ADKDW

The Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) is a non-profit cultural institution founded in 2012 by the City of Cologne. It envisions itself as an organization of artists, researchers and cultural workers rather than an educational institution in the traditional sense. A selection committee appointed 13 renowned personalities from all over the world as founding members of the ADKDW. The current 19 members – with backgrounds in various disciplines – form a network that spans the globe. They interact virtually and meet annually. Their aim is to give the concept ‘Arts of the World’ a specific and critical meaning.

The ADKDW operates beyond the Eurocentric doctrines of cultural history. It tries to expose romantic notions of multiculturalism, globalism and identity politics, while, at the same time, paying attention to the global conditions of post- and neocolonialism. In the face of a social and political environment shaped by the overwhelming logic of globalized financial markets and neoliberal power structures, the ADKDW seeks to support practices that address and challenge these very structures. It wants to initiate reflection processes, interventions and collaborations that promote a critical understanding of the arts and reveal and rethink the current conditions of cultural production. The ADKDW instigates, produces and organizes events in various artistic and discursive fields.

Articles of Incorporation for the Akademie der Künste der Welt/Köln, a non-profit GmbH

Since 2018, the artistic program of the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) under the direction of Madhusree Dutta has been structured around four thematic axes. This structure was introduced in order to achieve continuity, to cultivate diverse public participation and to create a distinct profile for the institution that is conducive to local realities and yet responsive to world trends in the arts.

I found:erased:palimpsest is a public art project carried out in collaboration with Public Historians. The Public Historian is a proposed entity that participates in narrativizing and crafting a larger history by lending, annotating and speculating their personal, familial and social memories.

II Sites at Stake is about the various stakes that work in the making and the un-making of a site – may it be a site of dwelling or a memorial, of minority public culture or hegemonic popular culture, a relic of a post-colonial or post-industrial regime, a territory of military invasion or of art extravaganza.

III Original Fakes engages with the production processes that subvert the hegemonic logic of the market by employing various ‘post-original’ methods. These include, among others, upcycling as a material practice and smart post-colonial maneuver, re-inventing artisanal skills in post-industrial labor contexts, the individualization of technologies and the inversion of the politics of appropriation.

IV Hybrid Transactions explores the meaning of hybridity in the face of unprecedented exchange and movements of people, cultures, goods, technologies and fantasies in modern times, and especially in the context of Western Europe.

By crossing the four thematic axes and different spatial dimensions, the ADKDW seeks to create links between theory and practice, between memory and speculation, between lived-in experiences and artistic forms.

Under the artistic direction of Ekaterina Degot, PLURIVERSALE took place twice a year from 2014 to 2017, each time for a period of two months. It consisted of site-specific projects, exhibitions, concerts, discussions, film screenings and performative symposia, and proposed an alternative to the usual rhythms of biennials and their narratives – which too often turned out to be universalist and relativist at once.

The format’s name referred to the concept of pluriversality as used by Enrique Dussel, Walter D. Mignolo, and other thinkers from the context of postcolonial studies: the idea that one needs not a universalist but a ‘pluriversal’ hermeneutic to deal with a world of many entangled cosmologies, the interrelations of which are regulated by a colonial power differential. In this spirit, PLURIVERSALE could be considered a platform that rejected a unifying narrative in favor of a critical clustering of different ‘worlds’ – nevertheless entangled through their critical, negative, and resistant attitudes to the power differentials of a singular modernity and its universalistic claim.

The Akademie der Künste der Welt (Academy of Arts of the World, ADKDW) made its first public appearance with Cutting Edge: Ein Tag in Köln zum Thema Beschneidung (Cutting Edge: A Day in Cologne on the Subject of Circumcision) at COMEDIA theater on 27 10 2012. From October 2012 to June 2013, writer and curator Galit Eilat (Israel-Netherlands) was President of the AdKdW. Subsequently, an interim team of Ekaterina Degot, Liza Lim and Tom Holert worked on the ADKDW's program concept until March 2014.

During this period, the program largely centered around a series of Salon events. At the regularly held Salons, members, fellows and invited artists and experts presented their current projects and discussed them with the Cologne audience. Furthermore, the ADKDW set up a fellowship program for contemporary artists, theoreticians and curators from non-European countries that was intended to lay the foundations for exchange between international and Cologne art scenes. Within the framework of Open Calls, the Academy also supported and realized projects by external artists and cultural practitioners.

The Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) was founded in July 2012 by the City of Cologne with the aim of promoting intercultural dialogue in the arts and critically addressing political and social issues as grounds for innovative artistic practices.

The institution's formation resulted from the proposal of an initiative group of Navid Kermani, Manos Tsangaris and other cultural practitioners from Cologne. In 2012, a search committee comprising Ralph Christoph, Amelie Deuflhard, Kasper König, Jan Krauthäuser, Louwrens Langevoort and Regina Wyrwoll appointed the 14 founding members of the Academy, who would henceforth be responsible for shaping the artistic program. These were Ali Samadi Ahadi, Madhusree Dutta, Galit Eilat, Monika Gintersdorfer, Tom Holert, Liza Lim, Faustin Linyekula, Hans-Ulrich Obrist, Lemi Ponifasio, Walid Raad, Rosemarie Trockel, Stefan Weidner, Liao Yiwu and Tom Zé.

Members

The members of the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) – national and international artists, curators, authors and cultural scientists – act as think tanks and provide the framework for the ADKDW's artistic program.


KADER ATTIA (b. 1970, France, lives and works in Berlin) grew up in both Algeria and the suburbs of Paris, and uses this experience of living as a part of two cultures as a starting point to develop a dynamic practice that reflects on aesthetics and ethics of different cultures. He takes a poetic and symbolic approach to exploring the wide-ranging repercussions of Western modern cultural hegemony and colonialism on non-Western cultures, investigating identity politics of historical and colonial eras, from Tradition to Modernity, in the light of our globalized world, of which he creates a genealogy. For several years, his research focuses on the concept of “Repair”, as a constant in Human Nature, of which the modern Western Mind and the traditional extra-Occidental Thought have always had an opposite vision. From Culture to Nature, from gender to architecture, from science to philosophy, any system of life is an infinite process of repair.   Recent and upcoming exhibitions include Sacrifice and Harmony, a solo show at Museum für Moderne Kunst Frankfurt am Main, Reason's Oxymorons at the 66th Berlinale in Berlin, The Injuries are Here a solo show at the Musée Cantonal des Beaux-Arts in Lausanne, Culture, Another Nature Repaired, a solo show at the Middelheimmuseum in Antwerp, Contre Nature, a solo show at the Beirut Art Center, Contested Terrains at Tate Modern in London, Repair. 5 Acts, a solo show at KW Institute for Contemporary Art in Berlin, Construire, Déconstruire, Reconstruire: Le Corps Utopique, a solo show at Musée d’Art Moderne de la Ville de Paris, the Biennale de Dakar, dOCUMENTA(13) in Kassel, Performing Histories (1) at MoMA in New York.

© Christine Fenzl


UTE META BAUER is a curator of exhibitions and presentations on contemporary art, film, video, and sound that connect artistic work with other disciplines. Since 2013, she is Founding Director of NTU Centre for Contemporary Art Singapore and a professor in the School of Art, Design and Media. From 2012 to 2013, she served as Dean of Fine Art at the Royal College of Art, London, UK. Prior to that, she was Associate Professor, School of Architecture and Planning at the Massachusetts Institute of Technology (MIT), Cambridge, MA, where she was the Founding Director of the Program in Art, Culture and Technology (ACT) (2009–2012) and Director of the MIT Visual Arts Program (2005–2009). In 2015, she co-curated with MIT List Center for Visual Art Director Paul Ha, presenting eminent artist Joan Jonas, the US Pavilion at the 56th Venice Biennale that received Honorary Mention for best National Pavilion by their International Jury.

At the NTU CCA Singapore, she curated and co-curated Allan Sekula: Fish Story, to be continued (2015), Ghosts and Spectres – Shadows of History (2017), The Oceanic (2017/2018), Tarek Atoui The Ground: From the Land to the Sea (2018), Trees of Life: Knowledge in Material (2018), Stagings. Soundings. Readings. Free Jazz (2018), Siah Armajani: Spaces for the Public. Spaces for Democracy (2019) and most recently, The Posthuman City: Climates. Habitats. Environments (2019/2020).

Bauer was Artistic Director of the 3rd berlin biennale for contemporary art, Berlin (2004) and Co-Curator of documenta11, Kassel (2001-2002) with the late Okwui Enwezor as Artistic Director. Bauer has edited numerous publications in the field of contemporary art, most recently South East Asia. Spaces of the Curatorial (with Brigitte Oetker, Sternberg Press 2016), Thomas Saraceno: Arachnid Orchestra. Jam Sessions (with Anca Rujoiu, NTU Centre for Contemporary Art Singapore 2017), Place.Labour.Capital (with Anca Rujoiu, Mousse Publishing 2018) and The Impossibility of Mapping (Urban) Asia (with Khim Ong and Roger Nelson, World Scientific 2020). Bauer serves as a member of various advisory boards, including International Boards of Rockbund Art Museum, Shanghai, Bergen Assembly, Bergen and documenta commission, Kassel.


BINNA CHOI practices the curatorial in an expanded sense, by situating art in relation to practices of social change, and by working on art institutions as exemplary institutional sites. Since 2008, Casco Art Institute: Working for the Commons has been Binna’s primary site for this curatorial practice. There she has curated a number of long-term, collaborative/cross-disciplinary artistic research projects and programs, such as Grand Domestic Revolution, co-curated with Maiko Tanaka (2010–13), Composing the Commons (2013–16), and Site of Unlearning (Art Organizations), with Annette Krauss and the Casco team (2014–18). Each of these involves commissions, exhibitions, co-research situations, and publications.

In 2018, Binna and the Casco team initiated the organizational restructuring; the institutional name change from ‘Casco – Office for Art Design and Theory’ to ’Casco Art Institute: Working for the Commons’ marks the restructure. Casco Art Institute is dedicated to collective study of the commons through the practice of art, as it is dedicated to practicing art through the collective study of the commons. Beyond binaries such as the private and public, the intellectual and manual, the urban and rural, and the institutional and the self-organizational, Casco proposes the commons as an ongoing movement for non-binary futures of equality and multiplicity. Its artistic program is organized around several study lines on the commons, while the organization itself is practiced as a site of commoning. One of the study lines is Unmapping Eurasia, a multi-year inquiry Binna has been pursuing with You Mi. By considering Eurasia as terrain where geopolitics, geo-philosophy, and geo-poetics intersect, they open up a trans-cultural context for commoning across the Europe-Asian divide.

