsafety and insecurity changed and for whom. And it discusses institutional, political as well as grassroots responses to these developments.<\/p>

Teresa Koloma Beck is a sociologist studying globalization and everyday life under conditions of violence, crisis\u00a0and insecurity. In doing so, she is also interested in the presence of the colonial and imperial past in contemporary societies. \u00a0She is a professor of sociology at Helmut Schmidt University, Hamburg and has undertaken field research in Angola, Mozambique, Afghanistan\u00a0and Germany.\u00a0<\/p>

\u00a0<\/p>

Nahed Awwad
Preserving Memory Amid Erasure <\/span><\/p>

How do you preserve memory in a place under constant assault by foreign forces? When the land is being erased, confined behind segregation walls, and subjected to destruction? In Palestine, where indigenous people\u2019s archives and possessions are looted or destroyed, memory itself becomes a form of resistance. As long as I can remember, being Palestinian has meant holding onto memory \u2014 of people, of place, of a land continually under threat.<\/p>

Nahed Awwad is a Berlin-based independent Palestinian filmmaker and curator with 20+ years of experience. Her work is rooted in socially engaged storytelling and often explores themes of identity, memory, displacement, and resistance. Her films were screened at Cannes, Hot Docs, and more. Awwad co-founded the POC Art Collective and curates programs highlighting diasporic and Global South voices. Her work bridges film, politics, and memory, centring Palestinian narratives and challenging dominant discourses.<\/p>

\u00a0<\/p>

Pary El-Qalqili
Disobedient Memory<\/span><\/p>

Palestinian history is overwritten, distorted, and erased within German memory culture. Orientalist image politics depict Palestinians as threats. How can one exist beyond this violent imagery? My film Speak Image, Speak<\/span> practices looking back at violent images as a refusal to be limited by fixing gazes (Frantz Fanon). As images are reframed, questioned, recontextualized, and counter-narrated, film becomes a tool for disobedient collective memory, challenging consolidated politics of degradation and dehumanization.<\/p>

Pary El-Qalqili is a writer and director based in Berlin. She is working on an Unruly Archive<\/a><\/span><\/span>, <\/span>a long-term project, combining film, peformance and archival work. In her cinematic work, she explores nonlinear narratives that challenge hegemonic storytelling, looking at life that has been disrupted, uprooted, colonized and marginalized. Her current film project Speak Image, Speak<\/a><\/span><\/span> explores a disobedient counter memory of Palestinian past and present in Germany. In 2025, she holds the fellowship Weltoffenes Berlin at the Berliner Programm K\u00fcnstlerische Forschung.<\/p>

\u00a0<\/p>

Aur\u00e9lia Kalisky, Dr.
For a Cinema That Bears Witness<\/span><\/p>

I would like to reflect on the conditions for a cinema that bears witness, as a double struggle: on the one hand, against the invisibilization of Palestinians and against epistemic and aesthetic injustice linked to the so-called Palestine exception; and on the other hand, against aestheticizing or victimizing modes of looking that perpetuate a form of humanitarian compassion. How has the paradigm of the Holocaust, which largely determines our disciplines (film studies, testimony and memory studies) contributed to rendering invisible a genocide unfolding in real time? It is within this context that we must also reflect on the unprecedented attacks currently targeting theoretical approaches in Germany that challenge the very possibility of a genuinely comparative framework.<\/p>

Aur\u00e9lia Kalisky is a researcher in Comparative Literature and Cultural Studies at the Centre Marc Bloch in Berlin, where she leads the project FIMEMO (First Memories and Forms of Knowledge in the Aftermath of Genocide in the Cases of the Holocaust and Rwanda). She worked at the Zentrum f\u00fcr Literaturforschung in Berlin and has been a visiting fellow at, among others, the Vienna Wiesenthal Institute for Holocaust Studies, the NIOD Institute for War, Holocaust and Genocide Studies in Amsterdam, the Moses Mendelssohn Center in Potsdam and the K\u00e4te Hamburger Kolleg CURE in Saarbr\u00fccken in 2024\u20132025.<\/p>

She teaches at the EHESS in Paris and has long served as secretary and later co-president of the Association Internationale de Recherches sur les Crimes contre l\u2019Humanit\u00e9 et les G\u00e9nocides in France. In 2024, she co-founded the Association of Palestinian and Jewish Academics.<\/p>

\u00a0<\/p>

Pedro Oliveira, Dr.
Exercises in \u201cPostura\u201d<\/span><\/p>

<\/em><\/em>In this talk I will briefly discuss examples of my artistic and pedagogical work focused on how borders traverse the body in different institutional spaces. My intention is to outline what I call \u201cposturas of listening\u201d \u2013 a form of studying not bound by academic or artistic frameworks but as a set of dispositions of bodies in space and in relation to one another.\u00a0 In Portuguese, \u201cpostura\u201d is more than bodily posture; it includes contingent orientations, attitudes and dispositions: ethical, political, moral and sometimes spiritual. I seek to move beyond questions of whether we can listen from the perspective of the other, to ask instead which forms of positioning we might take, collectively and towards one another, to form newer alliances.<\/p>

Pedro\u00a0Oliveira is a sound artist and researcher studying listening and its material intersections with the violences of the European border. In his performances and installations echo, distortion, and feedback probe the limits and failures of human and machine listening, and their encounters with the (migrant) body as a site of struggle for identity and belonging. Currently he is part of the guest faculty in Sound Studies and Sonic Arts at the Berlin University of the Arts.<\/p>

