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On a -9° winters day in Rigor - Latvia, dance artist Agnese Bordjukova shared methods to develop awareness of processes within the human body that can then extend outwards to embrace our surroundings, making sensible the interconnection between bodies and worlds. Agnese often works with ânon-motionâ such as sleeping or stillness, as a starting point for her choreographies. From this place, she focuses on the intensity of her internal activity which then inspires her to make dance works for video and stage. In this episode we discuss two of her short dance videos: âHear meâ (2017) - a creation about sound generated by the human body and the âLoudest place in the worldâ (2020) - exploring the topic of freedom and how this is communicated through only the head and shoulders.
Learn more at: http://renaeshadler.com/worlding
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Human inability to value the role of plants on earth and see or notice plants in one's everyday life is a phenomenon known as âplant blindnessâ. Media artist Daniel Hengst addresses this phenomenon through his work, asking whether we are willing to empathize with plants and grant them an autonomous intrinsic value. Danielâs projects often center non-human subjects and deal with the potential of digital technologies to encourage social change. In this episode we focus on Danielâs works âBlooming loveâ - a virtual reality artwork that explores the simulated Peatlands of Latvia and âNastien & Tropismenâ - a virtual-installative greenhouse where no plants grow according to human doctrine, enabling new relationships between humans and plants develop.
Learn more at: http://renaeshadler.com/worlding
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Fehlende Folgen?
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While scientists tend to categorize their objects of study in order to verify some pre-prepared hypotheses, visual artist Oliver Thie is focused on the individual within the species or class of things. In this episode we dive into two of Oliverâs solo exhibitions: âThe truth about the origin of the worldâ (2020) where he worked with an 18th century stone collection from the Siebengebirge in Germany and âMapping the Invisibleâ where Oliver explores a microscopic Hawaiian cave-dwelling cicada by enlarging it into a wall-sized drawing. In times of Anthropocentric landscapes and rapidly increasing insect extinction, his work is a persistent act of documentation that brings to life unseen microcosms and the beauty within the individuality of things.
Learn more at: http://renaeshadler.com/worlding
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Focused on access and inclusion with regards to neuro-difference and disability, Anna Farley shares how she navigates her life and artistic work with support and family, placing her autism front and center. In her work, Anna creates Visual Guides for exhibitions that offer visitors another way of accessing the display without relying only on text or speech. Filled with images and simple short sentences, the guides provide an alternative future for how we talk about art and, more broadly, how we could share important information within public institutions.
Learn more at: http://renaeshadler.com/worlding
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In her practice of art mediation, Viviane Tabach - a Brazilian curator and mediator - seeks to be porous to the visitors and facilitate the creation of a âcollective bodyâ, where all participants and entities within the gallery become channels of knowledge. Inspired by Paulo Freire, a Brazilian educator and philosopher, Viviane sees Worlding through the lens of the learning process, as Freire states: âNo one educates anyone - no one educates themselves. We educate one another with the mediation of the worldâ.
Seeking to expand mediation and foster a shared dialogue, Viviane reflects on her experiences working at documenta fifteen and the 11th Berlin Biennale where she facilitated a tour entitled âWhen was the last time you changed your mind?â that invited visitors to re-think sensitive topics.
Learn more at: http://renaeshadler.com/worlding
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Talking about mutant species and a speculative world yet-to-come, Kat VĂĄlastur - a Berlin-based choreographer and performer - shares her interest in film and how the editing process can be used as a tool within choreography and composition. In this episode we focus on her hybrid work âStellar Faunaâ: part performance and part film installation, the project merges reality and fiction in a minimal yet expressive way. Inspired by the cardiovascular system of a crocodile, Kat guides us through her processes of making the film, panning in and out on the details of a human body - biting nails, tense lips - and creating a new world shaped by our present.
Learn more at: http://renaeshadler.com/worlding
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In the Andean world the human body, nature and community are united. In colonisation this connection is broken. A good example of this is the Mallqui - a mummy combining two bodies: that of an old man and an indigenous child from the Lower Valley of the Chillon River, which is now on public display at the Humboldt Forum in Berlin. In the West the mummy is considered dead, in the Andean culture the mummy is still alive.