Binna teaches at the Dutch Art Institute masters program, and works for and with the trans-local network Arts Collaboratory. She is also one of the co-founding members of Cluster, a European network of art organizations closely engaging with their surroundings. She worked on the curatorial team of the 2016 Gwangju Biennale titled The Eighth Climate (What Does Art Do) and, in that context, co-organized with Maria Lind the global forum and fellowship of experimental art organizations called All the Contributing Factors. Together with Yollótl Alvarado and Brigitta Isabella, she organized an experimental exhibition introducing Arts Collaboratory working principles at the Asia Culture Center, Gwangju. Binna also regularly delivers public lectures around institutional change and other modes of curatorial practice, and plays advisory roles.


EKATARINA DEGOT’s work focuses on aesthetic and sociopolitical issues in Russia and Eastern Europe, predominantly in the post-Soviet era. She has worked as a senior curator at the State Tretyakov Gallery, as art columnist for the newspaper Kommersant, and from 2008 until 2012 she was senior editor of www.openspace.ru/art, an independent online magazine of art news, art criticism and cultural analysis. She regularly contributes to Artforum, Frieze and e-flux magazine.

In 2001, she curated the Russian pavilion at the Venice Biennial. Shows she has co-curated include Body Memory: Underwear of the Soviet Era (with Julia Demidenko; City History Museum, St Petersburg, 2000, City Museum, Helsinki, Volkskundemuseum, Vienna, a.o.); Berlin-Moskau / Moskau-Berlin 1950-2000 (with Juergen Harten a.o., Martin-Gropius-Bau, Berlin, and the History Museum, Moscow, 2003-04), and European Atelier (Central House of Artists, 2009), Soviet Idealism (Musée de l’art wallon, Liège, 2005) and If. Ukrainian Art in Transition (PERMM art museum, Perm, 2010).
Together with Cosmin Costinas and David Riff, she curated the First Ural Industrial Biennial in Yekaterinburg under the title Shockworkers of the Mobile Image (2010). In 2011 she presented (with Joanna Mytkovska and David Riff) Auditorium Moscow – a self-educational initiative, a place for meeting and discussion, and an international exhibition. In 2012, she curated Art After the End of the World, the discussion platform of the First Kiev Biennial of Contemporary Art Arsenale, and Time/Food in Stella Art Foundation in Moscow, with Anton Vidokle and Julieta Aranda. Together with David Riff she curated the first Bergen Assembly under the title Monday begins on Saturday in 2013.

Her books include: Terroristic Naturalism (1998), Russian 20th-Century Art (2000) and Moscow Conceptualism (with Vadim Zakharov, 2005). She recently co-edited Post-Post-Soviet?: Art, Politics and Society in Russia at the Turn of the Decade (with Ilya Budraitskis and Marta Dziewanska, 2013).
She has taught at the European University, St. Petersburg, was a guest professor at various American and European universities, and is currently professor at Moscow’s Alexander Rodchenko photography and new media school.

Ekaterina Degot was Artistic Director of the Academy of the Arts of the World from March 2014 to October 2017. Currently she is Artistic Director of the 51th edition of Steirischer Herbst in Graz.

In November 2014 Ekaterina Degot won the Igor Zabel Award for Culture and Theory.


MADHUSREE DUTTA was born 1959 in Jamshedpur/Jharkhand, India. She studied theatre at the National School of Drama, India and is a filmmaker, curator, and author. She is the founder and former director (1998-2015) of Majlis, a center for rights discourse and interdisciplinary art initiatives in Mumbai. Her areas of interest are documentary practices, urbanology, inter-disciplinary archiving practices, and public culture.

Dutta's films are shown widely at international film festivals and art events, and are taught in several university departments and study centres. She has been part of jury for several international film festivals, including Berlinale Shorts in 2015. She has received numerous film awards and civil society honors. In 2019 she has received Lifetime Achievement Award at International Documentary & Short Film Festival of Kerala and Cultural Manager of the Year prize from Cologne Cultural Council.

She has initiated and curated several art and cultural projects, among others, Expression, the first festival on feminist arts and art discourse in India in 1990; India Sabka (India belongs to everyone), a youth festival on multiculturalism in 2002; Import Export, cultural transfer between India and German speaking Europe in 2005 (Mumbai-Vienna-Berlin); Culture@WSF, the art component for the World Social Forum, 2004; Moving People, an art interface between Africa and Asia in Nairobi, 2007. Her curatorial work Project Cinema City: Research Art and Documentary Practices (2009-2013) was a multi-disciplinary multi-scalar endeavour engaging one hundred visual artists, architects, filmmakers and social scientists. The project was premiered at Forum Expanded, Berlinale, 2010.

Her publications include, among many others, Project Cinema City (Tulika Books / Columbia University Press 2012) which was adjudged the Best Printed Book of the year by Publishing Next Industry Award in 2014.

Madhusree Dutta has been Artistic Director of the Akademie der Künste der Welt (Academy of the Arts of the World) since March 2018.

www.madhusreedutta.com

Photo: Dörthe Boxberg

@ Chimurenga

NTONE EDJABE is a journalist and DJ. He is the founder of Chimurenga, a pan African platform of arts and politics. Chimurenga initiatives include The Chronic, Pan African Space Station and the Chimurenga Library.


MONIKA GINTERSDORFER, born in Peru, studied German Literary Studies, as well as Theater, Film and Television Studies in Cologne and Drama Studies in Hamburg.

From 2000 to 2004 she directed several productions at the Hamburger Schauspielhaus, at the Muenchner Kammerspielen and at the Salzburger Festspiele. She is a founding member of the actionist artist group Rekolonisation and the director of the German and West-African theater/performance group Gintersdorfer/Klaßen, who has had productions at the Volksbühne Berlin, Kampnagel Hamburg, FFT Düsseldorf, sophiensaele Berlin, Schauspiel Köln, Ringlokschuppen Mühlheim and at the Deutsches Theater Berlin. Gintersdorfer/Klaßen often work with the KVS Brüssel in Kinshasa, in

2010 they organised the Festival Rue Princesse in Abidjan, Berlin and Hamburg. In 2011 they toured West Africa with their production Logobi.

Their projects focus on the life strategies and forms of expression of the performer himself, trying to directly transport everyday life into the theater and the theater into everyday life. In a combination of movement, dance and text, with an on-stage translation, they let the political and personal realities of their performers – in Germany as well as in the Ivory Coast – collide, reaching a level cultural and artistic criticism that goes beyond the often idealized picture of an intercultural understanding among nations.

Gintersdorfer/Klaßen were artists in Residence at the Theater Bremen for the 2012/2013 season and the following 2013/2014 season, supported by the Fonds Doppelpass of the German Federal Cultural Foundation.

Gintersdorfer/Klaßen have received several awards for their work, including: Impulse Festival 2009, George Tabori Förderpreis 2010, Dancecompany of the year 2010, Faustpreis for Best Dancer for Richard Siegal in Gintersdorfer/Klaßen Logobi 05.


INTI GUERRERO is an art critic and curator who has been Estrellita B. Brodsky Adjunct Curator of Latin American Art at Tate in London since 2016. Until recently he was Associate Artistic Director of TEOR/éTica in San José, Costa Rica. Guerrero has curated exhibitions for Tate Modern in London, the Museu de Arte do Rio in Rio de Janeiro, the Para Site in Hong Kong, TheCube Project Space in Taipei, the Arko Art Centre in Seoul, the Kadist gallery in San Francisco and Bergen Assembly. His writings have appeared in Afterall, ArtNexus, Metropolis M, Nero, Manifesta Journal and Ramona, among other publications and exhibition catalogues. He is a former curatorial fellow of De Appel's Curatorial Programme. Graduated in History and Theory of Art and Architecture as well as in General History at Universidad de Los Andes in Bogota and Universidade de São Paulo. He is a former Curator-in-Residence of the collection Fondazione Sandretto Re Rebaudengo in Turin and the artistic platform Capacete Entretenimentos in Rio de Janeiro.  

He has curated (selection): Cuando la rama se rompe at the MARCO in Vigo and the FRAC Lorraine in Metz in 2010, A cidade do homem nu at the Museu de Arte Moderna de São Paulo in 2010, Duet for Cannibals at the Royal Tropical Institute in Amsterdam in 2010, Light Years: Cristina Lucas at Museo Carrillo Gil in Mexico City in 2010 and at Centro de Arte Dos de Mayo in Madrid in 2009, Deceiving the Enemy at Laboratorio Interdisciplinario para las Artes in Bogotá and has co-curated And yet it moves at Fondazione Sandretto Re Rebaudengo in Turin in 2009 and Yo no soy esa at Galería Santa Fe in Bogota in 2005.

© Jan Kryszons


NANNA HEIDENREICH born 1970 studied in Göttingen and Berkeley, she has a graduate degree in Social Sciences and PhD in Cultural Studies. In October 2016 she was appointed professor for Digital Narratives - Theory at the ifs internationale filmschule köln. In the summer of 2016 she was visiting professor for Media & Cultural Studies at the University of Hildesheim and from 2011-2016 she was a lecturer/researcher in Media Studies at the University of the Arts in Braunschweig. From 2009-2017 she was curator for the Berlinale program Forum Expanded.

