Remain Calm

(Reduced +)

A friend of mine once told me that there is no greater fortune than being in an institution like this one when the storm comes. Togetherness that weaves itself so tightly that you will never see yourself as a single unit again. – Miriam Stoney

“Remain Calm” by artist Nile Koetting invites audiences into an ever-evolving space of installation, performance, sound, light, scents, as well as texts written by author and researcher Miriam Stoney.

Inspired by the experience of evacuation drills for the occurrence of disasters in Japan, where Koetting was born and raised, “Remain Calm” muses on the conditions of “safe” zones in-between high-security technologies, risk-hedging measures, digitized care and shared spaces.

How do we exist and connect in a world where the prevention of disaster and risk are prevalent? “Remain Calm” provides a space for rituals and reflections, to explore singularity and communality in hyper-secured and unsecured time and space.

“Remain Calm” first breached at Kunstverein in Göttingen in March 2019 and then re-appeared in different forms at Palais de Tokyo, Klosterruine Berlin and Centre Pompidou x West Bund Museum Shanghai.

With: Nile Koetting (Concept, Artwork), Miriam Stoney (Script, Text), Juan Felipe Amaya Gonzalez (Choreographic development), Lara Dâmaso (Performance), David Suivez (Performance), Nozomu Matsumoto (Sound), Yoshihiro Inada (Video), Belle Santos (Costume), Benjamin Maus (Technical development)

Projector Robot sponsored by Cerevo, Animation background by AA-VFX

Unterstützt durch Stadt Zürich Kultur, ZHdK und Elisabeth Weber Stiftung

Programmed by Philipp Bergmann & Thea Reifler for Shedhalle

11.09.2020

16-22h no reservation needed

12.09.2020

10-18h no reservation needed

13.09.2020

10-17hno reservation neededfollowed by a Talk with Nile Koetting, Miriam Stoney, Marcella Lista (Head Curator, Video & New Media Collection, Musée national d’art moderne – centre Pompidou, Paris (online)), Lhaga Koondhor (cultural curator), Philipp Bergmann & Thea Reifler (members curatorial team Shedhalle), about the process of ‚Remain Calm‘ RSVP

With this presentation, Shedhalle takes part in Zurich Art Weekend. Check the full program here

Erotic Sociability

In this workshop Isabel Lewis shares ideas around sociality and embodiment. No formal training of any kind is required to participate and all adults with a curiosity about dance and other embodied practices are encouraged to attend.

Lewis will introduce feminist sociologist Roslyn Bologh’s notion of “erotic sociability” as a form of interhuman sociality and guide a conversation about this as an alternative to the dominant 20th century relational modes of competition, conflict, and coercion. This workshop will then focus on the tuning and heightening of the senses in order to facilitate a state of hyper-presence that will be the aid towards generative and affective forms of being and dancing together.

The figure of the unambitious stripper serves as a metaphor guiding us to connect with our inner worlds in order to become more radically receptive to our outer worlds. For Lewis “unambitiousness” is key to the notion of the unambitious stripper. The outward-oriented gaze of the stripper that usually reaches out to address and arrest the client with the ambition of monetary gain is turned in on itself in this scenario. In this movement workshop instead of stripping off our clothes, we will use our imaginations to turns our attention inward, toward the surface of our own skin and imagine peeling away layers of social constructs and identity to access a personal inner space.

The unambitious stripper dances first for themselves and then for others ultimately reconnecting with the human and nonhuman presences they share space with. The dance that emerges is processual, a double motion of inner and outer, a becoming and an undoing, a movement on a continuum of becoming an object of interest and desire and being drawn out as an interested and desiring subject.

Please register for

the workshop here!

With: Isabel Lewis
Programmed by Philipp Bergmann & Thea Reifler for Shedhalle

With this workshop, Shedhalle takes part in the Fleshy Interface Festival, initiated by Theater Neumarkt. Check the full program here

Kunstarbeiter*innen Solidaritätsverein invites you to the inaugural Civic Forum for Art Workers. The Forum brings together artists to help build and occupy a liminal social space where we will embody new perspectives for renegotiating our interactions as art workers.

Over two afternoon assemblies, split between Longtang and Shedhalle in Zurich, we will facilitate a space for civic introspection; a collective inquiry into how we build social contracts with autonomy and social equity as a cornerstone. This first iteration of the Forum will employ experiments in social dramaturgy to initiate discourse and motivate collective potential.

Join us:

Saturday, 3 Oktober 14:00 – 18:00 Longtang

Sunday, 4 October 14:00 – 18:00 Shedhalle

Kunstarbeiter*innen Solidaritätsverein was founded in response to the overwhelming call for new interactions around the systems that make up Contemporary Art production. Our aim is to work laterally to maintain greater autonomy for arts communities and aid in the elimination of systemic exploitation of creative labor.

Please bring a mask. Space is limited. Please register to reserve your spot:

register@civicforumforartworkers.live

With PROTOZONES 2020-2025, everything at Shedhalle will revolve around process-based art in the coming years. What this means in detail and which formats will be created is to be discovered over the next five years. We cordially invite you to be part of this process and look forward to meeting you at the media conference on 19 October 2020 at 5 pm.

Process-based art is based on the principle that it creates concrete communities and unknown spaces for action and thought – something Shedhalle has always been known for. This requires one thing above all: presence. To get involved. Sharing and exchange. For this reason, we are not planning to open our first Protozone with a media orientation in the classical sense, but rather to use our interface character in the Zurich cultural landscape. We are interested in bringing together those people who we believe belong together; media with artists with institutions with interested audiences.