Daniela Zambrano AlmidĂłn is a Peruvian Quechua researcher and interdisciplinary artist with a focus on Andean-Amazonian popular culture. In this episode, Daniela shares how she is furthering the dialogue between Postcolonial time and indigenous Abya Yala time, particularly through her documentary in development - âThe Restitution of Dignityâ that follows the story of the Mallqui. Daniela explains how she seeks to contextualise and understand the complexity of indigenous societies, as well as the need to restitute their memory and representation.
Learn more at: http://renaeshadler.com/worlding
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The whole debate on the decolonisation of colonial museums is a misconception. The collection of cultural treasures from other societies in order to modernise the West, demonstrates that modernity has always been influenced by European white racism and required âprimitiveâ societies in order to feel superior.
Dr. Christoph Balzar - a curator and art scholar with a focus on Postcolonial theory - argues that we cannot remove this cultural heritage from Ethnographic Museums and therefore they should be defunded, in particular the Humboldt Forum in Berlin. Christoph advocates for Decolonisation Councils that work independently from institutions and take up advisory functions, addressing unbalanced power dynamics and deconstructing the colonial ideologies that shape our world.
Learn more at: http://renaeshadler.com/worlding
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Speaking from her BIPoC perspective, Martha HincapiĂ© Charry - a Colombian artist based in Berlin, with Quimbaya ancestors - reflects on the present, past and future of the Amazon rainforest. Focusing on her recent solo performance/video installation âAMAZONIA 2040â, Martha shares her ideas of home and community during our times of climate chaos and the disappearance of biodiversity. In her artistic and curatorial practice, Martha creates spaces for dialogue between continents, generating a critical reflection on the relationship between humans and nature, the visible and often invisible world.
Learn more at: http://renaeshadler.com/worlding
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In direct response to the Russian invasion of Ukraine, âUnplanting the seeds of hatredâ is a project that approaches the body as soil, in which physical and mental seeds can grow. In this episode, Vera Shchelkina - a Russian somatic dance artist and founder of the project - chats to Renae about how the practice has the potential to slow us down and recognise that what is happening mentally is also a process within our bodies. Even by observing the process of seeding we can already begin to change and transform it, encouraging the âplantsâ to grow in new ways.
Learn more at: http://renaeshadler.com/worlding
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âEveryone is working through something on the dance floorâ says Ivan March, a curator, artist and raver who is leading a community house in Greece, and the co-creator of the Waking Life festival in Portugal.
Waking Life is an annual Music Festival for artistic experimentation and collective imagineering of the type of society we could cultivate, if there was freedom to diverge from default reality. In this episode Ivan shares why festival gatherings are such fascinating spaces and how peak experiences can relate to the seasons and weather patterns within our own bodies.
Learn more at: http://renaeshadler.com/worlding
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Berlin born and raised shapeshifter, Jacob HĂŒhn is currently dedicated to enabling a new project at Moos Berlin which encompasses an international residency, co-living community and event space.
In this episode Jacob and Renae chat about what it means to facilitate spaces and how Moos is finding its own rituals and structures of caretaking.
Moos has a mission to become less abstract and find new languages through which to make concrete and practical invitations to the community, both young and old. Jacob also shares his ambition to root into a place and practice âlistening firstâ - whether that be to the neighbourhood or the building itself.
Learn more at: http://renaeshadler.com/worlding
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Often we know the efficient thing to do but what happens when this fills our body with anxiety? How can we revalue the âdetourâ not as an inconvenience or procrastination but as an active choice to decelerate and sidestep the shortest, fastest and most productive path?
For Natal Igor Dobkin a detour is a question within his/their research into slow transitions where he/they investigate the temporality of slowness as a method for change. Dobkin, a performance artist, facilitator and adjunct professor in the Department of Gender Studies at Ben Gurion University, explores âmythicalâ linear movements and how they can become radical when done in slow motion, such as with gender transitions, aging and even the process of committing to a relationship.
Learn more at: http://renaeshadler.com/worlding
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Zinzi Buchanan is a non-binary artist who in this episode shares their lived experience of being chronically ill and how that continues to shape their facilitation practice of enabling spaces that are by and for people who are sick, or that care for the sick. The focus is on Zinziâs performance project âsick bed seriesâ, an invitation to voice, dream and feel through a program of performances and talks. Zinzi tenderly unravels their search for aliveness in a world that makes us sick.