From 2015-2017 she worked as a researcher and curator for Haus der Kulturen der Welt (hkw) in Berlin; projects include Now is the time of monsters. What comes after nations? and Soundtracks. Until 2009 she was a member of the antiracist network Kanak Attak and she is part of the network critical migration and border regime studies. In 2016 she joined the preparations for the Tribunal Unraveling the NSU-Complex, which took place in 2017 in Cologne. She has published widely on migration, visual culture, postcolonial media theory, art and activism, queer theory and has edited several DVDs (political, experimental and feminist filmmaking practices). A selection of her publications include: Migration, Frauen und Film No. 67 (Frankfurt/M. 2016), Film as Idea - Birgit Hein's Texts on Film/Art (German/English, ed. together with Florian Krautkrämer and Heike Klippel, Berlin 2016), total. Universalismus und Partikularismus in post_kolonialer Medientheorie (ed. together with Ulrike Bergermann, Bielefeld 2015), V/Erkennungsdienste, das Kino und die Perspektive der Migration (Bielefeld 2015), and the DVDs Philip Scheffner: The Halfmoonfiles & Der Tag des Spatzen and Riki Kalbe - 15 Filme (both Berlin 2013). In 2020, her new monograph Spektakel und Möglichkeitensraum: Kunst und der lange Sommer der Migration (Spectacle and space of possibilities: Art and the long summer of migration) and the anthology Gezeitendenken: Recherchen abseits des Nationstaatensystems (Tide tendencies: research beyond the nation state), edited with Katrin Klingan and Rana Dasgupta, will be published.

She works as a translator (English-German, including articles by Kaja Silverman, Marc Siegel, Judith Halberstam, Saskia Sassen, Jasbir Puar), participates in juries and serves as an advisor. Most recently, she conceived the call Thinking Europe from the Sea for Camargo Foundation / Goethe Institute Marseille and worked as an advisor for the project Narratives on Migration in East and Southeast Asia (2018-2019) initiated by the Goethe Institut Seoul. In November 2019, she curated the symposium Hotspots: Migration and the Sea for the Academy. Nanna Heidenreich lives in Berlin.

A few examples of her work can be found at: nannaheidenreich.net


MAX JORGE HINDERER CRUZ is a Bolivian/German writer, curator and philosopher. Since 2019 he has been Director of the National Museum of Art in La Paz, Bolivia (Museo Nacional de Arte, MNA). He has lived in Rio de Janeiro, São Paulo and Berlin, where he worked as an independent writer, cultural critic, lecturer, translator and curator. Hinderer Cruz regularly publishes essays, cultural critique and articles in different languages and formats, in catalogues and in diverse international magazines. These include Afterall Journal (London), Springerin (Vienna), Texte zur Kunst (Berlin), Chimurenga's The Chronic (Cape Town), and Nossa Voz (São Paulo) as well as newspapers such as La Razón (La Paz) and others. His work focuses on aesthetic philosophy, colonial baroque, the global history of sensibility, colonial history and economics as well as on the production of subjectivity, Latin American art – namely Brazilian 20th century avant-gardes – and the Andean Baroque of the 16-18th century. He is the author of Hélio Oiticica and Neville D'Almeida: Block-Experiments in Cosmococa – program in progress (Afterall Books/MIT Press, 2013, with Sabeth Buchmann) and has edited several volumes on art, politics and theory, such as At and Ideology Critique After 1989 / Kunst und Ideologiekritik nach 1989 (Verlag der Buchhandlung Walther König/Kunsthaus Bregenz, 2013, together with Eva Birkenstock, Jens Kastner and Ruth Sonderegger). Between 2008 and 2011, he co-curated the exhibition and publication project Principio Potosí/The Potosí Principle (MNCARS Madrid/HKW Berlin/MNA and MUSEF La Paz, with Alice Creischer and Andreas Siekmann). From 2014 to 2016 he co-coordinated P.A.C.A. São Paulo (Program for Autonomous Cultural Action, with Suely Rolnik, Amilcar Packer and Tatiana Roque). Hinderer Cruz also organized São Paulo's Seminário Público Micropolíticas – a public seminar on new social movements, new forms of government and the notion of Micropolitics. In 2016 and 2017 he was co-curator of The Apatride Society of the Political Others (Public program of Documenta14 organized by Paul B. Preciado*, with Margarita Tsomou and Nelli Kambouri) in Athens, Greece. From 2016 to 2018, he curated Implosão: Trans(relacion)ando Hubert Fichte (together with Amilcar Packer) and the two homonymous exhibitions at Museu de Arte Moderna da Bahia (MAM) in Salvador and at Centro Municipal de Arte Hélio Oiticica (CMAHO) in Rio de Janeiro. He also worked as a curator for the Brazilian episodes of the collaborative project between Haus der Kulturen der Welt (Berlin) and Goethe Institut Hubert Fichte: Love and Ethnology (2016-2019) conceived by Anselm Franke and Diedrich Diederichsen. In 2017, he was co-curator and co-programmer of Things that go in and out of the body / Angazi, but I'm sure for Chimurenga / Pan African Space Station's iteration at Museo Tamayo in Mexico City. Hinderer Cruz is currently working on a book project on the global history of the relationship between aesthetics and economy.


KIM SOYOUNG (JEONG) is a filmmaker and author from South Korea. She majored in Cinema Studies at NYU and is one of the first graduating member of the Korean Academy of Film Arts. As a critique she wrote for Cahiers du cinéma, Inter-Asia Cultural Studies and Cine-21 as well as for various newspapers on film and popular culture.

Her filmography includes Women’s History Trilogy (2000-2004) (Koryu: Southern women/South Korea / I’ll Be Seeing Her / New Woman: Her First Song), which was screened at numerous international film festivals such as Yamagata International Documentary Film Festival, Japan, and Digi Beta Festival, Berlin. Kim Soyoung’s feature length fiction film Viewfinder (2010) was screened at Busan International Film Festival, South Korea, Tokyo International Film Festival, Japan, as well as at Seoul Indie Film Festival, Seoul, and released in theaters.

Her books on modernity, gender, cinema, and media both were published in Korean and English, among these are Specters of Modernity: Fantastic Korean Cinema (in Korean, 2010) and Electronic Elsewhere: Media, Technology, and the Experience of Social Space (University of Minnesota Press, 2010), co-edited by Chris Berry, Soyoung Kim and Lynn Spigel.

She was a visiting professor at UC Berkeley, UC Irvine and Duke University and a visiting research fellow at the Asia Research Institute, National University of Singapore. Kim Soyoung (Jeong) is the director of the Trans Asia Screen Culture Institute, Seoul Korea and editorial board member of Inter-Asia Cultural Studies. She is a founding programmer of Jeonju International Film festival (2000) and Seoul Women’s film Festival (1997) where she is still co-director.

She is currently working on her Open City Project (since 2014) and the Exile Trilogy *(since 2014) as well as *Diva – Sound of Nomad, a work in progress on female singers during the Kolhoz period of the Soviet Union and Good Bye My Love NK, a work in progress on North Korean refugee directors in Central Asia during the Soviet Union.

http://kimsoyoung.net/


OLIVIER MARBOEUF is an author, critic and independent curator.

At age 21, Olivier Marboeuf co-founded the comic book publishing house Amok. He then became an exhibition curator, and from 2004 until its closing in 2018, he was the director of the Espace Khiasma, an art centre dedicated to the production and exhibition of videos and artist films, in Les Lilas.

His path has led him through issues of the connections between text and voice to still and moving images and more broadly on the importance of sharing. For several years now his research has focused on a re-examination of colonialism according to the principles of narrative speculation that compete with the dominant historical tale. He developed a program focused on minority representation issues that combines exhibitions, screenings, debates, performances and collaborative projects in the North East of Paris. Interested in the different ways in which knowledge is transmitted, Olivier Marboeuf's proposals are crossed by speculative narrative practices that attempt to create ephemeral cultural situations.

He is also an associate producer at the Paris-based production company SPECTRE, which specializes in research films and experimental documentaries. He collaborates with several artists and filmmakers. Olivier Marboeuf is founder and programmer of the Phantom platform, which distributes SPECTRE and Khiasma films.


TIENCHI MARTIN-LIAO born in Nanking, China, grew up in Taiwan, and lives in Cologne.

After having completed her BA in English literature in Taiwan, she moved to Germany and initially worked at the think tank Institute of Asian Affairs in Hamburg. She was co-editor of the German-Chinese dictionary Deutsch-Chinesischer Wortschatz, Politik und Wirtschaft (Langenscheidt, Berlin 1977), and also edited the seven volumes of Mao Zedong’s Collected Works (Hanser Verlag, Munich 1976-1980).

After receiving her M.A. degree from Bochum University, she worked as a lecturer for Chinese literature and was later appointed director of the Richard-Wilhelm Translation Centre at Ruhr University. She was editor-in-chief of the (Chinese-German literary translation) series ARCUS-CHINATEXTE until 2000. In 2001 she went to the United States to work as director of the human rights NGO Laogai Research Foundation in Washington, D.C., for ten years and also as editor-in-chief of the Black Series, a biographical series on Chinese political prisoners. She returned to Germany to settle down in Cologne in 2010.

She is president of the Independent Chinese PEN Centre since 2009, and columnist of the literature journal Sampsonia Way.

LEMI PONIFASIO, born in Samoa, choreographer, director, is renowned internationally as one of the most innovative and controversial choreographers and theatre artists today. Ponifasio established the MAU in 1995 as the name for his work and platform for critical reflection and creativity with artists, scholars, activists, intellectuals and community leaders. MAU is a declaration to the truth of a matter, or revolution, as an effort to transform.

As a High Chief of Samoa, Ponifasio bears the title Sala and is among the intellectual and leading personalities of the Pacific. His radical stagings intersect and transcend conventional ideas of theatre, ceremony, dance and civic activism. Ponifasio’s work is presented by many prestigious theaters and festivals including the Ruhrtriennale, Théâtre de la Ville Paris, Holland Festival, and the Edinburgh International Festival.

ADRIANA SCHNEIDER ALCURE was born in Rio de Janeiro in 1973. She is a theater director, actor, performer and playwright, and has been responsible for several stage productions. She is a member of Coletivo Bonobando and Grupo Pedras de Teatro. She is currently Cultural Diffusion Superintendent and a professor in the graduate program in Scenic Arts and in the undergraduate Theatrical Directing course – School of Communications at the Federal University of Rio de Janeiro (UFRJ), since 2009. She was a postdoctoral fellow in the Capes-Humboldt Research Fellowship Program at the University of Bonn (2018 and 2019), with the research project ‘Artistic, Political and Pedagogical Strategies in the Uses of Popular Forms of Puppet Theatre: On the Kaspertheater’. She did postdoctoral research on Brazilian theater history at PPGAC-UNIRIO (2008) with the research project ‘Traditional Brazilian dances in the second half of the 19th century: Marieta Baderna’s lundu’, with a CNPq grant (2008). She obtained a PhD in Anthropology from UFRJ (2007), with a doctoral internship at FU-Berlin, through a DAAD-CNPq grant (2005/2006). She received the Prix de la Recherche: Ouverture de Champ – Institut International de la Marionnette for her PhD thesis in September 2015. She earned a bachelor’s degree in Social Communication and Journalism at PUC-RJ (1994) and holds a master’s degree in Theater Arts from PPGAC-UNIRIO (2001). She participated in the process of registering the popular forms of puppet theater from the Brazilian Northeast region (Mamulengo, Babau, Cassimiro Coco and João Redondo) as intangible cultural heritage and directed the documentary films that supported the research presented to IPHAN – Institute of National Artistic and Historical Heritage (2015).