\u00a0<\/p>

Eran Schaerf
Student Strike and Amateur Reading<\/span><\/p>

Student Strike and Amateur Reading Cairo, 1935. In protest against the British occupation of Egypt, Muslim students go on strike. They storm the French law faculty, where members of Jewish, Greek, Armenian, Syrian, and other minorities study, and demand that they join in a solidarity strike. For visiting student and later author Jacqueline Kahanoff the encounter between a majority and minorities leads to reflections on the interdependence of different power relations, forms of knowledge acquisition, divided loyalties, and the use of contrary value systems.<\/p>

Eran Schaerf is an artist based in Berlin and Brussels. Recent projects include \u201cOnly Six Can Play this Game\u201c, co-author: Eva Meyer, Droste Festival 2020; \u201cLevantinism: The Anachronic Possibilities of a Concept\u201d, co-Autor: Eva Meyer, bakonline.org<\/span> 2021; \u201cBlinded in Remembering the Present? Ask Franz,\u201d in Hijacking Memory. The Holocaust and the New Right,<\/span> Haus der Kulturen der Welt, Berlin 2022; Ein j\u00fcdischer Garten,<\/span> co-editors: Hila Peleg, Itamar Gov, Munich 2022; \u201eNomadesque,\u201c in Machinations<\/em>, Museo Nacional Centro de Arte Reina Sof\u00eda, Madrid 2023; Gesammeltes Deutsch,<\/span> Vienna 2023.<\/p>

\u00a0<\/p>

Kathrin Peters, Prof. Dr.,
is professor for visual culture studies at Berlin University of the Arts. Recent publications Am Rand des Wissens. \u00dcber k\u00fcnstlerische Epistemologien,<\/span> ed. With Kathrin Busch, Barbara Gronau, 2023; \u201cKritik der Wissenschaftsfreiheit\u201d, in Zeitschrift f\u00fcr Medienwissenschaft,<\/span> 33, 2025.<\/p>

Alejandra Nieves Camacho
works as Diversity and Anti-Discrimination Officer at the Berlin University of the Arts, with a special focus on anti-racism. She completed a Master\u2019s in International Relations at Humboldt University, Freie Universit\u00e4t Berlin, and the University of Potsdam, focusing on migration, gender, and intersectionality. She has participated in research projects on film and social change, migration, as well as anti-discrimination in media.\u00a0<\/p>

Lottie Sebes
is a sound artist and researcher working across installation and performance. She holds a BFA (Hons, University Medal) from UNSW\/USYD in Sydney, Australia and an MA from the Berlin University of the Arts, where she has been part of the community for nearly a decade\u2014first as a student and currently as program coordinator in Sound Studies and Sonic Arts. Her work has been shown internationally at Elsewhere Living Museum (USA), PICA (AU), iMAL (BE), and iii (NL), with writing published in Sonic Scope, ECHO,<\/span> and her solo publication and record Veritas Ventriloquist.<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 9,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 216,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Program Summer Semester 2025<\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 10,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 152,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Show\/hide all texts<\/a>
<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 11,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 153,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 42,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

29.04.25 <\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 12,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 156,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

A Common State. Potential Conversation (Eyal Sivan, 2012)<\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 13,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 157,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"pxwidth\": null,\r\n \"zIndex\": 11,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Film Screening and discussion with guests: Rose-Anne Gush and Helmut Krieger<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 14,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 158,\r\n \"absolute_position\": false,\r\n \"zIndex\": 13,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

7<\/span> pm<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 15,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 175,\r\n \"zIndex\": 65,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

University of Applied Arts Vienna
Applied Photography Studio<\/p>

Schwanzer Trakt 4th Floor
Oskar Kokoschka Platz 2, 1010 Vienna<\/p>

Moderation and Organisation:<\/span>
Movie Nights Group: Anahita Asadifar, Sofia Bempeza, Antonia Birnbaum, Yasmina Haddad, Fine Freiberg, Nanna Heidenreich, Amanda Holmes, Annette Krauss, Alexi Kukukljevic, Andrea Lumplecker, Zeynep Turel, Maria Ziegelb\u00f6ck<\/p>

Attendance:
<\/span>on-site<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 16,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 159,\r\n \"absolute_position\": false,\r\n \"zIndex\": 14,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>Abstract\/CVs<\/span><\/a>\u00a0<\/span>

<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 17,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 162,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 43\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

What is utopian, what is realist? Do these terms even mean anything regarding the situation in Palestine-Israel? In 2012, Eyal Sivan, an Israeli filmmaker, and Eric Hazan, the french editor of the \u00e9ditions La Fabrique<\/span> which has consistently published on the situation in Palestine for the last thirty years, published a book together, accompanying the film. The title: A common state between Jordan and the sea.<\/span><\/p>

The diagnostic and the thesis are as follows: the supposedly realist solution to the ongoing occupation is a partition into two independent states, a Palestinian and an Israeli one, the supposed utopia is a common state with equal rights for all. This presupposition needs to be undone and inverted.<\/p>