Media conference, 19 October 2020, 5 pm at Shedhalle Zurich

PROTOZONES 2020-2025 the team presents the protozones
SHARING SHEDHALLE walking through the space together, Q&A in small groups and a pre-peek at the first protozone, which will open on 23 October.

We would be pleased to welcome you soon on site at Shedhalle. Please register by 16 October 2020 with your name and contact details via this e-mail address and bring a mask with you – this will help us to implement the protection concept. It is very important to us that everyone feels safe and comfortable in the room.

Until then, take good care of yourself.

Miriam Haltiner – management,
Thea Reifler and Philipp Bergmann – artistic direction,
Michelangelo Miccolis, Lucie Tuma, Isabelle Vuong – curatorial board

Contamination/Resilience

Hi-Intensity

The Impossibility of Living Without Each Other / How would the world look if we acted in a radically different way?

The current crisis reveals tendencies in society that have been present long before the pandemic: the growing disparity between rich and poor, the weakening of social and health services, increasing dependence on the international circulation of commodities, aggressive nationalism, and the marginalisation of certain groups of people. The crisis has turned fear into a viable incentive for action. An apocalyptic end seems more easily imaginable than a world of mutual support.

At the same time, the current situation shows how much people are interconnected, and it exposes our reliance on other species. In this moment, the protozone CONTAMINATION/RESILIENCE envisions new and hopeful visions for the future.

Contamination means danger—and change: which systems and structures are currently in the process of dissolution? How do they change, and under which circumstances do they reappear in the current crisis? We bring in resilience as counter-image and counter-strategy. The pressing question of our time is: what makes communities and ecosystems resilient?

The protozone CONTAMINATION/RESILIENCE looks for concepts in which science, technology, and the arts can coexist. It investigates forms that facilitate the cohabitation of diverse beings, cultures, and genders. At the same time, this exhibition format, the protozone, is an experimental system that itself is subject to processes and changes. To approach the term resilience, CONTAMINATION/RESILIENCE is building on feminist ideas by science fiction writers like Octavia Butler and Marge Piercy, and on the work of theoreticians such as Vandana Shiva, Donna Haraway, and Silvia Federici. Connection, relation, and networks are at stake. These authors envision a world in which the diversity of life is valued and protected, because it is evident how intertwined with and reliant on families, communities, and eco-systems existence is. We ask a leading question:

how could a world look if we decided to do things in a radically different way?

CONTAMINATION/RESILIENCE takes the idea of utopia as a point of departure to describe an ongoing process of acting and (re-)negotiating. It is about sickness and care, as well as mutual support, and about reciprocal change. Thus, it also opens a space to rethink own attitudes and learned mechanisms of handling crises.

In front of this background, the protozone gathers practices, theories, sci-fi-novels and artworks that pursue queer and eco-feminist ideas and stimulate a new way of thinking about the future.

The high intensity phase, which opens CONTAMINATION/RESILIENCE, invites 12 artists and collaborators to show existing works and the processes linked to them. The Shedhalle is open for two days and two nights starting on October 23. The audience is invited to fully experience the first protozone and actively participate in it. After that, during the low intensity phase, the works can be seen on the weekends through December 6.

Participating Artists: Lou Drago, Anna Ehrenstein + House of Tupamaras, Nina Emge, Nicholas Grafia + Mikołaj Sobczak, Dominique Koch, Shaun Motsi, Omsk Social Club, Stéph + Tina Yemi Reden, Sabrina Röthlisberger, Lauryn Youden.

In the gallery space, the works evoke different states of consciousness. They propose speculation on playful platforms, and they encourage the application and exchange of knowledge. The pieces invite visitors to work together, to trace connections and interplays, and they promote experiencing and feeling connections from different perspectives.

A detailed program is to be found in the agenda.

Programmed by Philipp Bergmann and

Thea Reifler for Shedhalle

Supported by Stadt Zürich Kultur, Pro Helvetia – Schweizer Kulturstiftung, Abteilung Kultur Basel-Stadt, Saly Frommer Stiftung, Badertscher AG

Suspending Time: Meditations for accessing alternate space/time in music

Music makes time audible – Susanne Langer

“Time exists for us because we experience tensions and their resolutions.” Philosopher Susanne Langer, claims that the particular building-up of tensions, and “their ways of breaking or diminishing or merging into longer and greater tensions, make for a vast variety of temporal forms.” In most Western music, we generally listen within a linear framework, recalling what has already been heard and anticipating what will come next. Often without ever having heard a piece of music before it is possible to anticipate the next phrase because of how it was suggested earlier in the piece.

Johnathan Kramer introduced the concept of vertical time in music after experiencing a performance of Erik Satie’s Vexations. Kramer encountered a feeling of having exhausted the information content of the work and experienced “getting bored, becoming imprisoned by a hopelessly repetitious piece.” The experience of time became slower and slower, threatening to stop. But through this boredom, Kramer discovered a different mode of listening. By being liberated from considering the music’s past and future, the present expanded; suddenly it was possible to enter the “vertical time of the piece.”

A vector can be drawn between this alternate mode of listening to music and numerous meditation and mindfulness practices that similarly emphasise the importance of focusing on the present. As Transience host Lou Drago sees it, meditation can be used to obviate thought in order to alleviate oneself temporarily from the weight of self-consciousness and other anxieties.

For the work Suspending Time: Meditations for accessing alternate space/time in music, Lou Drago speculates on various types of music which potentiate the experiencing of non-linear time.

The audience is invited to interact with the music with the objective of attempting to experience a suspension of time. This work hypothesises that these two factors, meditation and non-linear listening, are interdependent. The experience of vertical time can have a meditative effect, yet effectively one must be meditating – be alleviated from conscious thought – to be able to experience time vertically.

