How does loss shape us? How do the afterlives of violence inhabit our words? How do we write amidst the unending piles of horror, mourning, loss, and defeat? What does queer theory fail to offer in the face of terror?

In this session, we seek solace in the healing power of poetry, cherishing the tulips that haunt our intertwined histories. Together, we will cultivate futures that bloom in hands tending to these tulips—symbols of sacrifice, love, home, and our shared vision of liberation.

Through collective acts of reading, humming, listening, and sharing, we hope to unravel, even slightly, the heavy burden of the unmourned. This is the space we wish to create and the attempt we hold close.

BIOS

Niloofar Rasooli is a writer from Iran, with a radical passion about the intersection of anti-colonial queer feminism, erased memories and archives, resistance, rebellion, revolution, and the reclamations of the built and lived environment in Iran and the Global South. Previously, Niloofar worked as journalist, writer, editor and her writing is featured in Women’s Studies Quarterly (forthcoming), gta papers (forthcoming), Kohl: A Journal of Body and Gender Research (forthcoming), International Journal of Islamic Architecture (forthcoming), Harasswatch, trans Magazine, Woz, 1.mai Committee Pamphlet, Koubeh, Etemad, Kargadan, and Abadi, among others. Currently, she is busy writing her doctoral thesis at the Department for History and Theory of Architecture at ETH Zürich.

Sandra Cane is a writer and independent researcher of queer and trans studies. Her works examines radical imagination of futurity as a cultural practice of queering normative narratives of the present. She writes for magazines and digital platforms and collaborates with collectives, independent spaces, and institutions, realizing performances, publications and talks. In 2023 she published her first collection of texts with the Italian publishing house Einaudi. In the academic year 2023/2024 she was guest professor of Gender Studies at University of Klagenfurt, Austria.

95th Anniversary of the Treaty of Lausanne at the Château d‘Ouchy

HD film, 10 minutes, 2018

The film shows a performance in a room that was witness to a historical moment. It served as the conference room for the negotiations that led to the Treaty of Lausanne in 1923, in which Kurdistan was partitioned into four parts. Today the room is a suite in a 4-star hotel in Lausanne. The artist enters the space blindfolded (without having previously seen it) and attempts to oriented herself. Since the performer is deprived of her sight, the spectator’s vision is intensified, creating an opportunity for multiple spaces and levels of reality to be present at the same time.

Masa, 2015

The work “Masa” (engl: table) refers to the Treaty of Lausanne, which was signed in Lausanne in 1923. It redrew the borders of Turkey and Greece and also distributed Kurdistan between Turkey, Iraq, Iran, and Syria. The treaty amounts to a disenfranchisement of Kurds and Armenians. “Masa” deals with the places and objects connected to this Treaty. In 2008 the Federal Council Pascal Couchepin gave the table on which the peace treaty was signed as a gift to Turkey.

After extensive research the artist decided to produce a replica of the original table and to offer it as a gift (back) to Switzerland. In 2015 the first action was organized in front of the Palais de Rumine in Lausanne. In 2016 the action was repeated in Bern in front of the Swiss Parliament.

– ⁠Start at 6 pm.

– ⁠The table will be exhibited

– Presentation of the film ‘95th Anniversary of the Treaty of Lausanne at the Château d’Ouchy’ (10 min).

– Conversation with Mîrkan Deniz and the two authors, Yasmin Afschar (art historian and curator) and Matthieu Jaccard (art historian and architect).

– Food & Drinks

The Institute for Scene Experiments is a fictional institution devoted to the investigation, production and dissemination of scenes. ISE assembles groups of performers and technicians to analyse, deconstruct and reconstitute elements of cinematic scenes for camera, exploring alternative modes of staging narratives, framing, sound, and light. ISE aims to reflect on the film crew as a social form, engaging in the generativity and potentialities of scenes independent of plot, development and conclusivity, through formal techniques as well as collective authorship, ‘open rehearsal’ and collective editing.

Protozone12: Syncretic Sites (Sept-Nov 23) negotiated a syncretic understanding of the world at the same time as the renewed outbreak of brutal violence in Israel and Palestine. The text of ‘Syncretic Sites’ states that “a syncretic understanding opens up the world to its multiplicity and density. Thus, what is stacked on top of each other, entangled in each other and fused with each other does not create one singular world, but worlds of coexistence – in the plural.” In times of affective states of emergency, polarization occurs to a point where it becomes almost impossible to maintain complexity.

