Bini Adamczak & Konstanze Schmitt
Bini Adamczak works – preferably not too much – as author, performer or visual artist. She mostly focuses on questions of history, queerfeminism and communist desire and lives in Kreuzberg where the nights are long but the sun is weak.
Konstanze Schmitt (Berlin) is an artist and theater director. Her work is based on documentary and biographical material and interacts with political contexts. In Schmitt’s performances and installations, she investigates possible realizations of utopias, such as communist desires and human reproduction. http://www.konstanzeschmitt.net
Bini and Konstanze have been working and eating together since 2011.
Anna Bromley is an artist, cultural researcher and writer based in Berlin. Currently docoral candidate at the Hamburg University of the Arts with an exploration on frivolty and sillyness. Since 2010 she has been producing LAUTSTROM, a series of radio features at reboot.fm.
Cinenova Feminist Film and Video Distributor / Karolin Meunier
Cinenova is a volunteer-run organisation based in London dedicated to preserving and distributing the work of women/feminist film and video makers. It was founded in 1991 following the merger of Circles and Cinema of Women, each formed in the early 1980s. Cinenova currently distributes over 500 titles that include experimental film, narrative feature films, artists’ film and video, documentary and educational videos made from the 1920s to the present.
COOL FOR YOU (http://soundcloud.com/coolforyou) is the music/performance project of artist Vika Kirchenbauer (http://vk0ms.com). In her work, Vika Kirchenbauer discusses the troublesome nature of ‘looking’ and ‘being looked at’ as well as its affective impacts on the individual in larger contexts including labour within post-fordism and the experience economy, modern drone warfare and its insistence on unilateral staring, the power relationships of psychiatry, performer/spectator relations, contemporary art display and queer representational politics as well as the everyday life experience of ambiguously gendered individuals. Her examination of enhanced modes of vision, institutional barriers and the casualties of political conviction finds further expression in COOL FOR YOU: SEPARATISM; a performance conceived especially for NO PLAY – Feminist Training Camp at Neue Gesellschaft für Bildende Kunst Berlin (www.noplay.ngbk.de)
Her work has been exhibited in a wide range of contexts in about forty countries; amongst others at Neuer Berliner Kunstverein, Kunstmuseum Bonn, Ann Arbor Film Festival, Images Festival Toronto, Flaherty Seminar NYC Series, Bucharest International Experimental Film Festival, Oberhausen International Short Film Festival and European Media Art Festival. She is the author of ‘Infrared Dreams in Times of Transparency – The Love Life of Drones and Other Western Cyborgs’ (http://married-print.com) and has given lectures at institutions such as New York University, Goldsmiths University of London, the University of Copenhagen, the Berlin University of the Arts, the Academy of Media Arts Cologne and the Academy of Arts Kassel.
Kajsa Dahlberg (born 1973 in Gothenburg, lives and works in Berlin), in her art practice, reflects the media of video, text and sound as well as their history of reception in view of the construction and communication of narrative structures in the context of political representation, history and identity. For her solo exhibition at the n.b.k. Showroom, Dahlberg produced a new cinematic piece that deals with the issue of work and focuses on the phenomenon of time as a central aspect of negotiation in the confrontation of the needs of workers and employers. The examination of time is also reflected on a formal level – referring to video as a time-based medium – and interrelated to the time experienced by the viewer. In addition, a second work by Dahlberg is on show, Ein Zimmer für sich / Ein eigenes Zimmer / Ein Zimmer für sich allein / Vierhundert-dreiunddreißig Bibliotheken (A Room of One’s Own / Four Hundred Thirty-Three Libraries) (2011). For this purpose, the artist had the German edition of Virginia Woolf’s feminist classic A Room of One ‘s Own (1929) printed in 10,000 copies, marked with numerous marginal notes, highlights and underlinings in different handwritings, which at first she had compiled from all copies available in the Berlin libraries, in order to unite them in this edition. The publication is available free of charge.
Athena Farrokhzad, born in Teheran in 1983, is a a Swedish poet, literary critic, translator and playwright, living in Stockholm. Her first volume of poetry Vitsvit (White blight, published in English by Argos Books, translated by Jennifer Hayashida) appeared in 2013. In 2016, her second book Trado, written together with the Romanian poet Svetlana Cârstean, was out. Her work circles around the topics of revolution, war, migration, racism, love, poetry, translation and treason, often returning to the famous worlds of the American poet Adrienne Rich: “Art means nothing if it simply decorates the dinner table of the power which holds it hostage”
Feministische Gesundheitsrecherchegruppe Berlin
We are a group of women* artists, that meets on a weekly bases in
Berlin. As a feminist research group we negotiate how we gather and
distribute knowledge collectively and we allow this process of learning
to have an impact on our lives. We work by trying out methods and
exercises within the group, and by visiting and learning from
initiatives, groups and institutions, which have developed alternatives
in health care. We publish our research in workshops and zines.
