White Money (AT)

White Money (AT)
2021

White Money (Arbeitstitel)

Koloniale Kontinuitäten, aufgesetztes Lächeln, demütigende Visa-Interviews, falsche Freundschaften, frustrierende Probenprozesse, exotisierende (Selbst-)Darstellungen – das sind nur einige Begleiterscheinungen von 'White Money'. White Money als provokanter Begriff für europäische Kunst-und Kulturförderung schafft und verstärkt Schieflagen in der globalen Kunstproduktion. White Money beherrscht den Performing Arts Market und bestimmt, wie zeitgenössische Ästhetik aussieht. Kooperationen zwischen Kulturschaffenden im globalen Norden und globalen Süden sind ohne dieses Geld nicht denkbar. Kunstwerke und Performances aus dem globalen Süden werden mit White Money in den globalen Norden eingeladen oder in Auftrag gegeben. Dabei werden systemimmanent rassistische und (neo-)koloniale Strukturen fortgeschrieben. Diese ungewünschte Realität wird oft mit Begriffen wie 'Partnerschaft' und 'Augenhöhe' verschleiert. Wie alle transnational agierenden Künstler*innen, Kurator*innen, Produzent*innen, Förderer und Jurys ist Flinn Works Teil dieses Systems. Mit dem Performing Arts Lab „White Money“ holt Flinn Works das Thema auf die Bühne. Wir forschen theoretisch und künstlerisch mit Kolleg*innen aus dem globalen Süden zu diesem Komplex: Zunächst in einem Online-Lab , dann in einer individuellen Arbeitsphase und abschließend in einer gemeinsamen Präsentation in Berlin. Alle Teilnehmenden können dabei auf langjährige individuelle Erfahrungen mit 'White Money' zurückgreifen. Zudem versucht das Projekt, die Grenzen der Förderstrukturen so weit wie möglich auszudehnen, damit die Teilnehmenden selbst über die Aufteilung und Verwendung der Projektgelder entscheiden können. Denn auch dieses Projekt wird mit weißem Geld finanziert.

Von und mit: Aderemi Adegbite (Lagos), Nora Amin (Kairo/Berlin), Rehema Chachage (Dar es Salam/Vienna), Anuja Ghosalkar (Bangalore), Konradin Kunze (Berlin), Abhishek Thapar (Amsterdam/Pune), Azade Shahmiri (Teheran), Sophia Stepf (Berlin)

Assistenz: Elisabeth Mascha

Assistenz Lab: Johanna Weisheit

Management: Gustavo Fijalkow

Premiere: 18.11.2021 (und 19.-21.11.2021) Sophiensaele Berlin

Eine Produktion von Flinn Works.
Gefördert vom Fonds Darstellende Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien und der Berliner Senatsverwaltung für Kultur und Europa.

In Kooperation mit dem  Institut für Kulturpolitik der Universität Hildesheim

 

Künstler*innen

 

Aderemi Adegbite is an artist-curator and an interdisciplinary artist, his current focus questions individual realities and truth(s) that stretch across the societal fabric as constants for an elastic socio-system. He is interested in how past experiences (agonies, joys, businesses, travels and religious beliefs) of being part of a family reshape the individual’s present conditions, and serve as catalysts for “the” surrealistic future. The psychological effect of the idea “one for all, all for one,” is at the centre of his new interventions through photography and video art. Aderemi has participated in: Artist-In-Residence at Bayreuth International Graduate Student of African Studies (BIGSAS), Germany and Jogjakarta with Yayasan Biennale Yogyakarta.

Nora Amin is a performer, choreographer, author, theatre director and scholar. Fellow of the centre for Theatre of the Oppressed, founder of Lamusica Independent Theatre group (Egypt) where she choreographed, directed & produced 40 performances of dance, theatre & music. Founder of The Nation-wide Egyptian Project for Theatre of the Oppressed and its Arab network (Lebanon, Sudan & Morocco), fellow of the Academy of the Arts of the World, fellow of the International Research Centre for Interweaving Performance Cultures, Valeska-Gert guest professor for dance sciences, visiting lecturer at the centre for contemporary dance, workshop instructor at Tanzfabrik, at Berlin Mondiale (Wasserwerk program), and Mentor at PAP (Performing Arts Program/ Berlin-LAFT) and Flausen+bundesnetzwerk program.

Rehema Chachage is a visual artist born in Dar es Salaam, Tanzania and currently doing her Ph.D in Practice with the Academy of Fine Art in Vienna (Austria). Her practice can be viewed as a performative archive which untraditionally collects stories, rituals and other oral traditions in different media (performance, photography, video, text as well as physical installations); which traces hi/stories directly tied to (and connecting with) her matrilineage; and, which utilizes methodologies which are both embodied and instinctual, employing written texts, oral and aural stories, melodies, and relics from several re-enacted/performed rituals as source of research.

Anuja Ghosalkar is the founder of Drama Queen—a Documentary theatre company in India. Her practice focuses on personal histories, archival absences & blurring the hierarchies between audience & performer—to extend the idea of theatre to create audacious work. Iterations around form, process, modes of media, sites, technologies, reclaiming narratives on gender & intimacy are critical to her performance making & pedagogy. Her work has been programmed by University of Oxford, Jawaharlal Nehru University, Forum Transregionale–ZMO, Frankfurt University. She co-curated an international workshop series on Documentary Theatre—with Gob Squad, Boris Nikitin, Rimini Protokoll. She also co-curated VR performances for the Serendipity Arts Virtual 2020.

Abhishek Thapar (Moga, 1985) is a theatre maker, performer, puppeteer and artist currently based in Amsterdam. He holds a post-graduate diploma in Physical Theatre from LISPA, London and a Master in Theatre degree from DAS Theatre, Amsterdam. Currently, he is building an artistic research and practice in post-colonial epistemologies, historiographic metafiction and storytelling.

Azade Shahmiri (b. 1982 - Tehran) is a theatre artist and performance maker. Her artistic practice oscillates between theater, performance, and forms of installation. Alongside the text, the collaboration between film, video, sonic and visual materials are central to her artistic practices. In her recent experiences she tended to move out of the black box to explore the potentiality and readability of space, and the qualities of co-presence of performer and spectator while trying to challenge the theater’s power structure. She graduated in Dramatic Literature from the University of Tehran in 2009 and holds a Ph.D. in Art Studies.