Lucid Hardware – The Sleep Temple

This hybrid Sleepover Asclepeions Temple uses both the methodology of the ancient greek healing night temples and the peer comfort of a teen sleepover. Exploring methodology that has been key to Omsk Social Clubs practice since 2016 the participant will go through a series of unconscious expanding exercises which envelop the ideas of Transpersonative Living: related to the enhanced interpersonal sensitivity, insight and perception of an individual that can feed into a group dynamic when controlled with care.

This unique work will require you to sign up as a group, you can sign up as 2 or 4 people.

The piece does require you to have some physical contact with your group members (only) so if touch triggers you this may not be the piece for you. We will operate a safe space policy throughout the piece. It will also, of course, require you to spend the night in the work so please bring suitable clothing and blankets, sleeping bags etc. on signing up you will be given more details on what you need for the work.

Timetable
23:00 Start
06:59 Breakfast (sunrise – daylight saving time ends)
07:59 Yoga

To join please email us stating the names and email addresses of your group.

With this workshop, Shedhalle takes part in the program Ü40 – Rote Fabrik, *24.10.1980

The self-help community dispensary

“Building community is to the collective as spiritual practice is to the individual.”

by Grace Lee Boggs

The self-help community dispensary is a space to find healing, to practice self-care and care for the community – built by the many and made for the many. It is a pharmacy for togetherness, a place to heal, to sooth, to take care and mutually protect each other.

As a practice of community care the remedies will be made collectively in the course of the exhibition. A variety of remedies with different healing powers will be available. Visitors can take with them the healing remedy that they feel they need at the very moment.
The self-help community dispensary is a place that tends to the needs of the individual in order for the community to flourish.

The remedies will be made collectively on the 14th of November 2020.

The workshop is already fully booked, but the remedies can be collected from the evening of the 14th.

With the voices of Melly Iyabo Reden, Muriel Scholl, Solina Sahli, Stéph and Tina Yemi Reden

Quote on image by Edouard Glissant

Stéph

First and foremost she is a gardener.

Stéph’s field of dedication shifted from international political and economic systems to mycorrhizae systems, reoccurring patterns across all the biological kingdoms’ species and to designs of intelligence and remembering in other than human entities. After graduating in international relationships from the University of Geneva she is currently studying Environmental Engineering at the Zurich University of Applied Sciences.

Tina Yemi Reden

Tina explores polyphony, the role of active listening and the resulting entanglements, interdependencies and relationships. She’s interested in the moments of care needed when living in and listening to this abundance of connections, desires and interactions. She works with sound installations, rituals, storytelling or listening sessions as possible places for decolonial, queer feminist, and mindful practices – always trying to initiate intimate moments of being together. She studied at the Zurich University of Arts, the Rietveld Academie and the Sandberg Institute in Amsterdam.

Installation + Video Screening

Dark Water, 2020 performed by Lauryn Youden is an auto-theoretical text that examines the history of mourning, lamentation and death as central to the daily lives of European society during the rise of capitalist patriarchy and the plague; as well as the divination and ritualistic practices used by many to endure this period of time.

Interwoven between passages are Youden’s personal experiences with ritualistic lamentation and intergenerational trauma expressed through poetry and healing found in Crip Magic practices.

Lauryn Youden is a performance and installation artist, poet and independent curator based in Berlin. Her practice derives from her research and navigation of modern Western medicine, the medical-industrial complex, ‘alternative’ healing practices and traditional medicine for the treatment of her chronic Illnesses and invisible disabilities.

By publicly presenting her personal experiences and re-evaluations of the history of medicine through a feminist, Crip queer lens, her work illuminates and advocates for repressed, marginalized and forgotten practices of care and knowledge.

Youden is currently in residence at the Künstlerhaus Bethanien, Berlin. She was the winner of the Berlin Art Prize in 2016, is a founder and co-director of Ashley Berlin and organizing member of Sickness Affinity Group (SAG)

with: Bojana Kunst + Isabelle Vuong / DUST x Shedhalle

In this talk organized by DUST, Bojana Kunst and Isabelle Vuong help us understand how we can steal back the futures that were promised us. You can attend the talk live in Zurich at Shedhalle (where Isabelle Vuong is present) or in Amsterdam (where DUST is present). If you cannot make it to Zurich or Amsterdam, you can join online via zoom (meeting ID: 89421981173).

The talk is in English and (lightly) moderated by DUST. The talk will be recorded.

As part of an ongoing conversation with the title / Stealing the Futures We Were Promised / DUST invites practitioners and thinkers to dream up a new kind of institute – one that they can act out and become.

We wonder: What kind of institute is needed right now, how can it act, how can it foster imagination and action in a time of paralyzing uncertainty?

As a fugitive institute that lives by uncertainty, we must continually renew ourselves, and listen loud and clear: How do we steal the future that already belongs to us? In other words, how can we uphold institutions to their promises made about the future, while at the same time bringing back those promised futures into the present?

DUST is a speculative institute that has been created in order to offer frames to practice imagination and storytelling. It is therefore an epicenter of experimental energy, built from the dialogue between critical theory and concrete artistic responses. DUST is five young artists and emanates from an autonomous three-week lab taking place as part of DAS Theater.

DUST is currently composed of Agat Sharma, Ainhoa Hernández Escudero,Tom Oliver Jacobson, Pankaj Tiwari, Luís Guenel and Ebana Garin

Isabelle Vuong is a producer and curator in the performing and visual arts with an M.A in Future Studies. She is currently co-curator at Shedhalle.

Prof. Dr. Bojana Kunst is a philosopher, dramaturg and performance theoretician, currently holding a position as professor at the university of Giessen in Applied Theater Studies.

The Impossibility of Living Without Each Other / How would the world look if we acted in a radically different way?