The realist \u201csolution\u201d has actually been prone since 1937, in the famous Peel report following the 1936 insurrection of Palestine. It has given rise to countless peace processes, agreements (Oslo I and II 1993-1995), and actually benefits from a consensus; Sharon, Netanyahu, Uvi Avneri (peace movement), and the Palestine Liberation Organization, agree on it. Yes, even Hamas, whose Charta programs the destruction of Israel, is part of that consensus:\u00a0 in a declaration of 2009 in the NYT, Khaled Meshal declares that he is in disagreement on everything with Fatah, except the necessity for an independent state, in the limits of 1967. If everyone agrees, why then is this realistic solution never implemented? Because it is not a solution, but a discourse, a discourse which maintains the status quo,<\/span> if one can call status quo<\/span> the ongoing occupation and genocide of the Palestinian people.<\/p>

By contrast, the supposedly utopian solution of one State with equal rights for all starts, not with a discourse, but with the observation that partition is impossible, that there exists one State which today exercises its power, civil or\/and military everywhere, and that the occupied territories are already a part of it. Thus, undoing the violence of the Israeli State entails transforming this unjust state into a common state. This common state is not, to paraphrase Godard, a just State, but it is just a State, a State like other States, devoid of exceptionality.<\/p>

The film of the same name assembles a series of 24 conversations regarding the issue of a common state, with political actors, artists, jurists, young and old, Israelis Jews, Arabs of the occupied territories and of Israel. The same questions are asked and each person answers in their maternal tongue, in dialogue with the filmmaker: the screen is partitioned between an Israeli Jew and a Palestinian: one talks and the other listens, and vice versa. The screen brings together what the fragmentation of the situation separates, producing the encounters that occupation hinders day after day.

<\/p>

Movie Nights:<\/span><\/p>

is a format for a transdisciplinary exchange: Starting each time from one film, we open the space for a conversation about the relations between production of images and their conditions \u2013 modes of narration, authorship, history, politics and effects on society. We show fiction, documentaries, movie and television productions in regard to the actual situation, focusing on Palestinian and Israeli films. The movie nights are hosted and organized by the departments of Applied Photography, Klasse f\u00fcr Alle, Art and Communication Practices, Philosophy, and Transcultural Studies at the University of Applied Arts Vienna.<\/p>

Dr. Rose-Anne Gush<\/span><\/p>

is currently Assistant Professor at IZK \u2013 Institute for Contemporary Art at TU Graz. Her research interests include political aesthetics and theories of \u2018global art\u2019, the relationships between colonialism, fascism and capitalism, and gender and ecology. Recent articles are published in Berlin Review, FKW \/\/ Zeitschrift f\u00fcr Geschlechterforschung und visuelle Kultur, Camera Austria, Brand-New-Life Magazine, Third Text, and Kunst und Politik. Her first monograph, Artistic Labour of the Body, is forthcoming in the Historical Materialism book series with Brill and Haymarket<\/p>

Dr. Helmut Krieger<\/span><\/p>

senior scientist and senior lecturer at the Department of Development Studies at the University of Vienna, holds a PhD in political science. His research areas are, among other things, Israel\/Palestine, social movements in the Arab speaking world, transformative research epistemologies for conflict and war zones as well as critical political economy perspectives combined with decolonial approaches.<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 18,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 164,\r\n \"absolute_position\": false,\r\n \"zIndex\": 53,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

08.05.25 <\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 19,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 165,\r\n \"absolute_position\": false,\r\n \"zIndex\": 9,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Anti-Discrimination Revisited \u2013 Paradoxical Entanglements of Anti-Semitism, Racism and Gender<\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 20,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 166,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"pxwidth\": null,\r\n \"zIndex\": 11,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Panel discussion with Wolfgang Kaleck (European Center for Constitutional and Human Rights, ECCHR)<\/span>, Deborah Feldman (author of Judenfetisch<\/span>, 2023)<\/span>, Monika Mokre (political scientist and migration policy activist)<\/span> and Isabel Frey (ethnomusicologist and founder of the Jewish-Arab peace initiative Standing Together Vienna)<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 21,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 169,\r\n \"absolute_position\": false,\r\n \"zIndex\": 13,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

6<\/span> pm<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 22,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 186,\r\n \"zIndex\": 65,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Universit\u00e4t f\u00fcr Musik und darstellende Kunst Wien<\/p>

Clara Schumann-Saal, AWCEG01
Anton-von-Webern-Platz 1, 1030 Wien<\/p>

Attendance:<\/span>
on-site
<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 23,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 170,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>Abstract\/CVs<\/span>\u00a0<\/span><\/a>

<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 24,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 174,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 43,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

In the course of the current authoritarian turn and global fascist developments, hard-won anti-discrimination policies are increasingly coming under pressure. In the USA, for example, trans and queer rights are under massive attack from the right, and institutional equality measures are being suspended. At the same time, anti-discrimination rhetoric is being hijacked to discredit or sanction critical political voices. In the German-speaking context, of all places, accusations of anti-Semitism are being used to silence criticism of current war crimes and violations of international law.<\/p>

As part of the inter-university lecture series Against the Authoritarian Drift<\/span> and the ICGP series Performing the Political<\/span>, we will discuss international and local legal issues and their social dimension, the interconnection between anti-Semitic, racist and sexist violence, and current attacks on university autonomy.<\/p>

Funded by the Gender|Queer|Diversity Call_mdw<\/p>

On 12 May 2025, a follow-up workshop on the topic \u2018Defining Anti-Semitism\u2019 with Isabel Frey will take place in the IKM Library.<\/p>

13:00\u201315:00
IKM Bibliothek (E 01 22)
Anton-von-Webern-Platz 1
1030 Wien<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 25,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 173,\r\n \"absolute_position\": false,\r\n \"zIndex\": 52,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