STEFAN WEIDNER pursued Islamic studies, German studies and philosophy at the universities of Göttingen, Damascus, Berkeley and Bonn. From 2001 to 2016 he was editor-in-chief of the journal Art&Thought / Fikrun wa Fann (www.goethe.de/fikrun), which was published by the Goethe Institute to frame a dialogue between Germany and predominantly Muslim countries. He is the author of numerous publications, editor of anthologies and translator of Arabic poetry.

Recent publications include Fluchthelferin Poesie. Friedrich Rückert und der Orient (Poetry to the rescue. Friedrich Rückert and the Orient, Wallstein Verlag); Jenseits des Westens. Für ein neues kosmopolitisches Denken (Beyond the Western world. For a new cosmopolitan thinking, Hanser Verlag); 1001 Buch. Die Literaturen des Orients (1001 books. The literature of the Orient, Edition Converso). Weidner has received a number of awards: the Clemens Brentano Prize of the City of Heidelberg (2006), the Johann Heinrich Voß Prize from the German Academy for Language and Literature for his translated oeuvre (2007) and the Paul Scheerbart Prize from the Ledig-Rowohlt Foundation (2014).

In 2009/10 he was August Wilhelm von Schlegel Visiting Professor for Poetry in Translation at the Free University in Berlin. From summer semester 2011 to winter semester 2011/12 he held the first Thomas Kling Poetry Lectureship at the University of Bonn. Stefan Weidner is a member of the German Academy for Language and Literature, the German PEN Club and a founding member of the Academy of the Arts of the World.


MI YOU is a Beijing-born curator, researcher, and academic staff at Academy of Media Arts Cologne. She has worked as curator of artistic research projects that were shown in Shenzhen/Hong Kong Bi-City Biennial of Architecture and Urbanism (2007), Istanbul Design Biennale (2012), Lisbon Triennale and Athens Biennale (2013), v2_lab for the unstable media (2015), SAVVY Contemporary (2016), among others. Her long-term research and curatorial project takes the Silk Road as a figuration for deep-time, deep-space, de-centralized and nomadic imageries. Under this rubric she has curated a series of performative programs at Asian Culture Center Theater in Gwangju, South Korea and the inaugural Ulaanbaatar International Media Art Festival, Mongolia (2016). Her transcultural curatorial work has concretised in exhibitions like "Around Ai Weiwei: Photograph 1983-2016" at CAMERA - Centro Italiano per la Fotografia and "Qiu Zhijie: Journeys without Arrivals" at Van Abbemuseum, Eindhoven (2017).

She has lectured internationally, including at Haus der Kulturen der Welt (Berlin), Vera List Center for Arts and Politics (New York), Rijksakademie (Amsterdam), Global Art Forum (Dubai), and has taught at Dutch Art Institute, Berlin University of the Arts, among others. Her academic interests are in performance philosophy, science and technology studies, and philosophy of immanence in Eastern and Western traditions. Her writings appear in Performance Research, PARSE, MaHKUscript: Journal of Fine Art Research, Yishu, LEAP, Southeast of Now, among others.

She is fellow of Alexander von Humboldt Foundation (Germany), Zentrum Paul Klee (Switzerland) and Independent Curators International (USA) and serves as director of Arthub (Shanghai) advisor to The Institute for Provocation (Beijing).


ALA YOUNIS (b. 1974, Kuwait, based in Amman) is an artist, trained as an architect in Amman. Research forms a big part of her practice, as do curating, collaboration, film, and book projects. Younis explores the formation of the modern Arab world and the potential for renewed thought and action that the era continues to inspire. She examines major issues of the modern day—nationalism, religion, social movements, the emergence of global capital and personal and collective loss—through a multiplicity of voices. She moves through history by studying traces of everyday objects, recurring images and routine practices. Her work has been exhibited at the Venice, Gwangju, and Istanbul biennials, the New Museum Triennial (New York), Forum Expanded (Berlin), and the Home Works Forum (Beirut), and at Guggenheim Museum (New York), Sharjah Art Foundation (Sharjah), Akademie der Künste (Berlin), Centro Andaluz de Arte Contemporáneo (Seville), and Contemporary Image Collective (Cairo) among other places. Her projects include Nefertiti, Tin Soldiers, An Index of Tensional and Unintentional Love of Land, Plan for Greater Baghdad, Plan (fem.) for Greater Baghdad, and Drachmas. Younis curated the first Kuwaiti Pavilion at the 55th Venice Biennale; and the Museum of Manufactured Response to Absence and its interventions in Algeria, Kuwait, and Ramallah. She is co-founder of the non-profit publishing initiative Kayfa ta, and on the advisory board of Berlinale's Forum Expanded.

Photo: Isabella Balena © La Biennale di Venezia

© KB Mpofu


PERCY ZVOMUYA is a Harare-based writer, journalist, critic and football fan. He is also a co-founder and former co-editor of the Con Magazine, a Johannesburg based writing collective. For close to a decade, he worked at the Mail & Guardian (South Africa) until the end of 2013. In 2014, he was on the judging panel of the Caine Prize of African Writing; it was the same year he was a recipient of the Miles Morland Fellowship for a book on Robert Mugabe. He has written for several publications, including Africa is a Country, Chimurenga, Jacobin, the London Review of Books blog, Moto (Zimbabwe), and Sunday Times (South Africa).

Former Members

ALI SAMADI AHADI

GALIT EILAT

TOM HOLERT

LIZA LIM

FAUSTIN LINYEKULA

HANS ULRICH OBRIST

WALID RAAD

DAVID RIFF

TERRE THAEMLITZ

MARK TERKESSIDIS

ROSEMARIE TROCKEL

LIAO YIWU

TOM ZÉ

Fellowship Program

The Akademie der Künste der Welt (Academy of the Arts of the World) has a fellowship program for contemporary artists, theorists and curators with a focus on non-European countries. These fellows of the Academy, proposed and selected by the academy members themselves, receive the invitation to live and work in Cologne for between one and six months. The fellowship program is offered without the obligation to realise a specific project. Networking with the artists and institutions located in Cologne as well as with the independent scene is desired.

2019


LORENZO MARSILI is a philosopher and activist working for a future beyond the nation state. He is one of the co-founders of the transnational NGO European Alternatives and board member of the global network CIVICUS. He was also one of the initiators of the pan-European movement DiEM25. His latest book Citizens of Nowhere (Zed Books 2018) is available in German as Wir heimatlosen Weltbürger (Suhrkamp Verlag 2019).

image: Neal McQueen, 2019

2019

BELIT SAĞ is a video artist living in Amsterdam. She studied mathematics in Ankara. Her video-artistic background can be traced to collaborations with video-activist collectives in Turkey, where she co-founded the art space Karahaber and the archival project bak.ma. In 2014 and 2015, she completed a residency at the Rijksakademie in Amsterdam; in 2016 and 2019, she was in residence at the International Studio & Curatorial Program (ISCP) in New York. Her works have been presented at international film festivals in Toronto, Rotterdam and New York, in the EYE film museum in Amsterdam, at the MOCA in Taipei and at the Tabakalera Film Seminar in San Sebastián. In 2019, belit sağ is a Fellow of the Akademie der Künste der Welt (Academy oft he Arts of the World).

2019


MALIK SAJAD is a visual artist and writer from Kashmir/India. He studied visual arts and storytelling at Kashmir University and Goldsmiths, University of London. Malik Sajad was an Inlaks Foundation scholar (2011) and OMI, Francis Greenburger fellow (2013). He usually writes and draws about the human condition and the psychological consequences of political and social uncertainties. Munnu: A Boy From Kashmir, published by HarperCollins, is his first graphic novel, which won the Verve Storyteller Of The Year Award (2015), Amazon Rising Star Award (2015), and was made a part of the permanent collection at the Brooklyn Museum in New York. He has also written short stories documenting the human toll of political crises across South Asia for the New York Times, Caravan and Vice.

2018

PERCY ZVOMUYA is a Harare-based writer, journalist, critic and football fan. He is also a co-founder and former co-editor of the Con Magazine, a Johannesburg based writing collective. For close to a decade, he worked at the Mail & Guardian (South Africa) until the end of 2013. In 2014, he was on the judging panel of the Caine Prize of African Writing; it was the same year he was a recipient of the Miles Morland Fellowship for a book on Robert Mugabe. He has written for several publications, including Africa is a Country, Chimurenga, Jacobin, the London Review of Books blog, Moto (Zimbabwe), and Sunday Times (South Africa).

2017

Born in Istanbul, TURGUT ERÇETIN studied composition and completed his doctorate studies at Stanford University under the supervision of Brian Ferneyhough. His current work focuses on issues of sound, which as a result of composed acoustics, is perceived not as sonically colorful but rather as a functionality travelling through various degrees of complexity.

His solo, chamber, and electro-acoustic works have been performed throughout the US and Europe with major performances at Ultraschall, MaerzMusik, Gaudeamus Festival, Manifeste and many other festivals. Erçetin has collaborated with pioneering ensembles such as The Arditti Quartet, The JACK Quartet, ELISION Ensemble and Ensemble Mosaik as well as many others.

2017

NIQ MHLONGO is a Johannesburg-based journalist and novelist and counts among the major up-and-coming authors of the post-apartheid era. All of his books are strongly influenced by his South African hometown: he writes his fiction in Soweto, about Soweto and in Soweto dialect. After his novels Dog Eat Dog (Ohio University Press 2004) and After Tears (Ohio University Press 2007), Way Back Home (Kwela 2013, German edition 2015 at Wunderhorn) is his first novel published in German. His most recent publication is Affluenza (Kwela 2016), a collection of short stories.