The current crisis reveals tendencies in society that have been present long before the pandemic: the growing disparity between rich and poor, the weakening of social and health services, increasing dependence on the international circulation of commodities, aggressive nationalism, and the marginalisation of certain groups of people. The crisis has turned fear into a viable incentive for action. An apocalyptic end seems more easily imaginable than a world of mutual support.

At the same time, the current situation shows how much people are interconnected, and it exposes our reliance on other species. In this moment, the protozone CONTAMINATION/RESILIENCE envisions new and hopeful visions for the future.

Contamination means danger—and change: which systems and structures are currently in the process of dissolution? How do they change, and under which circumstances do they reappear in the current crisis? We bring in resilience as counter-image and counter-strategy. The pressing question of our time is: what makes communities and ecosystems resilient?

The protozone CONTAMINATION/RESILIENCE looks for concepts in which science, technology, and the arts can coexist. It investigates forms that facilitate the cohabitation of diverse beings, cultures, and genders. At the same time, this exhibition format, the protozone, is an experimental system that itself is subject to processes and changes. To approach the term resilience, CONTAMINATION/RESILIENCE is building on feminist ideas by science fiction writers like Octavia Butler and Marge Piercy, and on the work of theoreticians such as Vandana Shiva, Donna Haraway, and Silvia Federici. Connection, relation, and networks are at stake. These authors envision a world in which the diversity of life is valued and protected, because it is evident how intertwined with and reliant on families, communities, and eco-systems existence is. We ask a leading question:

how could a world look if we decided to do things in a radically different way?

CONTAMINATION/RESILIENCE takes the idea of utopia as a point of departure to describe an ongoing process of acting and (re-)negotiating. It is about sickness and care, as well as mutual support, and about reciprocal change. Thus, it also opens a space to rethink own attitudes and learned mechanisms of handling crises.

In front of this background, the protozone gathers practices, theories, sci-fi-novels and artworks that pursue queer and eco-feminist ideas and stimulate a new way of thinking about the future.

The high intensity phase, which opens CONTAMINATION/RESILIENCE, invites 12 artists and collaborators to show existing works and the processes linked to them. The Shedhalle is open for two days and two nights starting on October 23. The audience is invited to fully experience the first protozone and actively participate in it. During the low intensity phase, the works can be seen on the weekends through December 6, accompanied by regular events.

Participating Artists: Lou Drago, Anna Ehrenstein + House of Tupamaras, Nina Emge, Nicholas Grafia + Mikołaj Sobczak, Dominique Koch, Shaun Motsi, Omsk Social Club, Stéph + Tina Yemi Reden, Sabrina Röthlisberger, Lauryn Youden.

In the gallery space, the exhibited works evoke different states of consciousness. They propose speculation on playful platforms, and they encourage the application and exchange of knowledge. The pieces invite visitors to work together, to trace connections and interplays, and they promote experiencing and feeling connections from different perspectives.

For special program check agenda.

Programmed by Philipp Bergmann and

Thea Reifler for Shedhalle

Safe Touch

Self-isolation is an additional intimate discrimination against the elderly, the sick, and singles. But there is intimacy that doesn’t need touch, and there are ways to touch safely. Just as people developed an understanding of “safe sex” in response to the AIDS crisis, we now have to learn and promote “safe touch.”

Safe Touch (HD, 5 min., 2020) is a tutorial video, directed by Ingo Niermann for the Army of Love, on how to be safely intimate with strangers during the Corona crisis: Anybody can meet with people in need of love and touch in a park, forest, meadow, or deserted parking lot and practice these exercises without the risk of infection.

The video will be screened at Shedhalle Friday to Sunday. Saturday afternoon, the space will be closed for a rehearsal of a communal training on how to be safely intimate with strangers during the Corona crisis. Training session led by Ingo Niermann and Alessandro Schiattarella.

If you are interested in taking part in a recruitment training now or in the future, please get in touch here: jointhearmyoflove at gmail dot com

The presentation is made possible by a partnership between Theater Neumarkt and Shedhalle. As part of Training for the Future, the Army of Love will begin recruiting new soldiers and welcoming new participants for their first Training Camp in Switzerland, to be hosted at Shedhalle later in the summer.

Curated by Michelangelo Miccolis.

About the Army of Love

The Army of Love is a solidarity that offers trainings, recruitments, discussions, manuals, and testimonial videos to promote the redistribution of sensual love to all who need it. Since its founding in 2016, the Army of Love has recruited and trained people of diverse age, gender, ethnicity, and appearance all over Europe.

www.thearmyoflove.net

We all move together

With:

Bárbara Wagner/Benjamin de Burca: FAZ QUE VAI – SET TO GO

Cécilia Bengolea: Lightning Dance

Frédéric Gies: Queens of the Fauns

Nguzunguzu: Just a Touch

Wu Tsang: Into a Space of Love

“Who misses what they have never, ever even imagined?”

― N.K. Jemisin, The Fifth Season

After the time of hibernation, Shedhalle craves the bodily experience of music, of being and moving together. Therefore, Proto-Club: We all move together showcases video works by artists who deal with movements in their different manifestations. Social movements, club culture, music and dance converge.

Equipped with a strong function-one speaker-system, Shedhalle opens its doors to the public, dreaming up a “proto-club”: a communal space for experiencing music and movement as well as for personal exchange about it in times of covid-19.

Proto-Club: We all move together creates a framework that allows the audience to experience these works with their whole bodies in the space – while still making this encounter as safe as possible in consideration of the ongoing pandemic.

Shedhalle x Schauspielhaus: As part of this programme, works by the group Moved by the Motion, who work at Schauspielhaus Zurich, will be shown at Shedhalle. As an “outpost” of the Proto-Club, the installation Show’s over by Moved by the Motion will be shown at Pfauen.