15.07.25 <\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 26,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 178,\r\n \"absolute_position\": false,\r\n \"zIndex\": 9,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Pause_Strategize_Abundance <\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 27,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 179,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"pxwidth\": null,\r\n \"zIndex\": 11,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Reflecting back on the lecture series Facing the Authoritarian Drift<\/span>, transforming experiences of backlash into subversive knowledge of abundant resistance, and strategizing in an environment of joyful company.<\/p>

Guest: Dean Hutton (Johannesburg)<\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 28,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 180,\r\n \"absolute_position\": false,\r\n \"zIndex\": 13,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

6<\/span> pm<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 29,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 185,\r\n \"zIndex\": 65,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Kunsthochschule Mainz and Online<\/p>

An der Johannes Gutenberg Universit\u00e4t
Am Taubertsberg 6
D-55122 Mainz<\/p>

Organisation:<\/span>
Carmen M\u00f6rsch (Kunsthochschule Mainz)<\/span>
Marc Siegel (Johannes Gutenberg-Universit\u00e4t Mainz)<\/span>
Katharina Fink (Art Residency Schloss Balmoral)<\/span><\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 30,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 183,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 <\/span>Abstract\/CVs<\/span><\/a>\u00a0<\/span>

<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 31,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 184,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 43,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Dean Hutton<\/p>

(they\/them) makes trouble. Working at the intersections of trans media visual culture, performance and community action, their practice bridges genres of documentary, fiction and fantasy to produce radical queer counter narratives, and experiences for repair and resistance. Their strategy of simple disruptive actions share moments of soft courage, affirming the rights of all bodies to exist, be celebrated, and protected. An artist-in-residence at the University of Johannesburg, their research embraces collaborative praxis and embodied play to produce new forms of artWork \u2013 sculptural objects made from sustainable materials and living biomatter that works to support ecosystem health, and build cultural and ecological value for local communities.(1976, ZA)<\/p>

\u00a0<\/p>

As the last lecture of the series \u201cFacing the Authoritarian Drift: Art Schools as Sites of Critique\u201d (https:\/\/krisol-wissenschaft.org\/en\/facing-the-drift\/), our session invites you for a hybrid encounter - both online and at the Kunsthochschule Mainz - to PAUSE, STRATEGIZE and be in ABUNDANCE together. There has been a lot of - largely productive - discussion in our various organizational contexts over the past months. The title of the lecture series has also unsurprisingly proved to be performative since several events were met with institutional resistance. Strategies were developed to ensure that events would nevertheless take place. These experiences have led to the production of knowledge about ways of facing the authoritarian drift, together.<\/p>

We therefore think it\u2019s an ideal time to pause, to listen, to exchange and to learn.<\/p>

We invited Dean Hutton, artist and troublemaker, based in Johannesburg, South Africa, to join us online for a conversation-input about STRATEGIZING. In their contribution, they will share experiences from the past two years of working in solidarity with a number of movements in the shape of CAMP - the Community Art Mobilisation Project. They are the director of CAMP where they \u201cmake soft spaces for hard questions.\u201d They leverage art practice and cultural production to create \u201cnarrative repair\u201d by developing impactful visual strategies, content and material. They collaborate with artists, activists, and frontline communities for direct actions and interventions that connect intersectional struggles, green development, and climate justice with our daily lives and potent futures.<\/p>

The conversation between Dean Hutton and Katharina Fink will be followed by an exchange of knowledge, questions and thoughts between all of us, moderated by Marc Siegel. In this, we stay ABUNDANT - sharing practices and exercises to pause and to remain in action. In the analogue space of H\u00f6rsaal @ Kunsthochschule Mainz, there will be the opportunity to simultaneously do stuff with your hands and bodies, like cutting out CAMP stickers, eating fruit and staying hydrated.<\/p>

\u201cCAMP is a tactical resourcing unit that is fleet, fluid, and flexible. We design and act when others ponder their theory of change. We are problem solvers who prepare and resource intersectional movements through art builds; developing counter propaganda strategies and leverage the attention economy in actions that engage evolving audiences in new contexts in high visibility and low risk ways. We work in service and that means our outputs depend on what we are asked, what is required of us and what we can offer with abundance.\u201d<\/p>

\u201cAt CAMP we create a space that nurtures the courage to act, pushing ourselves and each other to embrace change in ways that are both loving and transformative. By resisting alienation, apathy, and nihilism, we model how to thrive in a world fraught with systemic injustice and fear. We refuse silence and complicity, instead choosing to foster connection, encourage courage, and reject isolation.\u201d<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 32,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 188,\r\n \"absolute_position\": false,\r\n \"zIndex\": 52,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Program Winter Semester 2024\/25<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 33,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 10,\r\n \"absolute_position\": false,\r\n \"zIndex\": 4\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Show\/hide all texts<\/a>
<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 34,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 102,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 42\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

06.11.24 <\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 35,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 40,\r\n \"absolute_position\": false,\r\n \"zIndex\": 9\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Before\/After Palestine
<\/span><\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 36,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 38,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"pxwidth\": null,\r\n \"zIndex\": 11\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Panel Discussion with
Yasmeen Daher, Sami Khatib, Basma al-Sharif (engl.)<\/span>
<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 37,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 26,\r\n \"absolute_position\": false,\r\n \"zIndex\": 13\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