Feminist Repair Café
Elisa Garrote Gash ist Teil des Vereins Kunst-Stoffe und organisiert seit Anfang 2013 Repair Cafés in Berlin. Das erste Repair Café in Berlin hat sie in ihrem Atelier in Kreuzberg in Kooperation mit Kunst-Stoffe begonnen. Es wurde im Dezember 2013 mit dem Berliner Umweltpreis (in der Kategorie Umweltengagement) ausgezeichnet. Seitdem hat sie bei mehreren RCs mitgemacht und einige aufgebaut: Spandau, Schöneweide, Soldiner Kiez, Lette Kiez. elisagarrotegasch.net/ kunst-stoffe-berlin.de
Flora Könemann and Birtes Gerstenkorn (flirtefunk) have a electrified radio show called flirtefunk. Besides, we explore electronic circuits, bontempi organs paired with distortion pedals and broken bikes.
Annie Goh is an artist, researcher and educator working primarily with sound, space, gender and electronic media and their social and cultural contexts. Currently based in London and Berlin, she is a lecturer at Berlin University of Arts and a PhD student at Goldsmiths University, London. She has guest curated at the discourse program of CTM Festival since 2013
Minna Henriksson is an artist working with a disparate range of artistic expressions with the aim at bringing visible the politics. She is based in Helsinki.
International Women’s Space
We are a group of migrant and refugee women coming to Germany from former colonized countries as well as women without that experience coming together to build a base and a common struggle against the effects of Fortress Europe.
The International Women Space was born as a group inside the refugee occupation of the former Gehart-Hauptmann School in December of 2012. The story of this occupation begun with the suicide of Mohammad Rahsepar, an iranian who was seeking asylum in Germany and hung himself in a Heim in Würzburg, Bavaria. After this tragical death, a group of refugees from the same area decided to protest by marching more than 600 kilometers from Würzburg to Berlin.
In October, the 6th, the March arrived in Berlin where a Camp in Oranienplatz, district of Friedrichshain-Kreuzberg was already being built to welcome the refugees. A few months later, in December, the movement of refugees decided to occupy the former Gehart-Hauptmann School, which was empty and was near to Oranienplatz.
Not longer than a week after the occupation, the women activists of the movement, announced we were reserving a few rooms on the second floor only for women. During 17 months many women passed through the Women Space, many lived there, others came to attend the meetings, the workshops, the german classes amongst other activities we regularly organised.
In July 2014, the district of Friedrichshain-Kreuzberg made an offer to the school’s inhabitants: they could move to special refugee houses (Heim) for a certain time. Around a thousand police officers were called to help securing the area during the moving out of the people. Not everybody accepted the offer. Around 40 people decided to resist inside the house in order to keep the space and continuing on developing the idea of creating a self-organized International Refugee Center. The resistance lasted 9 days and in the end an agreement between the refugees living in the school and the district was signed. (see agreement on the link to video “Nine Days on the Roof“).
For us women of the International Women Space the whole process of leaving the house and imagining how to continue in another place was hard. It was not only the question of finding a new place, but more important: to re-channel our energies to ourselves as migrant and refugee women, as women of colour, as third-world feminists in full agreement with Audre Lorde “For the master’s tools will never dismantle the master’s house.”
Karolina Kucia (born 1978 in Poland) is a visual and performance artist based in Helsinki. She often combines working with objects, group processes and performances as well as with video image and installation in both site-specific and staged context. She graduated as Master of Arts in 2004 from Poznan Art Academy, and in 2014 again in Performance Art and Theory Studies in the Theatre Academy in Helsinki. Between 2004 to 2008 she has been part of Kukkia group (Karolina Kucia and Tero Nauha). From 2007 she is part of the interdisciplinary Mollecular Organization. Between 2011 – 2012 she has been co-creating Future Art Base: Art and Economy in Aalto University Helsinki and also Robin Hood Minor Asset Management Cooperative. Currently part of Art Workers Helsinki. Lately a fellow of Akademie Schloss Solitude. Her main interests are lapse, stutter and parody as tools for social organisation, then: self, automatism, parasite and precarious labor.
Las Hipókrita: Stanislavsky founded the idea of the method for theatrical education. The acquisition of a method, as in other sciences, led to the capitalization of theater school, giving place to the normalization of theater education based on the belief of the inability of people to create their own performance forms. It resulted in a authoritarian and straight normative invention which has boosted the creation of a huge industry.
Las Hipókritas was born in 2009 from the necessity of experience and develop a self-taught theater group. Being tired of the precepts of the method learn in all the schools where we had been working and exhaust of following directives, we realized we had to create our own creative forms.
During all these years, we have been joining practice and theory, studying theater History, from Greek theater up to contemporary creations. This work has been developed under a feminist view, criticizing and unmasking “genius” like Euripides, Moliere, Sartre, etc. Until this day, we have made four collective creations: “Grito a Grecia”, “Terrores y Miserias del siglo XXI” , “ П” and “Post-Post-Post”.