PS: Syncretic Sites is dedicated to cautious zones of coming together in the same space as a counterpoint and complement to the confrontation with current events through media channels and news services. In addition to shared words, thoughts and concerns, it is about embodied practices and neighborliness in the presence of each other.

The Syncretic Sites exhibition was about expanded ways of listening, among other things. We build on this and propose to meet each other in appreciative listening, speaking and focusing on the co-existence of different perspectives and interests in the same space. What needs are in the room? What options to act?

PS: Syncretic Sites is aimed at the cultural field (artists, freelancers and employees in institutions) as well as an interested public. We work with communication support, conversation scores and embodied practices.

Communal Dreaming with Chris Paxton

Eine solastalgische Koch- und Hörperformance

Solastalgia is a neologism, formed by the combination of the Latin word sōlācium (comfort, ease, solace) and the Greek root -algia (pain, suffering, grief), to describe a form of emotional or existential distress caused by environmental changes. The term was coined in 2005 by philosopher Glenn Albrecht, who described it as “the homesickness you have when you are still at home.” How do we experience comfort or pain together on a disappearing planet? Can we dream the future through the darkness of our present? What sonic ecologies can we bring to life by listening and dreaming collectively? Let’s stew on this together for a while…

A vegetable curry, perhaps a prime example of comfort food, will be prepared collectively with the ingredients and tools we have at hand as we share our feelings, desires and dreams for a disappearing Earth. Participants are invited to contribute to a soundscape while preparing the meal together. Sonic contributions can take the form of a poem, a dream, a text, or otherwise, so long that it resonates with the question: Now, what are our dreams for Earth?

Come as you are. All are invited to cook, share and listen. Silence is welcomed.

Chris Paxton

Berlin-based culinary artist Chris Paxton, host of the seasonal artist dinner-listening event Dreams at Kwia, also co-founded Lucky You Studios, curating unique dining experiences for clients such as Highsnobiety and Resident Advisor. As chef-in-residence at Nuova Atlantide in 2023, he explored movement, language, and landscape. His work, featured in Planetary Embodiments, includes “Recipes in Ruins,” a collaboration with Maia Magoga, blending magical recipes with dreams for the future. Chris’s immersive culinary art, rooted in cyclical time and local specificity, fosters collective visions through shared meals that transcend the table. His work challenges environmental (dis)connections and confronts the haunting of food cultures by capitalist and colonial histories. In a collaborative dreamscape, Chris weaves sound and food, proposing a culmination of desires expressed through commensality, collaboration, and listening.

Belia Winnewisser

Producer and DJ Belia Winnewisser lives and works in Zurich.
For the completion of her studies in music and media art Belia tried to combine sound art and pop music in her work. With her first album Radikale Akzeptanz,
released by Präsens Editionen, she succeeded in doing just that. In addition, the release gave her an international perception. On July 2nd 2021 Belia’s second album SODA appeared likewise on Präsens Editionen. With this album, the artist marked another milestone in her solo career and she solidified her approach to
sound production. The media response to the release showed that Winnewisser had not only found her own way with it, but also an exciting one. A year later the
EP Mother Earth Took Poison In Her Soil was released on the Frankfurt label Die Orakel which presented Belia’s refreshing approach to club music.
Besides her work as a producer, Belia is resident DJ at Kapitel Bollwerk in Bern and enjoys various bookings. Belia’s DJ sets are bursting with energy and emotion and are characterised by her sense of rhythm and tension.

Contemporary Queer Chinese Art is the first English-language academic book that explores the intersections of queer culture and contemporary Chinese art from the mid-1980s to the present. This book brings together 17 internationally renowned artists, activists, curators and scholars to explore heterogeneous expressions of Chineseness and queerness in contemporary art from China and Chinese diasporas in Asia, Europe and North America.

Examining contemporary visual art, performance and activism, this book offers a rich archive of queer Chinese artistic expressions. It provides valuable insights into the status quo and intersectional struggles of Chinese artists who identify themselves as queer and who have associated their work with queer positionalities and perspectives. By sharing personal experiences, art expressions and critical insights about what it means to be queer and Chinese in a transnational context, the book reveals multiple forms and potentialities of queer politics in the domains of art and activism.

Monday 27.11.23

19:00 – Door Open & Apero

20:00 – meet Diyi Mergenthaler, co-editor of Contemporary Queer Chinese Art and doctoral student in art history at the UZH

20:35 – artist duo Ziwei Huang & Yumo Cheng talk about their queer art performance The Grand Gay Wedding, screening of trailer of their new performance Little Whore House de Chinois at Porny Days

21:15 – conversations with art historian Daniel Berndt x Diyi x Yumo x Ziwei

This workshop uses methods from Live Action Role-Playing (LARP) to expand on the world and characters of Winged Eros.