2\u20134<\/span> pm<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 38,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"relid\": 25,\r\n \"zIndex\": 65,\r\n \"colspan\": 16,\r\n \"col\": 0,\r\n \"push\": 0,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

University of the Arts Berlin
Medienhaus<\/p>

Grunewaldstra\u00dfe 2\u20135
10823 Berlin<\/p>

Moderation:<\/span>
Angela Harutyunyan (Contemporary Art History and Theory,\u00a0UdK Berlin)<\/span><\/p>

Attendance:\u00a0<\/span>
The event is fully booked<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 39,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 98,\r\n \"absolute_position\": false,\r\n \"zIndex\": 14\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Abstract\/CVs <\/span><\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 40,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 61,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 43\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

We ask, is it possible to think the potential genocide \u2013 historically, politically, critically \u2013 without turning the event itself into a figure of thought? Can we conceive of thinking as active, interventionist and intricately connected to the very material reality it thinks, rather than as merely contemplative? Is there a philosophy before\/after Palestine, in the protracted temporality of Palestinian political non-subjectivization? Given the way in which every second is being recorded, documented, and shared, often instantly and by the victims themselves, what can art do or how can it do differently?<\/p>

\u00a0<\/p>

Yasmeen Daher:<\/span><\/p>

is a feminist activist and writer with a PhD in philosophy from the University of Montreal, specializing in ethics and political philosophy. She is currently co-director and editorial director of Febrayer, a Berlin-based network for independent Arab media organizations.

Sami Khatib:<\/span><\/p>

is a research associate at the Orient-Institut Beirut and a founding member of the Beirut Institute for Critical Analysis and Research (BICAR). He co-edited Critique: The Stakes of Form<\/span> (2020) and authored Teleology without End: Walter Benjamin's Dislocation of the Messianic<\/span> (2013).

Basma al-Sharif:<\/span><\/p>

is a Palestinian artist and filmmaker exploring cyclical political histories and conflicts. She has exhibited at MoMA, the Whitney Biennial, and the New Museum. Based in Berlin and represented by Galerie Imane\u00a0Far\u00e9s in Paris.<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 41,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 97,\r\n \"absolute_position\": false,\r\n \"zIndex\": 52\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

21.11.24 <\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 42,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 44,\r\n \"absolute_position\": false,\r\n \"zIndex\": 15\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Securitisation on\/of Campus <\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 43,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 50,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 17\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Lecture (engl.) <\/span>by Teresa Koloma Beck
and discussion (dt.\/engl.)<\/span><\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 44,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 29,\r\n \"absolute_position\": false,\r\n \"zIndex\": 21\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

5\u20137<\/span> pm<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 45,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 28,\r\n \"absolute_position\": false,\r\n \"zIndex\": 19\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

online<\/span><\/p>

Moderation:<\/span>
<\/span>Katrin M. K\u00e4mpf (Queer Studies, Kunsthochschule f\u00fcr Medien K\u00f6ln)<\/span>
<\/span><\/p>

Attendance:<\/span>
<\/span>Please register with facingthedrift@krisol-wissenschaft.org<\/a> for the Zoom link
<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 46,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 111,\r\n \"absolute_position\": false,\r\n \"zIndex\": 22\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Abstract\/CVs <\/span><\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 47,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 58,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 44\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Securitisation is a process by which issues of public concern are transformed into matters of security. It leads to the emergence of securitised social spaces which are marked by a complex entanglement of individual experiences, discourse and public policy. Based on preliminary insights from an ongoing qualitative study the lecture explores recent dynamics of (in)security and securitisation in\/of academic institutions and everyday campus life and discusses their relevance in the horizon of broader societal transformations.<\/span><\/p>

\u00a0<\/p>

Teresa Koloma Beck:<\/span><\/p>

researches globalisation and everyday life under conditions of violent conflict and crisis, with an interest in the present of the colonial and imperial past. She is a professor of sociology at Helmut Schmidt University, Hamburg.

Katrin M. K\u00e4mpf:<\/span><\/p>

researches in the field of history of sexuality and feminist Science & Technology Studies with a particular interest in technosecurity cultures and queerfeminist technologies of care. She is an assistant professor for Queer Studies at the Academy of Media Arts Cologne.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 48,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 100,\r\n \"absolute_position\": false,\r\n \"zIndex\": 53\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

05.12.24<\/del><\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 49,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 32,\r\n \"absolute_position\": false,\r\n \"zIndex\": 24\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

The Art of Memory in Times
of Trauma and Grief <\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 50,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 52,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 26\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Lecture by Michael Rothberg: From\u00a0Memory Wars to Memory Work:\u00a0Relational Remembrance in P\u0131nar \u00d6\u011frenci's<\/span>\u00a0A\u015f\u00eet\u00a0[The Avalanche]<\/span>,\u00a0<\/span>subsequent conversation with Marianne Hirsch and \u00c7i\u011fdem Inan, Jumana Manna and Michael Rothberg (engl.)<\/span><\/span><\/p>

ATTENTION: The university management of the HGB Leipzig has cancelled the event.
\u2193 Statement by the Organizers on the Postponement of the Events at the Academy of Fine Arts Leipzig<\/a><\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 51,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 33,\r\n \"absolute_position\": false,\r\n \"zIndex\": 28\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

6\u20138<\/span> pm<\/del>
cancelled<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 52,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 47,\r\n \"absolute_position\": false,\r\n \"zIndex\": 20\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Hochschule f\u00fcr Grafik und Buchkunst Leipzig
Festsaal
<\/span><\/p>