He was a guest at major African cultural festivals such as the Caine Prize Workshop and the Zanzibar International Film Festival.

2017

FERHAT ÖZGÜR’s artistic work covers a wide spectrum ranging from film and photography to installations. His works have been on display at many international institutions, such as the Centre Pompidou (Paris), Haus der Kulturen der Welt (Berlin), Museum der Moderne Salzburg and mumok in Vienna. From 2012 to 2013, the MoMA PS1 New York presented I can sing, a solo exhibition of his works, and in 2016, AlbumArte, Rome, showed The Compassionate Artist OR My Beauty in Green Drives Me Crazy.

Özgür was part of the group exhibition Shame: 100 Reasons for Turning Red at Deutsches Hygiene-Museum Dresden and is professor at the Yeditepe University in Instanbul.

2017

Bangkok-based filmmaker and visual artist CHULAYARNNON SIRIPHOL works in short film, experimental film, documentary and video installation; his works are in-between personal memory and social memory, documentary and fiction, reality and the supernatural.

Many of his award-winning short films have been screened at diverse film festivals in Asia and Europe, including the International Film Festival Rotterdam (2005), the Moscow International Biennale for Young Art (2014) and the 5th Fukuoka Asian Art Triennale in Fukuoka, Japan (2014). His film Myth of Modernity received honors at the Thai Short Film & Video Festival in 2014.

2017

Social theorist and author JAN SOWA holds a PhD in sociology and a professorship of cultural studies. His research led him to several universities in Poland and abroad, more recently to the University of Warsaw and the University of São Paulo. Sowa is the author and editor of numerous publications, including the volume of essays A Joy Forever: Political Economy of Social Creativity (MayFlyBooks/Ephemera 2014).

In his articles, books and essays he criticizes the interpretation and handling of Polish history. In his latest publication, Inna Rzeczpospolita jest możliwa. Widma przeszłości, wizje przyszłości (W.A.B. 2015), he drafts a unified model of society. Sowa counts as one of the most important voices of the European Left. He lives in Warsaw.

2017 + 2016

SREĆKO HORVAT is a Croatian philosopher and activist. He is regarded as one of the central figures of the new Left in post-Yugoslavia. His most recently published books include Subversion! (Zero Books 2017),* The Radicality of Love* (Polity 2015) and written with Slavoj Žižek What Does Europe Want? (Columbia University Press 2014).

Together with Yannis Varoufakis, he is one of the initiators of the Democracy in Europe Movement 2025 *(DiEM 2025). Furthermore, he was one of the founders of *Subversive Festival, Zagreb. Horvat was co-curator and panelist of the symposium The Extreme Centre, which took place in April 2017 as part of the PLURIVERSALE VI. He lives and works in Zagreb.

2016

MADHUSREE DUTTA was born 1959 in Jamshepur/Jharkhand, India. She studied theatre at National School of Drama, India and is a filmmaker, curator, and author. She is the founder and former director (1998-2015) of Majlis, a center for legal discourse and interdisciplinary art initiatives in Mumbai.

Her areas of interest are documentary practices, urbanology, inter-disciplinary archiving practices, and Public Culture. Dutta's films are shown regularly at international film festivals and art events. She has received numerous awards, including the 1994 Filmfare Award for Best Documentary and the 2001 Indian Documentary Producers' Association Award. Retrospectives of her work have been shown in 2005 at the nGbK Gallery in Berlin and during the International Women's Film Festival, Trivandrum, as well as at the Feminnale 2006 in Cologne, and the Persistent Resistance Film Festival in New Delhi in 2008.

She has curated several art and cultural projects, among others, Expression, the first festival on feminist arts and art discourse in India in 1990; India Sabka, a youth festival on multiculturalism in 2002; Import Export, cultural transfer between India and German speaking Europe in 2005 (Mumbai-Vienna-Berlin); Culture@WSF, the art component for the World Social Forum, 2004; Moving People, an art interface between Africa and Asia in Nairobi, 2007. Her latest curatorial work Project Cinema City: Research Art and Documentary Practices (2009-2013) was a multi-disciplinary multi-scalar endeavour engaging one hundred visual artists, architects, filmmakers and social scientists. The project was premiered at Forum Expanded, Berlinale, 2010.

Her publications include, among many others, Project Cinema City (Tulika Books 2012) which was adjudged the Best Printed Book of the year by Publishing Next Industry Award in 2014.

Her current project is an inter-disciplinary research and archive art project on Post-industrial culturescapes and modernity: Rust Belt, USA; Ruhr Region, Germany; Black Country, England; and Howrah Belt, India.

2016

MAX JORGE HINDERER CRUZ is a cultural critic, freelance translator, curator and publisher. He is a founding member of the Seminário Público Micropolíticas, a public seminar that deals with social movements, new governmental forms and the concept of "micropolitics" since 2004.

In his publications, Hinderer Cruz deals primarily with political economics and colonial history as well as aesthetic theory and contemporary art. He is the author of the book Hélio Oiticica and Neville D'Almeida: Block Experiments in Cosmococa - program in progress (Afterall Books / MIT Press 2013 - together with Sabeth Buchmann).

From 2008 to 2011, he was co-curator of the Principio Potosí/The Potosí Principle exhibition and publication project, which was exhibited at the Museo Nacional Centro de Arte Reina Sofía in Madrid, the House of Cultures in Berlin, the Museo National de Arte and the Museo Nacional de Etnografía y Folklore in La Paz. Max Jorge Hinderer Cruz lives and works in São Paulo.

2016

FRED KHUMALO, former editor of the Sunday Times Review, is a renowned South African columnist and author. He won the literary award of the European Union for his novel Bitches' Brew (Jacana Media 2006) in 2006. Other prose works by Khumalo include Seven Steps to Heaven (Jacana Media 2008) and Dancing the Death Drill (Umuzi 2017). He has worked for a variety of newspapers in South Africa and abroad. From 2011 to 2012, Fred Khumalo was a Nieman Fellow at Harvard University.

As part of the PLURIVERSALE IV and the Rhine-South-Africa Fellowship, he dedicated himself to the sensitive subject of Xenophobia and racism in post-apartheid South Africa: Challenges to a writer. Khumalo lives in Johannesburg.

2016

MAHA MAAMOUN is an artist living in Cairo, mainly active in the fields of video and photography. She is a founding member of the Executive Board of the Contemporary Image Collective (CiC), an independent non-profit space for art and culture that was founded in Cairo in 2004.

Her works have been shown at exhibitions and at international biennials, such as the Tate Modern in London, the 9th Gwangju Biennial, the Styrian Autumn in Graz, the Witte de With in Rotterdam, the Sharjah Biennial 10 and the MoMA in New York, the Peace Center of Contemporary Art in Copenhagen and the Haus der Kunst in Munich. In addition to her work as an artist, Maamoun has curated various exhibitions in Cairo.

2016

ANTONIA BAEVER is an artist and curator based in Moscow. She participated in the video art festivals of Orebro, Cologne, Moscow and Melbourne and the Bergen Assembly in 2013. Her most recent solo exhibitions include Socialism in a Dream (MUZEON Park of Arts, Moscow, 2014), Time Shall Be No More (CEH Manege, Moscow, 2014), Getting There Together (Triumph Gallery, Moscow, 2013).

Her works are exhibited in museums and public collections such as the MMoMA and MUZEON Park of Arts, Documentary Film Center in Moscow.

2016

KATIA BARRETT is a London-based artist who is currently completing her master studies at the Dutch Art Institute in Arnhem. Her current research and practice is concerned with the developments in interdisciplinary theoretical biology, where the subjectivization of nature corresponds with a naturalization of subjectivity. Referring to this as her theoretical platform, she explores questions of agency, reason, consciousness and will.

Her recent shows include Young London at the V22 in London (2013) and Geology of Piss at xero, kline & coma in London (2012).

2016 + 2014

Documentary filmmaker NEGAR TAHSILI was born and raised in Tehran, where she continues to live and work. She is particularly interested in film, painting, and industrial design. Her work is centered on stereotypical perspectives of Iran, questions of gender between tradition and modernity, and the position of the individual in society.

During her fellowship at the Academy in 2014, Tahsili worked on a new screenplay that explores themes of identity, creativity, and art in exile. The year prior to becoming a fellow, she visited Cologne on the occasion of the Heinrich Böll Foundation film festival, where she presented the preparatory work of her latest project under the working title Rose and Nightingale. Completed in early 2014, the project is now named Private P.art, and addresses the body and gender in Iranian contemporary art. Her video Of one essence... (2005) tackles the demonization of Islamic states after the September 11 attacks and was screened at various exhibitions across the globe.

Since 2005, Tahsili has collaborated with Swedish and Swiss production companies on a series of documentary films. The docu-fiction Shahrzad never tells the story (2006) follows three transsexuals living in Iran; the documentary film Wee-man or Women (2008), which was screened at the Arab-Iranian film festival in Berlin, examines how the risks women face on the streets of Iran are handled. Alongside her filmmaking practice, Tahsili curates exhibitions on Iranian video art. Her collection Tehran 2008 was shown in Turkey, Macedonia, and the United States. She has also shot short films about contemporary artists in Iran for foreign broadcasters.

2015

KIM SOYOUNG (JEONG) is a filmmaker and author from South Korea. She majored in Cinema Studies at NYU and is one of the first graduating member of the Korean Academy of Film Arts. As a critique she wrote for Cahiers du cinéma, Inter-Asia Cultural Studies and Cine-21 as well as for various newspapers on film and popular culture.

Her filmography includes Women’s History Trilogy (2000-2004) (Koryu: Southern women/South Korea / I’ll Be Seeing Her / New Woman: Her First Song) which was screened at numerous international film festivals such as Yamagata International Documentary Film Festival, Japan, and Digi Beta Festival, Berlin. Kim Soyoung’s feature length fiction film Viewfinder (2010) was screened at Busan International Film Festival, South Korea, Tokyo International Film Festival, Japan, as well as at Seoul Indie Film Festival, Seoul, and released in theaters.

Her books on modernity, gender, cinema, and media both were published in Korean and English, among these are Specters of Modernity: Fantastic Korean Cinema *(in Korean) and *Electronic Elsewhere: Media, Technology, and the Experience of Social Space (University of Minnesota Press, 2010), co-edited by Chris Berry, Soyoung Kim and Lynn Spigel.