Proto-Club is a new series by Shedhalle, circulating around queer culture, eco feminism and social movements. It seeks to create an ongoing process around these topics, connecting them to speculative and science-fictional ideas. Therefore, on a regular basis, Proto-Club invites artists, researchers, activists and scientists to Shedhalle to share their work, practices and thoughts – always in relation to the respective here&now.

Title “We all move together”: Quote by Inner City <3

making histories together in more-than-human worlds

curated by Lucie Tuma

This Protozone is an invitation to linger and nest, to dwell and exist. The space is being inhabited by different artistic positions. Different but not separate – in difference and yet not to be separated from each other. Over years and in continuity, the practices and processes of the invited artists have been in close contact with more-than-human forms of existence. Spectres, rocks, water, algorithms, slime mold, swarms, plants, AI, quantum leaps and AlterIdentities. These contacts generate a state of transpassing. With it come shifts, variations, mutations.

The more-than-human points to all that doesn’t separate «us humans» from other modes of existence, from one another. The components of their bones are implied in the rocks and minerals of the planet, contained, present and recovered in them.

Within Continuity/Transpassing some of the things practiced by humans exclusively fall into the background. One of these things is time. As an efficient and human-made instrument, it serves the division and valorization of life and world. It binds us as con-temporaries and measures intervals of pleasure, studies, work. These classifications, administered with and as violence, put «the human» as an exclusive form of existence into the limelight of world events.

What if time was a tool instead? Unlike instruments, tools generally don’t know about prescribed purposes and designated use. The coupling of hand, tool and situation determines how and for what a tool will be used. Possibly even more so when there are no hands at work, but claws, clouds of mist or spores. A more-than-human lens allows time to become a tool.

Closely related to time is the notion of history. Time as a regulative instrument decides upon which futures, presents and pasts will have made history. Within the more-than-human, history exists in its plural form and as histories/herstories/theirstories* only.

We as visitors of Shedhalle are implicated in the processes of the protozone and become part of their histories. We say farewell to occupying worldly events from center stage and keep in mind questions about what may be meant by «humans». This will not be figured out by reason solely. We sense how we always exist implicated, entangled, interwoven. Softly we hear what horizons unfold by this. The hereby mutated temporalities seize us whenever we enter. We are at the end of «our time».

«Anyone, everyone, who happen to come across, walk by is welcome to stop by this place, remember or just try not to forget the current and past violence and violations that renders this global health crisis deadlier to some rather than others.»

Denise Ferreira da Silva: Elemental Study Room

making histories together in more-than-human worlds – Hi-Intensity

curated by Lucie Tuma

SATURDAY 05.06. (exhibition accessible from 14h)

12.00 – 15.00 Workshop: aLifveForms fed and cared for by J.P. Raether (please register: info@shedhalle.ch)

16.00 – 18.00 Portal Conversations: THE ORANGE GAME: Deborah Birch (The Orange Game is an oracle storytelling practice for collective future worldings.) (please register: info@shedhalle.ch)

19.00 – 20.30 Poethical Reading (online, zoom link here): ELEMENTAL STUDY ROOM: Denise Ferreira da Silva und Valentina Desideri

20.30 Performance Enad Marouf: AS IF A TONGUE WAS TRACING TIME. / With: Samuel Pereira and Enad Marouf

21.00 – 23:00 Listening Session in the Transpassing Zone: Josh

***
SUNDAY 06.06. (exhibition accessible from 11h)

11.00 Workshop: HONG KONG MILK TEA: As a preparation of the afternoon’s Portal Conversation , you’re cordially invited to join the making of this particular drink: Hong Kong Milk Tea.

14.00 Portal Conversations: RIVER ORACLE (at Shedhalle and online): Paloma Ayala, Anne-Laure Franchette and Riikka Tauriainen (please register: info@shedhalle.ch)

16.00 Portal Conversations (online and at Shedhalle): HELLSCRAPE and FREEDOM-HI with: Zheng Mahler (Royce Ng & Daisy Bisenieks), Tiffany Sia, Zine Coop (Beatrix Pang, Ranee & Forrest) and VOLUMES Archive (Anne-Laure Franchette, Patrizia Mazzei & Gloria Wismer)

18.30 Performance Enad Marouf: AS IF A TONGUE WAS TRACING TIME. / With: Samuel Pereira and Enad Marouf

19.00 Listening Session in the Transpassing Zone: Tina & Nina

***

This Protozone is an invitation to linger and nest, to dwell and exist. The space is being inhabited by different artistic positions. Different but not separate – in difference and yet not to be separated from each other. Over years and in continuity, the practices and processes of the invited artists have been in close contact with more-than-human forms of existence. Spectres, rocks, water, algorithms, slime mold, swarms, plants, AI, quantum leaps and AlterIdentities. These contacts generate a state of transpassing. With it come shifts, variations, mutations.

The more-than-human points to all that doesn’t separate «us humans» from other modes of existence, from one another. The components of their bones are implied in the rocks and minerals of the planet, contained, present and recovered in them.

Within Continuity/Transpassing some of the things practiced by humans exclusively fall into the background. One of these things is time. As an efficient and human-made instrument, it serves the division and valorization of life and world. It binds us as con-temporaries and measures intervals of pleasure, studies, work. These classifications, administered with and as violence, put «the human» as an exclusive form of existence into the limelight of world events.

What if time was a tool instead? Unlike instruments, tools generally don’t know about prescribed purposes and designated use. The coupling of hand, tool and situation determines how and for what a tool will be used. Possibly even more so when there are no hands at work, but claws, clouds of mist or spores. A more-than-human lens allows time to become a tool.