W\u00e4chterstr. 11
04107 Leipzig<\/span><\/p>

Organisation:<\/span>
Natascha Frankenberg
Katrin K\u00f6ppert
Benjamin Meyer-Krahmer
Ines Schaber
(all Hochschule f\u00fcr Grafik und Buchkunst Leipzig)
<\/span><\/span><\/p>

Moderation: <\/span>
Katrin K\u00f6ppert (Hochschule f\u00fcr Grafik und Buchkunst Leipzig)<\/span>
Marc Siegel (Johannes Gutenberg-Universit\u00e4t Mainz)<\/span><\/span><\/p>

Attendance:<\/span>
Open to members of the university and by invitation, in presence
<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 53,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 113,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Abstract\/CVs<\/a> <\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 54,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 14,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Art can open up a space in which traumas become accessible as zones of indeterminacy and radical unavailability. The fact that the art and culture scene in particular is currently under pressure from state surveillance and political interference may be due to this. At a moment when answers seem urgent and clear demarcations necessary, art in its logic of refusing brevity and explainability is seemingly difficult to endure. The haste to disinvite artists and question funding commitments seems to follow the script of a memory culture that is based on supposed unambiguities and ultimately (re)produces exclusions: Under the premise of the German raison d'\u00e9tat, which centers on unconditional support for Israel's policies, Jewish life is to be protected by partly repressive measures (see\u00a0resolution draft<\/a>), which, among other things, often lead to Palestinian life and Palestinian narratives not being perceived.<\/p>

We associate the question of the art of memory with the wish to discuss remembrance beyond hegemonic scripts. What can art achieve in times of deep grief and how can it be a medium for a practice that does not isolate us from each other in trauma, but rather connects us in grief?<\/p>

\u00a0<\/p>

Marianne Hirsch:<\/span><\/p>

Columbia University, writes about the transmission of memories of violence across generations, combining feminist theory with memory studies in global perspective.

<\/span>\u00c7i\u011fdem Inan:<\/span><\/p>

is an interdisciplinary sociologist with a teaching and research focus on affect theory, queer-feminist and decolonial philosophies and racism studies. Inan is also a publisher at the publishing collective b_books (Berlin) and editor of the publication series re fuse.

Katrin K\u00f6ppert:<\/span><\/p>

is an art and media scholar and currently Assistant Professor of Art History\/Popular Cultures at the Academy of Visual Arts Leipzig. Together with Simon Strick, she is currently head of the research project on \u201cDigital Blackface. Racialized affect patterns of the digital\u201d She is a spokesperson for the Alliance for Critical Scholarship in Solidarity.

Jumana Manna:<\/span><\/p>

is a visual artist and filmmaker who grew up in Jerusalem and lives in Berlin. Her work explores how power is articulated, focusing on the body, land and materiality in relation to colonial heritage and the history of place. Her work addresses the tension between the modernist traditions of categorization and preservation and the recalcitrance of decay, life and its regeneration.

Michael Rothberg:<\/span><\/p>

is the 1939 Society Samuel Goetz Chair in Holocaust Studies and Professor of English and Comparative Literature at the University of California, Los Angeles. He is the author of\u00a0The Implicated Subject: Beyond Victims and Perpetrators,\u00a0Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization<\/span>(published in German by Metropol Verlag),\u00a0and\u00a0Traumatic Realism: The Demands of Holocaust Representation.<\/span>With Yasemin Yildiz,\u00a0<\/em>he is completing\u00a0Memory Citizenship: Migrant Archives of Holocaust Remembrance <\/span>for Fordham University Press. He is currently a Fellow of the\u00a0Wissenschaftskolleg zu Berlin.

<\/span>Marc Siegel:<\/span><\/p>

is Professor of Film Studies at the Johannes Gutenberg University in Mainz. He is currently working with Palestinian and Jewish academics to found an association in German-speaking countries. He is also a member of the Academy of the Arts of the World in Cologne and on the advisory board of the Society for Media Studies.<\/div><\/div>


In cooperation with the DFG Research Network\u00a0<\/span>Gender, Media and Affect<\/a>\u00a0<\/span>and the lecture series<\/span>\u00a0<\/span>Postcolonial Critique, Decolonial Perspectives<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 55,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 106,\r\n \"absolute_position\": false,\r\n \"zIndex\": 54\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

21.01.25
<\/span><\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 56,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 42,\r\n \"absolute_position\": false,\r\n \"zIndex\": 30\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Together in Difference \u2013 Politische Praxis jenseits von entweder\/oder<\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 57,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 54,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 32\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Workshop with Palestinians and Jews for Peace<\/span> (dt.\/engl.)<\/span>
<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 58,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 43,\r\n \"absolute_position\": false,\r\n \"zIndex\": 35\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

5\u20138 pm<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 59,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 34,\r\n \"absolute_position\": false,\r\n \"zIndex\": 34\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Kunsthochschule f\u00fcr Medien K\u00f6ln
<\/span>
<\/span><\/p>

Organisation:<\/span> <\/span>
Isabell Lorey (Queer Studies, Kunsthochschule f\u00fcr Medien K\u00f6ln)<\/span>
Katrin M. K\u00e4mpf (Queer Studies, Kunsthochschule f\u00fcr Medien K\u00f6ln)<\/span>
<\/span><\/p>