She was a visiting professor at UC Berkeley, UC Irvine and Duke University and a visiting research fellow at the Asia Research Institute, National University of Singapore. Kim Soyoung (Jeong) is the director of the Trans Asia Screen Culture Institute, Seoul Korea and editorial board member of Inter-Asia Cultural Studies. She is a founding programmer of Jeonju International Film festival (2000) and Seoul Women’s film Festival (1997) where she is still co-director.

She is currently working on her Open Cities Project (since 2014) and the Exile Trilogy *(since 2014) as well as *Diva – Sound of Nomad, a work in progress on female singers during the Kolhoz period of the Soviet Union and Good Bye My Love NK, a work in progress on North Korean refugee directors in Central Asia during the Soviet Union.

Kim Soyoung is a member of the Academy of the Arts of the World and a fellow of the Academy in September 2015.

2015

NORA AMIN lives and works in Cairo. She studied French and comparative literature and has worked Nora Amin lives and works in Cairo. She is a writer, performer, choreographer and theatre director and has worked as a teacher at the Academy of the Arts in Cairo for nine years. She started her professional stage career as a professional dancer and a founding member at the Modern Dance Company of the Cairo Opera House (1993/94). After that Amin moved to work as an actress in lead roles at the Hanager Arts Center till 2002. In 2000 she founded the independent theater group Lamusica and was the artistic director of the first international independent arts festival Jadayel in 2002.
She published three novels, four collections of short stories, an audio book, and translated 15 books on theatre and dance. Amin is the author of the first Arabic book on theatre and human rights Egyptian Theatre and Human Rights: the art of claiming our right under the Cairo Institute for Human Rights Studies, 2003, and instructed the first storytelling workshop for women victims of the civil war in Sudan in cooperation with SIHA network. She is the author of Theatre for change: from the internal to the external, 2007.
One of her recent projects is The National Project for Theatre of the Oppressed where she trains units of Forum theatre activists all over Egypt. The team has now reached 500 activists in 30 cities and developed an Arab network of groups in Morocco and Lebanon. In 2014 she celebrated the 15th anniversary of her company Lamusica Independent Theatre Group ,where she directed 35 theatre, dance and music productions, by presenting a year long program of workshops and of ten restaged repertory productions with a grant from The Prince Claus Fund.
Amin was awarded with, among others, the UNESCO-Aschberg Laureat for the Center of the "Theater Of The Oppressed" in Rio De Janeiro (2003), the Samuel Fischer Guest Professorship for Literature, Germany (2004/05) and the Ibsen Scholarship, Norway (2009), and was announced by the British Council as the international young cultural leader of Egypt in the performing arts 2009/10.
In 2013 The National Festival Of Egyptian Theatre awarded her the prize of the best dramaturgy for her production An Enemy Of The People which was largely considered as the most popular theatre production in Egypt during political transformation.

Nora Amin is a fellow of the Academy from June to August 2015.

2015

RAED YASSIN is an artist and musician who lives and works in Beirut. He graduated from the theater department at the Institute of Fine Arts in Beirut in 2003. His work often originates in an examination of his personal narratives and their workings within a collective history, through the lens of consumer culture and mass production. He has exhibited and performed his work in numerous museums, festivals and venues across Europe, the Middle East, the United States, and Japan such as Manifesta 8, Murcia (2010), Sharjah Biennial 10, UAE (2011), Art Cologne, New Directions, Kalfayan Galleries booth, Köln (2012), The New Museum, Museum as a hub, New York (2012), Thessaloniki Biennial 4, Thessaloniki (2013), and Beirut Art Center, The Impossible works of Raed Yassin, Beirut (2013).

Among his many recent exhibitions and festivals are October Salon, Belgrade City Museum, Belgrade, This is The Time, This Is The Record Of Time, Stedelijk Museum, Amsterdam, Blue Times, Vienna Kunsthalle, Vienna, Austria, Yassin Dynasty in The Chinese Room, Castello Di Rivoli, Torino, Italy, and Songs Of Loss and Songs Of Love, Gwangju Art Museum, South Korea (all 2014). Yassin was awarded the Fidus Prize (2009), the Abraaj Capital Art Prize (2012), the AFAC grant for production (2010), the YATF grant for production (2008 & 2012), and the Sharjah Production Programme grant (2014). He is one of the organizers of IRTIJAL Festival, has released several music albums and founded the production company Annihaya in 2009. He is also a founding member of Atfal Ahdath, a Beirut based art collective. Yassin is represented by Kalfayan Galleries, Athens-Thessaloniki.

Raed Yassin is Academy fellow from May to June 2015. His new exhibition Karaoke opened in May 2015 as part of the Academy's PLURIVERSALE II in Cologne.

2015

TkH (Walking Theory)/Teorija koja Hoda is an independent – institutionally non-aligned, extra-academic – platform for performing theoretical-artistic activism and was founded in 2000 in Belgrade. Since 2002 the TkH platform operates as an independent organization: the TkH-center for performing arts theory and practice which realized several programs: TkH Journal for performing arts theory, educational programs (PATS, s-o-s project, dramaturgical trainings, Knowledge Smuggling!, Deschooling Classroom), a regional online platform tkh-generator.net, programs dedicated to a critical reflection of the local scene like Forum for the Performing Arts Criticism and Walking Critique, artistic (Pro Tools) and theoretical events (conferences, labs), inter-disciplinary performances and other artworks, as well as hosting presentations and lectures by artists and theoreticians outside of Serbia. TkH collaborates with self-organized initiatives, organizations, and platforms from Belgrade (the Other Scene), the region of Western Balkans (The FaMa, Clubture), as well as several European platforms (i.a. PAF). Editorial collective: Ana Vujanović, Marta Popivoda, Bojana Cvejić, Bojan Djordjev, Siniša Ilić, Katarina Popović, Dragana Jovović, and Jelena Knežević

Ana Vujanović, Marta Popivoda and Bojana Cvejić came to Cologne as fellows of the Academy in March 2015, followed by Bojan Djordjev, Siniša Ilić and Katarina Popović in April and May 2015.

2014

TOBARON WAXMAN is a visual artist and a vocalist. Tobaron was traditionally trained in Jewish philosophy, law, and liturgy for many years, and has created live art, photography, videos and films by repurposing that religious literacy and training in new ways both critical and reverent. Tobaron's work is a Queer interrogation of how borders and notions of citizenship make moral and ethical claims on our bodies. Their strategies have included: food, photography, tissue engineering, porn, biofeedback processing, curation, sound, choreography and voice.

Tobaron's work has been curated at international venues including Palais de Tokio, Videotage Hong Kong, Kunsthalle Vienna, Lentos Museum, Vdance International Video Dance Festival Tel Aviv/Ramallah, New Museum NYC, Momenta, Le Petit Versailles, Jewish Museum NYC, and Brooklyn College Conservatory of Music.

Tobaron has taught their voice and collaborative techniques at the Art Institute of Chicago and Hollins MFA Dance; lectured at Parsons, SOAS London, SMFA Boston, Videotage Hong Kong, OCAD and others. Tobaron was honoured with fellowships including Kulturlabor ICI Berlin for “Mechitza 7.1” — acclaimed one of the five best art experiences of 2010. For the endurance performance “Opshernish”, Tobaron is the recipient of the first ever Audience Award of the Jewish Museum of New York. In 2013, Tobaron created “The Intergenerational LGBT Artist Residency”, a summer institute of critical engagement with LGBTQ art, politics and histories, on the Toronto Island. Current projects include site-specific endurance performances for the a cappella transsexual voice, a hand painted 16mm film, and curatorial projects including their most recent written work: “Trans Women Artists: interviews with artists on the MTF spectrum” with forward by Susan Stryker (forthcoming 2015).

Tobaron Waxman was Academy fellow from January until December 2014.

http://www.tobaron.com

2014

The Australian DR TIMOTHY O’DWYER is a saxophonist, composer and researcher, as well as current Head of the School of Contemporary Music at LASALLE College of the Arts in Singapore. With a background in punk-jazz and free improvisation, Timothy O’Dwyer’s music constantly pushes the boundaries of style, technique and especially context stretching across borders of culture, performance practice and art forms.

He has toured widely internationally, released 8 CDs of original compositions to critical acclaim and is a member of the Australian contemporary music group ELISION Ensemble. Timothy was Academy fellow from August 2013 to August 2014.

http://www.timodwyer.com https://www.facebook.com/timodwyerfellowship?fref=ts https://www.facebook.com/TimODwyerTheFold

2014

ETCÉTERA… are a multidisciplinary collective of visual artists, poets, actors and performers that formed in Buenos Aires in 1997. They all share the intention of bringing art to the sites of imminent social conflict, i.e. to the streets; and vice versa, social conflicts are brought into the arenas of cultural production, including art institutions and the media.

Etcétera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence) in developing and popularising a form of direct action protest called “escraches” i.e. acts of public denunciation and humiliation of human rights infringers in order to reinstall social justice and influence the state’s legal and judicial institutions to follow a certain course of action.

Etcétera… form part of the urban scene as a statement of protest, denunciation and public signaling; and as a result the interventions pertain to a specific time and place. Using street-art, public interventions, and performances that are by nature contextual, ephemeral and circumstantial, they combine humour, irony, poetic means of discovery and the deconstructive potential needed to forge a new kind of socially committed art free of hackneyed rhetoric, often sarcastic and at times “incorrect”. In 2005 they co-founded the International Errorist movement based on the idea that error is a fundamental principle of reality and life.

The group develops interventions and activities in collaboration with other collectives and individuals, inside and outside the art institutions, and in the field of education. Loreto Garín Guzmán (Chile) and Federico Zukerfeld (Argentina) are the co-founders of the collective and they coordinate the archive, activities and other initiatives. In 2013 Etcétera... received the International Award of Participatory Art.

Loreto Garín Guzmán and Federico Zukerfeld were Academy fellows from February 2014 to April 2014.

https://www.facebook.com/grupoetcetera?fref=ts

2013

YE FU (Zheng Shiping) was born in Enshi, in the Hubei province of China. He belongs to the ethnic minority group of the Tujias. As intellectuals, he and his family were relocated to the countryside during the Cultural Revolution. From 1978 to 1981 he studied Chinese literature and culture at the Hubei Institute for Nationalities. During that time he began to write and quickly gained fame in the literary underground scene in China. From 1986 to 1988 he continued his studies of Chinese literature at Wuhan University, where he also organised the “Hubei Post-modern Poetry Salon”. In 1986 he published a collection of poems with the title “The Night Howl of Wolfs”.

