Ein Teil daraus findet sich in dieser Publikation. Die Zeichnungen und Collagen sind aus der Zeit von ca. Ein Ausstellungsprojekt von Lucie Kolb Weitere Veranstaltungen siehe unten. Auf Twitter wird Lexas Tod unter dem Tag lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert. Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert. The notion of a rehearsal — being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory — there are these various modes of activity.
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Installation view: Looking After Freedom. Michaelis Gallerie, Especially in the context of an arts space that is within the embattled terrain of the university, and still produce genuine platforms for reflection and imagination, contigent of the political and moral positions of any reflection. Achille Mbembe in African Modes of Self Writing points out the sets of dogmas that seem to pass for African discourse in both its political and cultural dimensions, as lacking of historical criticism… and this lack reduces the discourse to three rituals: the first ritual contradicts and refutes Western definitions of Africa and Africans by pointing out the falsehoods and bad faith they presuppose.
The second denounces what the West has done and continues to do to Africa in the name of these definitions.
These rituals of discourse according to Mbembe reduce an extraordinary history to three tragic acts: slavery, colonization, and apartheid - to which globalization as a form of neo-colonisation is being added. Through Decolonisation and the Scopic Regime the objective for me has been one of developing space that is relevant in this environment and brought together various people and their ideas that poses questions on aspects of the question at hand: the development of critical, self-reflexive, locally specific responses to knowledge production and dissemination in all its forms.
Rohit Jain. Who likes Chicken Curry? Who laughs about blackfacing and Mohamed caricature? Who defines arranged marriages? Who is scared of Indian IT-Workers? Who is involved in colonialism? Who survives? Who votes? Who really cares? In this talk anthropologist and sociologist Rohit Jain inquires into the making of postcolonial public spaces of Switzerland in the age of de-centralised capitalism. On the hand, the resistance against postcolonial amnesia provokes melancholia, anxieties, or anger. On the other hand, to imagine alternative histories and stories allows to affect unruly archives and to unleash a performative power of assembly Judith Butler.
Rohit Jain is, thus, interested in the conditions of possibilities as well as in the artistic, political and theoretical strategies to develop alternative publics of conviviality and new communities. The presented work, therefore, opens up new avenue for understanding an unacknowledged Swiss history of violence and envisioning a future of reparative justice at the intersection of ethnography, artistic practices and activism.
Rohit Jain is an anthropologist and anti-racism activist based at Zurich and Berne. His current work focuses on the connections between postcolonial archives, the politics of affects and the performative intervention into translocal publics. Stand Up! Der Vortrag findet in englischer Sprache statt. The unique design of this poster by Lissitzky stands between avant garde montage and socialist realism with its inflated portraits and staged enthusiasm. These aesthetic attributes correlate with the shifting economic realities of the time with the move from the NEP to shockwork methods of the Soviet five year plan.
This poster comes from a specific moment in Soviet industrialization which was accompanied by a new subjectivity as well. That moment seems to inform our moment as well.
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Considering this poster opens up a discussion on contemporary forms of subjectivity under current modes of production and distribution of computerized networks. The talk will outline how the communist horizon and real existing socialism can inform our understanding of the current social and cultural, political, and economic realities as we are facing the implosion of the neoliberal order. Mai , h Finissage Samstag, Samstag, Mai - Samstag, Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln.
Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt. Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern. Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird.
It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another. Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. The exhibition design consists of a Here past and present are not clearly distinguishable — therefore causally related events are depicted in the same space, separated merely by elements of architecture.
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Photograph by Melanie Boehi, December This talk is concerned with histories of South African colonial formations featuring gardens and plants. It is grounded in empirical research of multispecies histories in the Kirstenbosch National Botanical Garden. Plants have featured prominently in imaginations and conceptualisations of South Africa throughout the colonial, apartheid and post-apartheid era. In the late 19th century, white settlers appropriated the indigenous flora as a marker of identity.
The settler elite regarded the cultivation of scientific and aesthetic appreciation of the vegetation as a tool for promoting civilisation and patriotism. This occurred within the larger discourse of nature conservation, which served as a legitimisation of white land appropriation, forced removals and prohibition of subsistence land use by Africans and slave-descendants.
Subsequently, Kirstenbosch evolved as the centre of a network of regional botanical gardens spread throughout the country.
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These activities expressed the aspirations of the Cape colonial elite and evolved in the context of both rising South African settler nationalism and British imperialism. In , the Nationalist Party came to power and apartheid became the official state policy. Standing in a genealogy of empire exhibitions and flower shows, plants from Kirstenbosch were displayed internationally. The state also invited international botanists to South Africa in an attempt to impose a positive image of South Africa to them.
The apartheid state deployed flowers and gardens because they were widely regarded as beautiful and apolitical — an understanding that needed to be continuously reproduced and in the late s was challenged by activists and artists opposed to apartheid. They have been reframed as tourism destinations and sites of post-apartheid nation building. Stoler, Duress , The talk is concerned with such histories of South African colonial formations.
They are addressed from a multispecies perspective, which acknowledges not only humans but also other living beings, in particular plants, as historical actors and witnesses.
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It does so by drawing on and combining a range of methods, including historiography, multispecies ethnography, critical plant studies, plant sciences, and floriography the reading and writing with flowers. The two exhibitions will resemble and question each other. There was a focus on a couple of polemic motifs such as construction, fabrication and abstraction by example of written, published and authored works. The first project was all about testing limits. The second one tries to draw the line.
Der Verdienst. He's a regular contributor to Spike and Mousse magazine and a columnist for Starship magazine. He graduated the Postgraduate Programme in Curating in As freelance curator he has mandates for various institutions in Europe and the US. He is an alumnus of the Postgraduate Programme in Curating.
http://cars.cleantechnica.com/sunshine-relatos-romnticos-y-fantsticos-n.php The current manifestations of contemporary dance and its fringe areas build global bridges through the physical, aesthetic and idiosyncratic interpretation as well as the visualization of socially relevant topics. Contemporary dance inspires and is inspired and often calls for dialogue beyond the physical performance. The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe.
Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space.
Geraniums are never Red revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. They are in fact pelargoniums.
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They were first brought to Europe — and misidentified — after , when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens. These films have not been seen since and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage is an attempt to watch these documents today and speak back to the archive.
Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa. Exotics were the pride of European gardeners for a long time.