Closely related to time is the notion of history. Time as a regulative instrument decides upon which futures, presents and pasts will have made history. Within the more-than-human, history exists in its plural form and as histories/herstories/theirstories* only.

We as visitors of Shedhalle are implicated in the processes of the protozone and become part of their histories. We say farewell to occupying worldly events from center stage and keep in mind questions about what may be meant by «humans». This will not be figured out by reason solely. We sense how we always exist implicated, entangled, interwoven. Softly we hear what horizons unfold by this. The hereby mutated temporalities seize us whenever we enter. We are at the end of «our time».

«Anyone, everyone, who happen to come across, walk by is welcome to stop by this place, remember or just try not to forget the current and past violence and violations that renders this global health crisis deadlier to some rather than others.»

Denise Ferreira da Silva: Elemental Study Room

On the 4th of September, Proto-Club teams up with CAMP FIRES to show the music-performance VENUS by Tyler Matthew Oyer at 20:00.

Before and after, the video-program of Proto-Club2: (be)longing will be screened for a last time, with movies by Nadia Granados & Simon(e) Jaikiriuma Paetau, Tarek Lakhrissi, Vika Kirchenbauer, Doireann O’Malley.

04. September 2021, Videos 18-20 & 21-02h, Music-Performance VENUS 20 Uhr

Tickets via Lange Nacht der Museen, or for Guest-List write us or ask us at the entrance

20h VENUS

Part operetta, part techno club, and part esoteric ritual, VENUS is a music-driven stage show that revolves around meditations on Venus as a femme, anti-patriarchal, non-dominant icon. It features music from Tyler Matthew Oyer’s records RELEASE DELUXE, NO TEMPLE, and RETEMPLE, in addition to brand new unreleased songs produced during summer 2021. The work premiered in collaboration with Rupert Residency at Lukiskes Prison 2.0 in Vilnius, Lithuania in July.

TYLER MATTHEW OYER

Over the last decade Tyler Matthew Oyer has become an internationally recognized visual and performing artist known for their theatrical, campy, goth-pop performances. Their songs call for social change; the destruction of patriarchal rule in favor of femme, queer, anti-violent, unconventional or maladjusted alterities. Their musical aesthetics combine performance art-spoken-work incantation with their training in opera and classical voice. Their performances are born from the radical legacies of Klaus Nomi, Kembra Pfahler, Kenneth Anger, Peaches, Ron Athey, and Diamanda Galas. Previous performances include The Getty Museum, Silencio Paris, Ekebergparken Oslo, MoMA PS1, and documenta 13.

18-02h Proto-Club2: (be)longing

Out of the Blue, Tarek Lakhrissi, 2019, 13min – Mojana, Nadia Granados & Simon(e) Jaikiriuma Paetau, 2021 (premiere), 18min – Prototypes I, Doireann O’Malley, 2017, 36min- YOU ARE BORING!, Vika Kirchenbauer, 2015, 15min

Proto-Club2 (be)longing immerses us in the intimate and poetic sound – and visual worlds of four artists whose practices are deeply interwoven with queer concerns. Their works radically expand the horizon of possible representations and ideas of bodies, relationships and worlds. The people and mythical beings that appear in them resist suppression and insist on the possibilities of the present, change and queer futures.

Proto-Club is a series by Shedhalle, circulating around queer culture, eco feminism and social movements. It seeks to create an ongoing process around these topics, connecting them to speculative and science-fictional ideas.

CAMP FIRES – The Body as a Queer Stage

CAMP FIRES is on view from 2.9. until 23.10.2021 at Last Tango and Tanzhaus Zürich and from 17.09.-31.10.2021 at Shedhalle x Protozone4. Tyler Matthew Oyer’s performance is part of CAMP FIRES’s extensive and collaborative public program. More information here

CAMP FIRES is a polymorphous project that reflects on the body as a performative interface to resist the normative gaze over dissident identities—that which is queer in the broadest sense. It centers around the idea of camp as a mode of resistance against dominant cultural codes through subversion, exaggeration, and artifice.

The project entails an exhibition comprising 18 video works by artists using a variety of strategies to challenge essentialist ideas about identity as well as a live program including performances, screenings, talks, and events in collaboration with various collectives and institutions.

CAMP FIRES took place for the first time in 2019 at UV in Buenos Aires. For the second iteration in Zurich, the exhibition is distributed across three venues—Last Tango that hosts 12 works; Tanzhaus Zürich where 3 videos are displayed in the bar area of the theater; and Shedhalle that blends 3 works of CAMP FIRES into their own exhibition Protozone4.

Through this de-centralization and de-hierarchization, CAMP FIRES aims to make visible the existence across the city of a network of spaces and collectives sharing a queer mindset while reflecting on the ubiquitous yet elusive character of queerness in the public space.

Protozone 4

Hi-Intensity 17.09. 10-02h / 18.09. 10-22h / 19.09. 10-20h ZURICH ART WEEKEND

Lo-Intensity 20.09.-31.10. every Sa 14-20h & So 14-18h

Exhibition with: Shu Lea Cheang, Cibelle Cavalli Bastos*, Tarek Lakhrissi, Izidora L LETHE, Doireann O’Malley, Ceylan Öztrük, Public Fiction Group, Sabrina Röthlisberger (from October), Bhenji Ra & Justin Shoulder*, Jacolby Satterwhite*, Sin Wai Kin.

*as part of CAMP FIRES – The Body as a Queer Stage

Shedhalle’s exhibition format „Protozone“ focuses on process-based art in Hi- and Lo-intensity phases. Protozone4 Extra Worlding explores artistic practices of worlding. The term describes the making or building of worlds which is often part of science fiction. The exhibition showcases the power that comes with the act of worlding which influences the participating artists in their work. Instead of looking at worlds from the outside, we can create them: We are part of them and therefore have a say in them.