Attendance:<\/span>
For students of the Kunsthochschule f\u00fcr Medien only, register with Katrin M. K\u00e4mpf
<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 60,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 115,\r\n \"absolute_position\": false,\r\n \"zIndex\": 36\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Abstract\/CVs <\/span><\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 61,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 63,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 46\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

While the war in Israel, Palestine, and now Lebanon is costing more and more lives, a fierce dispute is taking place in Germany over the authority of interpretation and about war narratives in relation to the Middle East conflict. Racism, antisemitism, and dehumanisation determine the debate about which victims are mourned and whose deaths are justified, denied or even celebrated.<\/p>

In this social climate, what can solidarity with the people affected look like?<\/p>

We want to initiate a process in which we can open up common political spaces with radical empathy and develop our tolerance to ambiguity for different perspectives.<\/p>

\u00a0<\/p>

The <\/span>Palestinians and Jews for Peace initiative:<\/span><\/span><\/p>

consists of Palestinian, Jewish, Israeli, and other emancipatory friends who are committed to a differentiated dialogue and compassionate, respectful interaction with one another in Germany. Their aim is to show that there are infinitely more than just two sides, that all people are learners, and that the struggle against fascism, racism, and antisemitism must always also be fought with oneself.<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 62,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 104,\r\n \"absolute_position\": false,\r\n \"zIndex\": 55\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

28.01.25
<\/span>11.02.25 <\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 63,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"relid\": 39,\r\n \"zIndex\": 63,\r\n \"colspan\": 16,\r\n \"col\": 0,\r\n \"push\": 0,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

A Potential History of the
Jewish Muslim World <\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 64,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 20,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 37\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Conversation with Ariella A\u00efsha Azoulay on her Book The Jewelers of the Ummah<\/span> (dt.\/engl.)<\/span>
<\/span><\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 65,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 36,\r\n \"absolute_position\": false,\r\n \"zIndex\": 39\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

11 am\u20131.30 pm
<\/span>1\u20133 pm<\/span><\/h1>\",\r\n \"align\": \"bottom\",\r\n \"row\": 66,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 46,\r\n \"absolute_position\": false,\r\n \"zIndex\": 41\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

First meeting
Second meeting<\/p>

Kunsthochschule Kassel, Nordbau
Room 0235<\/p>

Menzelstr. 13
34121 Kassel<\/p>

Moderation:<\/span>
Miriam Schickler (Visuelle Kommunikation, Kunsthochschule Kassel)<\/span>
Johanna Schaffer (Visuellen Kommunikation, Kunsthochschule Kassel)<\/span><\/p>

Attendance:<\/span>
20 Participants, in presence, please register until Jan 13, 2025 with Miriam Schickler.<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 67,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 117,\r\n \"absolute_position\": false,\r\n \"zIndex\": 40\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

\u2193 Abstract\/CV <\/span><\/a><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 68,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 64,\r\n \"absolute_position\": false,\r\n \"stickytop\": null,\r\n \"zIndex\": 47\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

We invite Ariella A\u00efsha Azoulay to talk with us about her new book The Jewelers of the Ummah. A Potential History of the Jewish Muslim World<\/span>. Azoulay writes about the disruption of Jewish-Muslim life in the SWANA region (Southwest Asia and North Africa).<\/p>

In the first meeting of the two-part event, we discuss a chapter of the book that each participant has read beforehand. At the beginning, we decide how we want to talk to each other, i.e. we give ourselves rules for communicating with each other in a conflict-laden discursive field.<\/p>

In the second meeting, Ariella A\u00efsha Azoulay will talk to us about her book project via Zoom.<\/p>

We are organising this conversation as part of the event series Against the Authoritarian Drift because we want to counter the repressive narrrowing down of discourse in German-language contexts, and we want to learn from criticism that does not reproduce binary models of thought.

Ariella A\u00efsha Azoulay:<\/p>

is a theorist of photography, a film essayist, a curator, and a Professor of Modern Culture and Media and Comparative Literature at Brown University in the USA.<\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 69,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 108,\r\n \"absolute_position\": false,\r\n \"zIndex\": 56\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

25.02.25
<\/span><\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 70,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 131,\r\n \"absolute_position\": false,\r\n \"zIndex\": 30,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

The Art of Memory in Times
of Trauma and Grief <\/h1>\",\r\n \"align\": \"middle\",\r\n \"row\": 71,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 134,\r\n \"absolute_position\": false,\r\n \"spacebelowMu\": \"%\",\r\n \"zIndex\": 26,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Screenings of Foragers and<\/span> A\u015f\u00eet [The Avalanche]<\/span>, exhibition of projects from students of HGB Leipzig with Brenda Berenice Alamilla Cornejo (tbc), Esraa Dayrwan, Nataliia Oliferovych (tbc), Dominik Schabel, Inputs by Marianne Hirsch and Michael Rothberg, roundtable with Marianne Hirsch, Jumana Manna, P\u0131nar \u00d6\u011frenci, Michael Rothberg, Marc Siegel<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 72,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 135,\r\n \"absolute_position\": false,\r\n \"zIndex\": 28,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

1.30\u20135 pm<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 73,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 144,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Wolf Kino Berlin, Weserstr. 59, 12045 Berlin<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 74,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 139,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29,\r\n \"frameOverflow\": \"right\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