After graduation he was assigned a job at a public security unit in Hainan. He quit the job in 1989 to support the students at Tiananmen Square. After the bloody military suppression of the protests, he was sentenced to six years in prison. Following his release he was running a publishing house in Beijing for ten years.

Today he is a freelance writer, who is well known throughout China. Apart from publishing poetry and fiction, he also writes essays and reportage, as well as screenplays and scripts for television (for example the TV series “My Father’s War”, which was successfully broadcasted in China in 2009).

Since his work has not yet been translated into other languages, he is less well known in western countries.

Ye Fu has received many awards, among them the “Contribution Award of Contemporary Chinese” in 2009, a prize set up by the Beijing Institute of Contemporary Chinese Language; the non-fiction award from the Taipei International Book Exhibition in 2010; and the “Freedom of Writing Prize“ from the Independent Chinese PEN Centre in 2011.

His works include:

• Under the River, (Jiangshang de muqin), essay collection, Taipei 2009
• Paijian dong lai huan jiuchou, Selected essays of Ye Fu, Hong Kong 2009
• My father's war, novel (later rewritten as TV series script), Beijing 2009, reprinted in Hong Kong 2010
• Earth Lament, essay collection, Beijing 2010
• Xiangguan hechu, selected essays, Beijing 2012

From January to December 2013 he was a fellow of the Academy of the Arts of the World in Cologne.

2013

Alessandro Petti (born in Italy) is an architect, researcher in urbanism, and director of Campus in Camps. He is founding member and director of DAAR (Decolonizing Architecture Art Residency), an art and architecture collective and residency programme which combines discourse, spatial intervention, education, collective learning, public meetings and legal challenges. Their projects have been shown in various museums and biennales around the world.

Sandi Hilal (born in Palestine) is an architect based in Bethlehem. She is consultant with the UNRWA (The United Nations Relief and Works Agency for Palestine Refugees in the Near East) on the camp improvement programme and visiting professor at Al-Quds/Bard College Palestine. She is founding member of DAAR as well as Campus in Camps.
She is co-author of several research projects, such as “Stateless Nation” with Alessandro Petti and “Border Devices” with Multiplicity, which are published and exhibited internationally.

2012

BASEL ABBAS and RUANNE ABOU-RAHME (b.1983) live and work together in Ramallah and incorporate a range of sound, image, installation and performance into their artistic practice. Their work explores issues connected to the politics of desire and disaster, spatial politics, subjectivity and the absurdities of contemporary practices of power, often finding themselves investigating spatio-temporal resonances in the relation between the actual, the imagined and the remembered.

Their practice increasingly examines the immersive, experiential possibilities of sound, image and environment, taking on the form of interdisciplinary installations and live audio-visual performances.

Their work mostly consists of large-scale installations, much of which they reinterpret into a performance and publish online.

They have exhibited and performed internationally and most recently founded the sound and image performance collective Tashweesh in Ramallah with local artist boikutt. Recent exhibitions and performances include 4th Guangzhou Triennial (2012), TBA 21 (Vienna, 2012), 5th Jerusalem Show (Jerusalem, 2011) New Art Exchange (Nottingham, 2011), Homeworks V (Beirut, 2010), The 6th Liverpool Biennale (2010) and the 53rd Venice Biennale (2009).

Basel Abbas and Ruanne Abou-Rahme have been fellows of the Academy of the Arts of the World in Cologne from December 2012 to August 2013.

www.vimeo.com/ruanneandbasel

Youth Academy

Initially conceived as a counterpart to the membership structure of the Akademie der Künste der Welt (Academy of the Arts of the World), in its early years, the Youth Academy offers young artists and cultural workers a platform to carry out their own program with the help of the know-how of the ‘big sister’.

In 2014, this membership structure is dissolved and the Youth Academy embedded as an independent format in the Academy’s program structure. From now on, the Youth Academy offers a forum to artistically reflect on urgent political questions and to exchange ideas about them. In this way, everyone interested can get to know and help to shape alternative forms of education and the ways in which artistic and intellectual issues are being discussed. The projects in this program are based in different genres – from performance and music to video art and visual arts, dance and literature or photography and design. The common thread shared by all participants is their interest in the critical examination of aesthetically inquiring art, political issues and in the transdisciplinary collaboration with other people interested in art and culture.

In 2020, the Youth Academy will take a break to conceive the future focus of the program. A new approach will be negotiated as to how the intended space for solidarity and artistic exchange is to be designed.

The Youth Academy is already looking forward to seeing you again!

Team

Exhibition Attendant

Mariana Bártolo has worked as an exhibition attendant at the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) since September 2019. She completed her studies at the KHM – Academy of Media Arts Cologne in 2020 and studied dance in Lisbon until 2008. She is a filmmaker and multimedia artist, she has directed several fictional and documentary short films, and she also develops work in the fields of installation, drawing and performance.

Head of Communictaions

JENNY BOHN supports the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) from March 2019 to July 2020 as Head of Communications (parental leave replacement). She holds a degree in Politics, Sociology and Modern German Literature from Ludwig Maximilian University of Munich. Before joining the ADKDW she has worked as production manager at the Münchner Kammerspiele.

bohn(@)adkdw.org

Head of Communications (on parental leave)

SARAH BOLZ has been Head of Communications at the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) since February 2018. After initial stints in dramaturgy at the Deutsche Oper Berlin, the Deutsches Theater Berlin, and the Junges Schauspielhaus Düsseldorf, Sarah Bolz completed an internship under director Karin Beier in press, marketing, and public relations at Schauspiel Köln. Upon finishing her studies in cultural pedagogy and cultural management she worked as press and public relations assistant for the Ensemble Musikfabrik, one of the most well-known contemporary music ensembles in Germany and worldwide. With the start of the 2016.17 season she changed over to the Oper Köln, under the direction of Dr. Birgit Meyer, where she worked as press and online communications manager.

Exhibition Attendant

Esteban Calderón has worked as an exhibition attendant at the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) since September 2019. He studied music and audio engineering in Bogotá, Colombia, and, in 2017, began graduate studies in visual anthropology at the University of Münster. In parallel, he develops audiovisual projects focusing on music practices as a form of transcultural communication.

Trainee Communications

JANEK CORDES has been Communications trainee at the Academy of the Arts of the World since January 2020. He studied Global History and Political Science in Erfurt and Madrid, as well as Modern and Contemporary History with a focus on Public History in Cologne. From 2015, he worked as a research assistant at the University of Cologne for the chair of Modern and Contemporary History and in the projects History of the University of Cologne since 1919 and Objects of the Future – Future of Objects.

cordes(@)adkdw.org

Artistic Director

MADHUSREE DUTTA was born 1959 in Jamshedpur/Jharkhand, India. She studied theatre at National School of Drama, India and is a filmmaker, curator, and author. She is the founder and former director (1998-2015) of Majlis, a center for legal discourse and interdisciplinary art initiatives in Mumbai.

Her areas of interest are documentary practices, urbanology, inter-disciplinary archiving practices, and Public Culture.

Dutta's films are shown regularly at international film festivals and art events. She has received numerous awards, including the 1994 Filmfare Award for Best Documentary and the 2001 Indian Documentary Producers' Association Award. Retrospectives of her work have been shown in 2005 at the nGbK Gallery in Berlin and during the International Women's Film Festival, Trivandrum, as well as at the Feminnale 2006 in Cologne, and the Persistent Resistance Film Festival in New Delhi in 2008.

She has curated several art and cultural projects, among others, Expression, the first festival on feminist arts and art discourse in India in 1990; India Sabka, a youth festival on multiculturalism in 2002; Import Export, cultural transfer between India and German speaking Europe in 2005 (Mumbai-Vienna-Berlin); Culture@WSF, the art component for the World Social Forum, 2004; Moving People, an art interface between Africa and Asia in Nairobi, 2007. Her latest curatorial work Project Cinema City: Research Art and Documentary Practices (2009-2013) was a multi-disciplinary multi-scalar endeavour engaging one hundred visual artists, architects, filmmakers and social scientists. The project was premiered at Forum Expanded, Berlinale, 2010.

Her publications include, among many others, Project Cinema City (Tulika Books 2012) which was adjudged the Best Printed Book of the year by Publishing Next Industry Award in 2014.

dutta(@)adkdw.org

Managing Director

IMKE ITZEN studied landscape architecture and architecture in Hanover and Vienna. From 2005 to 2006 she was a research fellow in the research project Microlandscapes - Studies on a Dynamised Culture of Landscape.

This was followed by a curatorial assistance at skulptur projekte münster 07 where Ms Itzen was responsible for the projects of the artists Mike Kelley, Michael Elmgreen and Ingar Dragset, Rosemarie Trockel, Eva Meyer and Eran Schaerf, Michael Asher, David Hammons, Manfed Pernice, Susan Philipsz and Thomas Schütte. In 2008 Imke Itzen was as the office and project manager of Christoph Schlingensief responsible for the exhibitions Der Köng in Mir, The African Twintowers, Stairway to Heaven and took part in the theatre production Eine Kirche der Angst vor dem Fremden in Mir in the frame of the Ruhrtriennale. From 2009 to 2011 she worked as curatorial assistant at the GAK Gesellschaft für Aktuelle Kunst in Bremen.

For dOCUMENTA(13) 2012 in Kassel Imke Itzen worked with artists such as Manon de Boer, Song Dong, Theaster Gates, Brian Jungen, Amar Kanwar, Christian Philipp Müller, Shinro Ohtake, Claire Pentecost, Albert Serra and Wael Shawky. As Kasper König's office manager, she took over project coordination of the exhibition Der Schatten der Avantgarde Folkwang Museum Essen in 2012 and assisted as artistic director at Manifesta 10 in St. Petersburg in 2014.