With pandemics, wars, climate crisis, but also justice-, equality- and ecology-movements overlapping, our current reality already feels like a science-fiction story. Many artists use this moment to critically analyze the world surrounding them and express their longing for possible alternatives. Artistic works that emerge in these moments of crisis might be the ones that reveal ideas for the future.

The exhibition allows us to experience these worlds physically through the works of the artists.. Theyuse digital technologies or alter bodies to access a variety of worlds and explore their possibilities. Often, these worlds evolved over several years and the artists share them with audiences in various ways.

Besides various worlds, this Protozone explores the materials of contemporary digital technologies that can be involved in worlding. Because a “cloud” (digital storage space) like all digital technologies rely on the mining of rare earths, on server farms and electricity. What does it take to build digital environments? How can they be built sustainably?

We can dive into these worlds with our own bodies, move in them and sometimes change them. These experiences can encourage us to create the worlds we want to live in. And it can strengthen our resistance against worlds we don’t want to be part of.

Protozone4 Extra Worlding is curated by Philipp Bergmann & Thea Reifler in collaboration with Camp Fires* (Cibelle Cavalli Bastos, Bhenji Ra & Justin Shoulder, Jacolby Satterwhite), Zurich Art Weekend, lila. queer festival, Haus der Kunst München (Tarek Lakhrissi), Kunsthalle Osnabrück (Sabrina Röthlisberger), Blindspot Gallery Hong Kong (Sin Wai Kin), AiR (Engy Mohsen), School of Commons (Carina Erdmann), GZ Wollishofen (VR-Café)

Supported by: Stadt Zürich Kultur, Kanton Zürich Fachstelle Kultur, Elisabeth Weber-Stiftung

fmac Genève & Pro Helvetia (Sabrina Röthlisberger)

*CAMP FIRES – The Body as a Queer Stage

CAMP FIRES is an art project curated by Simon W Marin and Violeta Mansilla that is currently taking place across various venues in Zurich. Artworks are on view until 23.10.2021 at Last Tango and Tanzhaus Zürich, and from 17.09.-31.10.2021 at Shedhalle in this Protozone. More information and program here

Hi-Intensity-Program:

September 17 open 10:00-02:00

15:00 Open Press-Meeting, meeting at the entrance desk, Shedhalle

17:00 – 19:00 Workshop Engy Mohsen x Air Residency: How to love many in many ways. Rote Fabrik, Studio A1.010 (next door) Please register here

19:30 Podium at lila. queer festival: Queer Art Into The Spotlight! With Jacqueline Fehr, Zacker, Thea Reifler, Florian Vock, moderated by Anna Rosenwasser (only for lila. festival visitors)

20:00 introduction to the exhibition by Philipp Bergmann, meeting at the entrance desk, Shedhalle

22:00-24:00 opening DJ-set von Aérea Negrot, Shedhalle

September 18 open 10:00-22:00

12:00 – 14:00 Workshop Engy Mohsen: How to love many in many ways. Rote Fabrik, Studio A1.010 (next door) Please register here

14:00-21:00 – worlding workshop by Carina Erdmann x School of Commons: where the unborn conspire, Rote Fabrik Backstein & online, please register here

17:00 introduction to the exhibition by Philipp Bergmann & Thea Reifler, meeting at the entrance desk, Shedhalle

17:00-20:00 – script reading + interview casting call performance Shu Lea Cheang, Shedhalle

21:00 DJ-set by channel 6, Shedhalle

September 19 offen 10:00-20:00

14:00 opening & introduction VR-Café, Shedhalle

15:00 introduction to the exhibition by Philipp Bergmann & Thea Reifler, meeting at the entrance desk, Shedhalle

16:00-19:00 motion capture performance Shu Lea Cheang, Shedhalle

Protozone 4

Lo-Intensity

Closing Program

29 October

29 Oct 16-20h Exhibition open

From 23 October: Public Fiction Group extended: Rosida Koyuncu, Meloe Gennai und Roble/ RO X Three additional positions join Public Fiction Group’s speculative installation Resto Diaspo in the exhibition space beginning Saturday, October 23, 2021. As a separate exhibition space within the exhibition space, the Resto features the work of Rosida Koyuncu, Meloe Gennai und Roble / RO X.

30 October

14-22h: Exhibition open, 22-06h: Closing Party Sabbatum Fever, ŒSTROGEN Club-Night by Sabrina Röthlisberger x Parkingstone x Clubbüro Rote Fabrik x Shedhalle

31 October

14-18h: LAST CHANCE Exhibition open, 18-20h: Fade out human mimikry night – Farewell to “Extra-Worlding” with artists of Protozone4 & Shedhalle Team

Exhibition with: Shu Lea Cheang, Cibelle Cavalli Bastos*, Tarek Lakhrissi, Izidora L LETHE, Doireann O’Malley, Ceylan Öztrük, Public Fiction Group, Sabrina Röthlisberger (from October), Bhenji Ra & Justin Shoulder*, Jacolby Satterwhite*, Sin Wai Kin.

*as part of CAMP FIRES – The Body as a Queer Stage

Shedhalle’s exhibition format „Protozone“ focuses on process-based art in Hi- and Lo-intensity phases. Protozone4 Extra Worlding explores artistic practices of worlding. The term describes the making or building of worlds which is often part of science fiction. The exhibition showcases the power that comes with the act of worlding which influences the participating artists in their work. Instead of looking at worlds from the outside, we can create them: We are part of them and therefore have a say in them.