In 2015, the necessity of discover new disciplines provoked the meeting with Narcoléptica’s work. From that very moment, music has been included in the creative process, not just as an interlude or accompaniment, but as an element in which to investigate the extension of the sound level, hitherto limited to the word.
Lowkick Tag Team Patriarchy, The Final Fight. It’s been a 7 year long mission to explore the world of Martial Arts, forge women’s solidarity ag ainst the miserable conditions of our civilisation and boldly take feminism beyond the imagination of any man.
Diana McCarty. Born and raised in New Mexico Diana has lived in Europe since 1993 – Budapest in the 90’s and Berlin in the 2000s. Co-founder of the faces mailing list and a happy collaborator of the Prologue: New Feminism New Europe project. Most of her time is spent working with a few radio projects, mostly in Berlin – at present, rebooting reboot.fm. In the past, it was herbstradio, backyardradio, Radio 1:1, Reboot.fm and Juniradio. She is a founding member of the radia.fm network of cultural radios.
Iris Rajanyagam deals with among others, postcolonial continuities in the German/European asylum and migration policies and the idea of a hegemonic white German identity. As a Women of Colour, intersectional feminist approaches play a central role in her work. She is curator of the series „Art as a Space of Empowerment and Resistance. Perspectives of Black Women and Women of Colour“ and Co-organiser of the series „Resistance Movements of Refugee Women in Berlin and Germany. Information, Exchange, Networking and Empowerment”. She is currently working on a project dealing with decolonisation processes in arts and visual culture. Iris Rajanayagam has been active in The Caravan for the Rights of Refugees and Migrants since 2005. She teaches at the Alice-Salomon-University of Applied Science in the module „Racism and Migration“ and is part of the editing team of the magazine „Leben nach Migration“ („Life after Migration) published every four months by the Migration Council Berlin-Brandenburg (MRBB e.V.). She lives in Berlin with her partner and child.
Noha Ramadan is a choreographer, performer and dramaturge. She studied at the School for New Dance Development, Amsterdam and Music at the University of Sydney. Her work is underscored by an interest in language and choreographic experimentation, with a search towards the collapse and reconfiguration of meaning.
Naomi Rincón Gallardo (North Carolina, USA. 1979). Based in Mexico City, currently
living in Vienna. BA in Visual Arts, “La Esmeralda”, Mexico City. MA in Education:
Culture, Language and Identity/Crossectoral and Community Arts, Goldsmiths
University of London. Current candidate for the PhD in Practice at the Academy of Fine Arts Vienna. Understanding research as an artful and transdisciplinary fabrication, her latest work addresses initiatives related to the creation of counter-worlds in the recent past in Mexico. She uses irony, masquerade lenses and queer methodologies to create a place between radical utopian experiences, fantasy and crises of beliefs. Rincón Gallardo integrates her interest in music, literature, theater games, feminisms, queer theory and critical pedagogy into her work. Alongside her artistic work, she has been involved in institutional and non-institutional educational settings and community projects, both teaching and coordinating. From 2013 she belongs to the cuir-feminist collective Invasorix
Sabrina Saase & Lanca
Nora Sternfeld is a professor for Curating and Mediating Art, Aalto University Helsinki and co-director of ecm – masterprogramme for exhibition theory and practice, university of applied arts vienna; part of trafo.K, office for education and critical knowledge production based in Vienna
Virág Bogyó and Dominika Trapp are delegated by the Countess Kisanna Eufrozina Mikes of Zabola (Gebissdorf) Noble Catering Academy, Transilvania, Hungary.
MC Xuparina was born in a favela in the centre of Rio de Janeiro. As a child she was taught by her grandmother how to cook for a future husband. But secretly she was making plans how to get rid the enforcement of wearing a dress. Growing up, she went out on the streets to grab the mic to express herself in the funk scene. But as a MC, she was picked on by male musicians, who didn’t like a woman in the game. Since then, MC Xuparina proclaims herself as a black, lesbian against the oppressive system, and a defender of women’s justice.
Andrea Zarza Born in Madrid, Spain, Andrea Zarza grew up between the U.S.A. and Spain. She currently lives in London where she works as Curator of World & Traditional Music and Audio Preservation Engineer at the British Library Sound Archive. She is also cataloguing the London Musicians’ Collective (LMC) Archive at the University of the Arts London and investigating the interplay between improvisation as a musical practice and the LMC’s functioning as a collective.
Andrea Zarza has an undergraduate degree in Philosophy and has recently finished postgraduate studies in Records and Archives Management at University College London (UCL). In the past she has worked at the Pacifica Radio Archives, the Pauline Oliveros’ Foundation (Deep Listening Institute) and taught workshops about sound and listening to children at the Institución Libre de Enseñanza summer camps and at Centro de Arte Dos de Mayo (Madrid, Spain).