Learn more at: http://renaeshadler.com/worlding
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After her sister got diagnosed with an autoimmune illness and unexpectedly died within half a year Siegmar Zacharias, a Berlin-based performance artist and researcher, embarked on a lifeâs work to create collective and public places for grieving. In this episode, Siegmar shares her research into collective processes of death and dying as well as expanded notions of grief that arise due to climate change and the current mass sixth-extinction.
Drawing on her performance practice and American neuroscientist Stephen Porgesâ Polyvagal Theory, Siegmar aims to create spaces where the inter-linking of nervous systems can become sensible and where we can build joyful futures that incorporate the necessary capacity to grieve together.
Learn more at: http://renaeshadler.com/worlding
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Environmental activist, artist and mindfulness practitioner Lucy Powell shares her process of creating 'Becoming Arboreal', a guided walk through Berlinâs Tiergarten that explores ideas and practices that enable us to dwell more easily in uncertainty, such as spending time with the parkâs ancient trees which are rooted to the spot and not able to run away - trees that are literally staying with the trouble. âBecoming Arborealâ draws on mindfulness, the Buddhist history of practicing meditation with and around trees as well as the Thai forest tradition. In times when the world feels increasingly unstable, Lucy looks to trees as companion thinkers asking âhow to be in the world as it is now?â
Learn more at: http://renaeshadler.com/worlding
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During a recent artist residency on the island of Ărö in the Finnish Archipelago writer, artist and researcher Ally Bisshop was overcome by a wash of fatigue. Sensing a pull between the two opposing forces of sleep and desire, she asked how exhaustion could help her to read this ecology with more curiosity, generosity and sensitivity.
Ally felt a tension between ambition and surrendering to her lethargy. She found it was useful to draw on the mythopoeia figures of Eros (desire) and Hypnos (sleep and death) as a device for getting out of the habits of thinking landscape or non human bodies mechanistically and discovered that by thinking through these forgotten figures she could begin to think and move otherwise.
Learn more at: http://renaeshadler.com/worlding
Info on 'Moving across Thresholds' at: http://www.movingacrossthresholds.com/
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While observing the extension of Berlinâs A100 City Highway that is being tunneled close to her home in Berlin-Neukölln, artist and writer Catherine Rose Evans collected rocks at the site which were glacial erratics deposited there during the ice age. In this episode Catherine shares her interest in geologic time and where this intersects with our own human timescales as found in our bodies, their materiality and our lived histories. Often we think of rocks as stationary, heavy things but this is only due to our perception of time. If one looks at a scale much larger than a human lifespan we can begin to understand that rocks have liquid histories and will one day return to a liquid form.
By researching and experimenting with the effects that different forces - light, weight, balance - have on materials Catherine can gain insight into how these forces likewise apply to us. How human bodies are also materials that are cycling, no different from rocks.
Learn more at: http://renaeshadler.com/worlding
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Synne Burnett is a dramaturg and writer working closely with last episode's guest dancer/choreographer Milla Koistinen. In this episode Synne shares her practice of creating spaces where ideas can co-exist, where we can be with our dilemmas and explore things that may at times be both comfortable and uncomfortable. We then discuss how different artists are working with the environment, exploring our relationship to our surroundings through the lens of dramaturgy.
Learn more at: http://renaeshadler.com/worlding
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Milla Koistinen creates dance works that often evoke a feeling of spaciousness and calm in the spectator. She was born and raised in a small cabin in the Finnish forest where in winter the main sources of light outside were the moon, stars and Northern Lights and in summer there was so much light that it never got dark. What she noticed was a slow transformation that she applies to her choreographic works, where things shift gradually over time.
In this episode we explore her recent collaborative work "Terrainâ - an immersive installation for one visitor at a time and "On a Clear Day" - a dance solo inspired by the artworks of Canadian born painter Agnes Martin. We focus especially on rhythm and understanding how certain worlds can linger inside of us even after we have physically moved on.
To end, Milla guides listeners through a short movement journey inviting us to center our attention on breathing, on listening, on moving and then simply on standing still.
Learn more at: http://renaeshadler.com/worlding/
âOn a Clear Day / SCHRUMPF!â > https://www.loudsoft.de/archiv-1/schrumpf-2020-2021/schrumpf-koistinen-on-a-clear-day/
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