With pandemics, wars, climate crisis, but also justice-, equality- and ecology-movements overlapping, our current reality already feels like a science-fiction story. Many artists use this moment to critically analyze the world surrounding them and express their longing for possible alternatives. Artistic works that emerge in these moments of crisis might be the ones that reveal ideas for the future.

The exhibition allows us to experience these worlds physically through the works of the artists.. Theyuse digital technologies or alter bodies to access a variety of worlds and explore their possibilities. Often, these worlds evolved over several years and the artists share them with audiences in various ways.

Besides various worlds, this Protozone explores the materials of contemporary digital technologies that can be involved in worlding. Because a “cloud” (digital storage space) like all digital technologies rely on the mining of rare earths, on server farms and electricity. What does it take to build digital environments? How can they be built sustainably?

We can dive into these worlds with our own bodies, move in them and sometimes change them. These experiences can encourage us to create the worlds we want to live in. And it can strengthen our resistance against worlds we don’t want to be part of.

Protozone4 Extra Worlding is curated by Philipp Bergmann & Thea Reifler in collaboration with Camp Fires* (Cibelle Cavalli Bastos, Bhenji Ra & Justin Shoulder, Jacolby Satterwhite), Zurich Art Weekend, lila. queer festival, Haus der Kunst München (Tarek Lakhrissi), Kunsthalle Osnabrück (Sabrina Röthlisberger), Blindspot Gallery Hong Kong (Sin Wai Kin), AiR (Engy Mohsen), School of Commons (Carina Erdmann), GZ Wollishofen (VR-Café)

Supported by: Stadt Zürich Kultur, Kanton Zürich Fachstelle Kultur, Elisabeth Weber-Stiftung

fmac Genève & Pro Helvetia (Sabrina Röthlisberger)

*CAMP FIRES – The Body as a Queer Stage

CAMP FIRES is an art project curated by Simon W Marin and Violeta Mansilla that is currently taking place across various venues in Zurich. Artworks are on view until 23.10.2021 at Last Tango and Tanzhaus Zürich, and from 17.09.-31.10.2021 at Shedhalle in this Protozone. More information and program here

x Shedhalle: Protozone5 Kollektive Resonanz

For programme and opening hours in the context of the exhibition Protozone5 Kollektive Resonanz: see agenda on this website.

Beyond the exhibition, public research moments and various community events will take place at Shedhalle from November 10 to December 5: a Sunday market, diaspora talks by Club La Fafa, and a methodology café by Architecture by Refugees.

For the complete programme of Open Futures at Shedhalle, Gessnerallee, Tanzhaus Zürich and online: see www.openfutures.ch – the programme will grow on an ongoing basis.

Open Futures is a place to meet and experiment together – a place of experience, a celebration and many dinners. Starting November 10, an exhibition, talks, performances, workshops, walks, as well as a Sunday market, will take place in our partner houses Shedhalle, Gessnerallee and Tanzhaus Zürich. The focus is on dialogue, being with each other, experimenting and thinking about sustainability. Sustainability concerns our relationships with each other and with the overarching ecosystem, and is therefore best experienced in communities.

At the center of the cooperation with Shedhalle, Gessnerallee and Tanzhaus Zürich is a research phase for five artists and artist groups from the fields of dance and visual arts. For two to three weeks, the artists investigate practices of sustainability in dialogue with the audience. They explore what artistic research can contribute to social sustainability and how sustainable and social practices can in turn enrich artistic practice.

The process-based exhibition “Kollektive Resonanz” at Shedhalle is dedicated to questions of sustainability and its collective, social as well as cultural dimensions. The approaches range from Romy Rüegger’s historical examination of the history of textile production to the current living situation of migrants in Zurich (Club La Fafa). The works shown are dedicated to open, sometimes fragile, uncertain futures. Many are designed to engage with audiences through performances, public research formats, workshops and diaspora talks. More works and traces will emerge as the exhibition progresses.

Contributors: Tarik Hayward, Monica Ursina Jäger, Stefanie Knobel & Samrat Banerjee, Club La Fafa, Romy Rüegger, Susan Schuppli, traces and results of the Artists-in-Research, the ETH Newrope students* and the visitors and workshop participants. Anke Hoffmann (scientific accompaniment and evaluation). Camille Jamet (production & communication manager Open Futures), Moritz Sauer (collaborator program & dramaturgical support Open Futures), Isabelle Vuong (program manager & management Open Futures)

Artists-in-Research include Jessica Huber & Karin Arnold, Michelle Ettlin, Manon Fantini, Nelly Rodriguez and Nina Willimann (Gessnerallee), Stefanie Knobel & Samrat Banerjee/The Institute for Plant, Animal and Human Migration (Gessnerallee), The Field – Lucia Gugerli, Pierre Piton, Declan Whitaker, Mirjam Jamuna Zweifel (Tanzhaus), Romy Rüegger (Shedhalle), Tarik Hayward (Shedhalle).

Main partners: Shedhalle, Gessnerallee, Tanzhaus & The Field, ETH Newrope

Project partners: Liebe Chaos Verein e. V, L200, Transition-Zurich, Urban Equipe, p2panda

Support: City of Zurich Dance, Canton of Zurich Fine Arts, Ernst Göhner Foundation, Pro Helvetia, Georg und Bertha Schwyzer-Winiker Stiftung, Cassinelli-Vogel Foundation, Temperatio Foundation, Ernst and Olga Gubler-Hablützel Foundation, Fondation Paul-Edouard Piguet, Erna and Curt Burgauer Foundation, Canton de Vaud, City of Zurich – Umwelt- und Gesundheitsschutz, Migros Kulturprozent Zürich, SüdKulturFonds