Imke Itzen most recently worked as the project manager responsible for the major international exhibition Skulptur Projekte Münster 2017.

itzen(@)adkdw.org

Head of Artistic Production

JAN KRYSZONS started working with the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) in September 2014, and supports the ADKDW and its artists in the production of events, exhibitions, performances, and concerts. Kryszons studied at the Academy of Fine Arts in Düsseldorf and has realized, as co-curator and project manager among other capacities, various national and international cultural projects for the art space Noordkaap in the Netherlands.

kryszons(@)adkdw.org

Head of Artistic Production

CLARA NAPP has been working for the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) since 2018 - since January 2020, she has been in charge of the artistic production. Prior to that, she was assistant to the curatorial team of Skulptur Projekte Münster 2017 and worked for various cultural institutions in Münster, Brussels and Düsseldorf. She holds a degree in German linguistics and literature from the University of Münster and studied Fine Arts at the University of Fine Arts Münster, where she graduated as master student of Suchan Kinoshita.

napp(@)adkdw.org

Assistant Artistic Production as part of a DAAD sholarship

ADRIAN RAMABAJA supports the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) from May to August 2020 as a DAAD scholarship holder in the artistic production and the communications. He studied History, German Studies and Philosophy in Cologne and Paris and was awarded the faculty prize for his master´s thesis. From 2013, he mostly worked as a DAAD lecturer in Croatia and North Macedonia.

ramabaja(@)academycologne.org

Curatorial Assistant

NADA SCHROER has been assistant to the artistic director at the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) since January 2020. She previously worked as academic staff at the University of Cologne and as curatorial assistant at the Kunstverein Braunschweig and Kunstverein Hildesheim. As co-curator she has realized numerous projects, including with medienwerk.nrw/PACT, And She Was Like: BÄM! and Kunstraum D21 Leipzig, among others. She studied cultural studies at the University of Leipzig, art and media production at the University of Hildesheim, and in the Cultures of the Curatorial program at the Academy of Fine Arts Leipzig.

schroer(@)adkdw.org

Student Assistant Communications

CHRISTOPHER SZWABCZYNSKI supports the communications department at the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) since April 2020 as a student assistant. He studied Sound Studies and German Studies in Warsaw and Bonn. Since 2018 he has been pursuing an M.A. in Modern German Literature at the University of Bonn. He previously worked for the music label Kompakt and as a freelance writer for Choices, among other organizations.

szwabczynski(@)adkdw.org

Assistant to the Managing Director

ULRIKE TRAUB has been working for the Academy since March 2013 in the administration department and as assistant to the Managing Director. She studied Theatre Studies, Modern German Literature, and English at the Ruhr University in Bochum and completed her doctorate thesis on the topic “Theatre of Nakedness” in 2010.

traub(@)adkdw.org

Student Assistant Artistic Production

JAKUB WANDZIOCH has assisted with artistic production at the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW) as a student worker since January 2020. After pursuing Eastern and Central European regional studies and Eastern European studies in Cologne, Warsaw and Berlin, he is currently in the media and cultural studies master’s program at the Heinrich Heine University in Düsseldorf. He previously worked at the Institute for Media and Communication Studies at the Free University of Berlin and at the Polish Institute Berlin.

wandzioch(@)academycologne.org

Head of Youth Academy

Since January 2020, NORA WIEDENHÖFT has been the head of the Youth Academy, the concept of which will be re-developed in 2020. Between 2015 and 2019, she worked as a curatorial assistant and project coordinator in the curatorial team of the Akademie der Künste der Welt (Academy of the Arts of the World, ADKDW). She has been responsible for the organization and realization of the Youth Academy's program. She studied Religion Studies with a focus on Postcolonial Theory and Subaltern Studies as well as Political Science at the Universities of Heidelberg and Zurich.

wiedenhoeft(@)adkdw.org

Partners

Institution

Main Sponsor

Project Sponsor 2020

Cooperation Partners 2020

Thanks to 2020:

Arsenal – Institut für Film und Videokunst e.V, Berivan Aymaz, Ego Film Arts, Marc Hübert, Peter König, Simone Nöller, David Rupp, Iris Witt

The Many


DIE VIELEN e.V. (The Association of the Many)

DIE VIELEN e.V. is a registered, not-for-profit association founded in June 2017.

Its aim and charitable purpose is the promotion of an international mind set, tolerance in all areas concerning culture and public education.

The following statements are central to our work:

The Association of the Many, DIE VIELEN, aims to strengthen opportunities for communication and action amongst artists, ensembles and agents within the performing arts and the fine arts.

This is particularly pertinent to artists who understand theatre and art as a means of participation in creating a society made up of people of every skin colour, gender, sexual orientation, diverse needs and abilities, of every faith or non-faith and based on their equality.

The Association of the Many, DIE VIELEN, shows solidarity for all who work in the arts or culture, including the institutions to which they are attached, and who are under attack or whose legitimacy is being questioned by right-wing populists and far-right positions.

The Association of the Many, DIE VIELEN, promotes art that moves beyond its own realm to pioneer an equal and open society.

The Association of the Many, DIE VIELEN, supports living together with open borders – inwards as well as outwards. It stands for togetherness that is courageous and generous.

The Association of the Many, DIE VIELEN, organises events and happenings that reject hate. It initiates controversial debates within the theatre and art world.

The Association of the Many, DIE VIELEN, acts as a supportive and active network and offers a networking platform for artists as well as art and cultural institutions.

WE ARE MANY – EVERY SINGLE ONE OF US

Art creates a space for changing the world

As participants in the cultural sector in Germany we do not consider ourselves to be above or in any way distanced from current developments in this country, in fact we have our feet firmly on the ground, the very ground on which the most terrible crimes in human history were committed in the name of the state. Once before in this country, art was defamed as degenerate and culture was abused for propaganda purposes across the board. Millions of people were murdered or forced into exile, among them many creative people involved in the arts.

Today we perceive art and cultural institutions and facilities as open spaces which belong to “the Many” (Die Vielen). Our society is a pluralist collection of people. Many different interests come together and find themselves in the in-between. Democracy must be re-negotiated every day – but always on one condition: this is about everyone, about every single person as a being of many possibilities!

Right-wing populism, which attacks cultural facilities and institutions as protagonists in this vision of society, is very hostile to the art of the many. Far right-wing groups and parties repeatedly disrupt events, attempt to intervene in the selection of repertoires, polemicize against the freedom of the arts and aim to achieve the re-nationalisation of culture.

Their contemptuous treatment of refugees and exiles, of the dedicated people in the cultural sector, and of all those who think differently clearly reveals how they intend to treat society if the balance of power should ever lean in their favour.

We, the signatories of this declaration, as stakeholders in the arts and cultural facilities, institutions and establishments in NRW, as members of related interest groups, or as members of the independent arts and cultural scenes, are all taking a clear stance to actively resist such efforts by the right-wing etc. as expressed in the following:

• The signatories to this declaration from the arts and cultural institutions proactively organise and foster open-minded, informative and critical discourse about right-wing strategies. They formulate and devise this dialogue together with performers, participants and the public, with the clear conviction that the participating institutions, facilities and establishments have a mandate to uphold and continue developing our democratic society.

• None of the signatories provide a platform for ethno-nationalistic propaganda.

• We reject the illegitimate attempts of right-wing nationalists to instrumentalise cultural events for their own purposes.

• We are united in expressing our solidarity with people who are being forced further and further to the edges of our society by extreme right-wing politics.

Racism is something we encounter every day. Right wing extremism is one symptom of racism. This alliance of DIE VIELEN (The Many) does not just want to fight against the symptoms but wants to have a much deeper impact. We will therefore look carefully into our own structures, put them to the test and subject them to renegotiation. We must open up our arts and cultural spaces as well as our society so that we can really become “The Many”!

Solidarity not privileges. This impacts everyone. The arts will always be free!

Campaign: Declaration by THE MANY NRW

With this declaration DIE VIELEN NRW want to clearly express their solidarity as part of civil society against right-wing populist and ethno-nationalist movements. People in the arts and cultural sectors are sending out a clear socio-political signal with this declaration which will impact on our daily work. Together, throughout NRW and Germany, this is a declaration that we are standing up for tolerance, diversity and respect.

NRW Declaration of THE MANY – a voluntary commitment

• 1. We are approaching the following to become signatories: cultural and/or arts institutions, establishments and facilities, their interest groups or associations as well as freelancers and independent bodies in the arts and cultural sectors.

• 2. With their signatures they declare that they are prepared to make the wording of the declaration known within their own organisations or working environments, for example among staff, ensemble members, curators, public audiences and visitors and to enter into discussions about this with them.

• 3. The signatories will publish the declaration on their websites and programmes and display it on notices in the foyer and in many other places.

• 4. The signatories will be listed and displayed on the homepage www.dievielen.de and the signatories are recommended to post links to this site as well.

• 5. The shiny golden rescue blanket, the symbol of DIE VIELEN, should, depending on each organisation’s corporate design, be displayed together with the declaration – whether as a flag, a layout-background, an icon or as lettering with a shiny golden outline (a tool-kit will be provided).

• 6. The signatories undertake to prepare informative events, discussions and activities according to the four levels of action as stated in the declaration. Dates and times will be communicated jointly via www.dievielen.de

• 7. In the context of their own public relations work as well as in a central press conference, the declaration will be published, and the start of the campaign will be declared on 9 November 2018. Campaign activities such as raising the golden rescue blankets as “flags” at cultural venues, initial informative events, readings and at many more places and events, will be implemented on their own initiative yet coordinated together.

• 8. The campaign for this declaration of DIE VIELEN is of a regional nature and will spread across Germany by means of regional networks connecting participants in the cultural sector in groupings such as with “Declarations of DIE VIELEN in Berlin, Hamburg, Dresden, NRW and many more”.

• 9. The signatories agree to stay in dialogue with each other by means of regular meetings. They also undertake to look critically into the exclusion mechanisms inherent in their own working environments as well as in the network of DIE VIELEN NRW itself.

• 10. The signatories agree to participate actively in a Germany-wide campaign with days of action, discussion forums and a mobilisation day as a “magnificent demonstration of the arts and culture – solidarity not privileges. This impacts everyone. The arts will always be free!” in Berlin in May 2019 (provisionally on Saturday, 18 May 2019).

• 11. The signatories undertake to commit themselves to mutual solidarity with cultural institutions, facilities, establishments and protagonists in the arts who are put under pressure through agitation, smear campaigns or abuse.

If you wish to sign this declaration or have any questions, please write to: nrw.erklaerung@dievielen.de

Download NRW Declaration

The Many NRW on Facebook