A LARP is a type of role-playing game in which players interact with each other in character, pursuing goals or acting out desires within a fictional setting. This inherently involves a form of collective worlding as players give shape to the fictional world and its narration through improvised action. In this workshop, we will work through practices of worlding through the lens of agency, ritual and gesture:

Worlding emerges from the interplay between the agency of players in relation to their characters, other players and the world. A world is forged through the negotiated or pre-determined setting in which the players’ improvisation unfolds. LARP makes use of game mechanics, rituals not determined by their meaning, but by their repeatability as well as gestures that allow players to express their intention.

The workshop is organised in cooperation with the research focus Aesthetics at Zürcher Hochschule der Künste. It is open to everyone without prior experience in LARPing.

On the beach you will be welcomed with: Juicy DJ sets, all-day-snacking and snack making, workshops for yoga, vogueing and couple dancing, clothes swapping, STI testing, art, information about queer life in Zurich and Switzerland, a small but sweet nude swimming area and much more.

Yours,

Gilles, Isi, Miriam, Philipp, Thea, Rabea, Vivi

Clubbüro Rote Fabrik, Gessnerallee, Shedhalle

The event is non-commercial and independent of sponsors. Profits will be donated to Queer Amnesty and TSEF. Please note: In case of continuous rain, the QBD will have to be cancelled. A possible cancellation would be communicated by Sunday noon.

Graphic Design: Rebekka Jamila

entrenous dance workshop to learn discofox steps

Vogueing and Free Movement Workshop with Nona XYZ

cozy movie corner with films from OIL Productions (TW: explicit)

Summer dress swap (bring your own clothes)

Queer Bay Yoga with Irina

STI Testing by Checkpoint

Queer & Sex-Positive Illustrations by Andrea Vollgas Studio

Information booth with information material from TGNS, TSEF, Queer Amnesty, Zürich Schaut Hin, Aro Ace Spectrum Switzerland

Finissage and screenings of the exhibition INVERNADERO by Toxi Space

RHIZOM soundsystem and DJs in the bay

Lineup:
10-12 Rakita
12-14 TVBXS
14-16 Ayshat Campbell
16-18 HAUSVRAU

If you want to participate with your own idea for the program, please contact queer.bay.day@gmail.com

In order to plan better, we are happy if you announce yourself via email (mail@shedhalle.ch), but also spontaneous guests are welcome. We are looking forward!

The artistic practices assembled here deal with the often painful yet still romanticized blurring of life and work. Over the last two years, questions around the infrastructures of life and work have been resurfacing more frequently. While modes of production such as the ‘homeoffice’ are being widely introduced, notions like ‘playbour’ promise a merging of labour, play and leisure into one single activity. Not only is this promise only meant for a few, it also often leads to extensive personal exhaustion.

The walls of Shedhalle are reminiscent of its past as a production site for mechanical silk weaving from the late 19th century, when manual labour within textile fabrication moved from workers individual homes to industrial complexes. Protozone7 takes these moments and shifts in time as a horizon to reconsider old questions such as: How to buffer lives and living from total abstraction and financialization?

The artists invited developed their work within the pandemic. As many of us, they went through moments of crisis, depression, illness, loss, deprivation. They found ways to foster kinships and ecologies that supported these works without giving in to the logics of extraction. This zone hosts their specific and often slow practices, their ongoing engagements and meticulous care towards materials.

with aLifveForms (fed and cared for by JP Raether), Claudia Hill, Kiraṇ Kumār, Nils Amadeus Lange, Liquid Dependencies Theory, Enad Marouf, River Oracle, SABA

curated by Lucie Tuma

curatorial assistance Sophie Germanier, Ani Ekin Özdemir

supported by the Institute for the Performing Arts and Film der Zürcher Hochschule der Künste and the Institute for the Performing Arts and Film der Zürcher Hochschule der Künste.

Friday, 10.06

open 17-21:00 + 20.00 Performance „Ich hatte viel Bekümmernis (BWV 21)” by Nils Amadeus Lange with Mario Espinoza, Nils Amadeus Lange and Flo Schlessmann

Saturday, 11.06

14 – 20.00 Co-Weaving Session II / 16.00 Uhr guided tour with Lucie Tuma

Sunday 12.06

14 – 18.00 Co-Weaving Session II / 16.00 Uhr guided tour with Lucie Tuma