5.30\u20139 pm<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 75,\r\n \"col\": 1,\r\n \"colspan\": 15,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 142,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Spore Berlin, Herrmannstr. 86, 12051 Berlin\u00a0 <\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 76,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 141,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Organization:<\/span>
Natascha Frankenberg
Katrin K\u00f6ppert
Benjamin Meyer-Krahmer
Ines Schaber
<\/span><\/p>

Moderation:\u00a0<\/span>
Katrin K\u00f6ppert<\/span><\/p>

Attendance:<\/span>
<\/span>public, registration for the screenings at Wolf Kino are required:\u00a0vortrag@hgb-leipzig.de<\/a><\/span><\/p>

In cooperation with DFG Research Network \u201cGender, Media and Affect\u201d<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 77,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 137,\r\n \"absolute_position\": false,\r\n \"zIndex\": 29,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Contributors in Winter 2025\/26<\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 78,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 92,\r\n \"absolute_position\": false,\r\n \"zIndex\": 6\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Ruth Sonderegger (Akademie f\u00fcr Bildende K\u00fcnste Wien)<\/span><\/span>
<\/span>Ines Kleesattel (Hochschule f\u00fcr Gestaltung und Kunst Basel)<\/span>
<\/span>Sigrid Adorf, Elke Bippus (Z\u00fcricher Hochschule der K\u00fcnste)<\/span>
<\/span>Kathrin Peters (Universit\u00e4t der K\u00fcnste Berlin)<\/span>
Natascha Sadr Haghighian, Mona Schieren, Asli Serbest, Andrea Sick (Hochschule f\u00fcr K\u00fcnste Bremen<\/span>)<\/span>
Andrea Bellu, Marie-H\u00e9l\u00e8ne Gutberlet, Angelika Levi (Hochschule f\u00fcr Gestaltung Offenbach<\/span>)<\/span><\/span><\/p>\",\r\n \"align\": \"bottom\",\r\n \"row\": 79,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 48,\r\n \"absolute_position\": false,\r\n \"zIndex\": 62\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Statement by the Organizers on the Postponement of the Events at the Academy of Fine Arts Leipzig <\/span><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 80,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 127,\r\n \"absolute_position\": false,\r\n \"zIndex\": 6,\r\n \"frameOverflow\": \"\",\r\n \"html_id\": \"stellungnahme\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Guests and\u00a0organizers of the series \u201cFacing the Authoritarian Drift: Art Schools as Sites of Critique\u201d have been subjected to\u00a0major\u00a0attacks on social media and\u00a0in news outlets, such as \u201cDie Welt\u201d.\u00a0Amidst\u00a0these attacks and despite intensive discussion, the\u00a0Rectorate\u00a0of the Academy of\u00a0Fine\u00a0Arts Leipzig postponed the multi-day event\u00a0\u201cThe Art of Memory in Times of Trauma and Grief\u201d\u00a0on the\u00a0opening\u00a0day\u00a0for an indefinite period\u00a0of time, stating that it wanted to legally examine the conditions for holding the event.\u00a0Previously, the workshop \u201cBefore\/After Palestine\u201d at the Berlin University of the Arts had been attacked and could only take place\u00a0after\u00a0organizers\u00a0agreed to\u00a0sign\u00a0a private liability agreement.\u00a0<\/p>

We, the organizers of the event series,\u00a0want to make clear that\u00a0the\u00a0attacks\u00a0are\u00a0part\u00a0of targeted campaigns that follow\u00a0distinct\u00a0racist patterns:\u00a0social media activities of Palestinian and Jewish artists, academics, students in solidarity with Palestine are monitored, postings and repostings are decontextualized, and prejudicially labeled antisemitic without substantiating this accusation. Reporting on the matter is rife with defamatory terms, insinuations, and dishonest omissions. The artist Jumana Manna, for example, has long since commented on postings<\/a><\/span> that are now again scandalized. Often,\u00a0these\u00a0reportings\u00a0are\u00a0accompanied by\u00a0photographs of\u00a0those targeted\u00a0thus\u00a0posing\u00a0a direct threat to their\u00a0physical\u00a0safety.\u00a0<\/p>

We call on university administrations to stand up to these attacks and unconditionally defend artistic and academic freedom as guaranteed by Basic Law. We insist that art academies are sites of critique, places of dispute, of questioning the status quo, and of debating differences, including political ones.\u00a0<\/p>

Michael Rothberg, Holocaust researcher, current guest of the Wissenschaftskolleg zu Berlin and invited speaker at the event at the HGB Leipzig, has written a statement<\/a><\/span> on the postponement.<\/p>

Dec. 9, 2024<\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 81,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 124,\r\n \"absolute_position\": false,\r\n \"zIndex\": 40,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

We are a loose association of lecturers at German-speaking art schools, which was formed in the context of the Alliance for Critical Scholarship in Solidarity.<\/span><\/p>

Contact:
<\/span>kunsthochschulen@krisol-wissenschaft.org<\/span><\/a><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 82,\r\n \"col\": 0,\r\n \"colspan\": 16,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 5,\r\n \"absolute_position\": false,\r\n \"zIndex\": 62,\r\n \"frameOverflow\": \"\"\r\n }\r\n ]\r\n}","_links":{"self":[{"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/pages\/152","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/comments?post=152"}],"version-history":[{"count":0,"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/pages\/152\/revisions"}],"wp:attachment":[{"href":"https:\/\/krisol-wissenschaft.org\/en\/wp-json\/wp\/v2\/media?parent=152"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}