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Today's Topics:

   1. [mZ] call for submissions KUNST IM UNTERGRUND 2018,       nGbK
      Berlin (metroZones)
   2. Ausstellung "Yallah!?" letzte Woche und Rahmenprogramm
      (petja dimitrova)
   3. mdw_transculturality lecture series/ Herzliche Einladung zu
      Transkulturalität_mdw (Daliah Hindler)
   4. Demonstration against the »Lueneburg Line« on April 26, 2018,
      6 p.m. ([KUL] Kunstraum der Leuphana Universitaet Lueneburg)
   5. 03. Mai und 4.Mai. Lecture Jumoke Sanwo   (Lagos/Nigeria)
      (petja dimitrova)
   6. NPIF/AHRC Funded PhD Studentships in AI, Data, Creative
      Sector - with Isis Arts and Open Data Institute (Beryl Graham)
   7. mdw_transculturality lecture series/ Herzliche Einladung zu
      Transkulturalität_mdw (Daliah Hindler)
   8. Vienna, 9 June 2018: Conference "After Audience" (eipcp info)
   9. [Newsletter] current and coming exhibitions (Oliver Ressler)


----------------------------------------------------------------------

Message: 1
Date: Fri, 13 Apr 2018 16:29:42 +0200
From: metroZones <postmas...@metrozones.info>
To: pr_bey...@lists.metrozones.info
Subject: [transversal] [mZ] call for submissions KUNST IM UNTERGRUND
        2018,   nGbK Berlin
Message-ID: <57da4199-0a30-410f-9dac-57f1c5bef...@metrozones.info>
Content-Type: text/plain; charset="utf-8"


 

International open single-phase art competition Kunst im Untergrund [Art in the 
Underground] 2018

?Posters made political ? 60 years of art instead of advertising?


In the anniversary year 2018, the art competition returns to the Alexanderplatz 
Underground Station. Large political posters and series of posters under the 
motto ?Right to the City? will be presented on billboards behind the tracks of 
the U5 line . Parallel to this open call, a cooperative procedure will be 
carried out, to which the artists Katharina Sieverding, Wolfgang Tillmans and 
Sven Johne have been invited.

The open call is looking for proposals that use the medium of the political 
poster to set the motto ?Right to the City? in relation to the large housing 
estate of Berlin-Hellersdorf. The motto ?Right to the City? is of global social 
relevance, while at the same time playing a special role for Berlin?s urban 
community.

19 April 2018: Information meeting for interested artists.              
Starting: 2 pm at station urbaner kulturen, Auerbacher Ring 41 (entrance via 
Kastanienboulevard, next to Lebenshilfe e.V.), 12619 Berlin-Hellersdorf

22 May 2018, 5 pm: Submission deadline. 

Sept.-Dec. 2018: Realisation period                                     

All information regarding the call can be found at 
http://www.ngbk.de/en/show/70/posters-made-political-60-years-of-art-instead-of-advertising
 
<http://www.ngbk.de/en/show/70/posters-made-political-60-years-of-art-instead-of-advertising>

Work Group ?Art in the Underground? 2018 (Feben Amara, Jochen Becker, Christian 
Hanussek, Eva Hertzsch, Adam Page)





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_________________________________________
metroZones - Zentrum für städtische Angelegenheiten | Center for Urban Affairs 
| Centro para asuntos urbanos
www.metroZones.info
i...@metrozones.info
_________________________________________
Von der Liste abmelden: <mailto:pr_beyond-unsubscr...@lists.metrozones.info>

------------------------------

Message: 2
Date: Wed, 18 Apr 2018 10:02:34 +0200
From: petja dimitrova <dpe...@gmx.net>
To: "kritische Migr.Forschung und Grenzregimeforschung"
        <kr...@lists.univie.ac.at>, Krit_Migr_Wien
        <kritnet_w...@yahoogroups.de>
Subject: [transversal] Ausstellung "Yallah!?" letzte Woche und
        Rahmenprogramm
Message-ID: <148576e4-6f32-475a-96db-71ae38c61...@gmx.net>
Content-Type: text/plain; charset="utf-8"

Liebe Freund*innen und Interessierte,
Diese Woche bietet die letzte Gelegenheit die Ausstellung "Yallah!? - Über die 
Balkanroute" in der IG Bildende Kunst (Gumpendorferstraße 10-12) in Wien zu 
besuchen. 

Zu diesem Anlass gibt es auch ein elaboriertes Rahmenprogramm (detaillierte 
Beschreibung weiter unten):



>>> Freitag, 20. April, 18 Uhr: Kein Durchkommen? Die europäische und türkische 
>>> Migrationspolitik seit dem EU-Türkei-Deal - Ort: Atelierhaus / Semperdepot, 
>>> 1. Stock., Léhargasse 6-8, 1060 Wien

>>> Samstag, 21. April, 19 Uhr: The Balkanroute now and then ? a conversation 
>>> with activists from Hungary and Croatia - Ort: Slowenischer Klub, 
>>> Mondscheingasse 11, 1070 Wien

>>> Freitag, 27.4., 18 Uhr: Sahel und Sahara - afrikanische Bewegungsfreiheit 
>>> im Fokus des Grenzregimes - Ort: Afripoint, Hofmühlgasse 2, 1060 Wien



Alle Details und die Öffnungszeiten der Ausstellung auch auf 
yallah-balkanroute.eu <http://yallah-balkanroute.eu/> 

Wir freuen uns auf euer Kommen!





/// Freitag, 20. April, 18 Uhr ///

 Kein Durchkommen? Die europäische und türkische Migrationspolitik seit dem 
EU-Türkei-Deal 

Mit der Deklaration des EU-Türkei-Deals am 18. März 2016 konnte die EU die 
akute Krise ihres Grenzregimes beenden, die für hunderttausende Menschen im 
langen Sommer der Migration die Flucht nach Europa ermöglicht hatte. Trotz 
seines informellen Charakters erfüllt der Deal seitdem zuverlässig seinen 
Zweck: Die Migrationen über die Ägäis und von Griechenland entlang der 
Balkanroute konnten massiv verringert und kontrolliert werden. Mehr als 60.000 
Migrant*innen hängen weiterhin in Griechenland fest und Hunderttaus...(tharr be 
more)ende sind in der Türkei gestrandet, die im Gegenzug für massive 
Finanzhilfen an die türkische Regierung von dieser an der Weiterreise gehindert 
werden. Mit den Migrationspartnerschaften und dem EU Trust Fund for Africa 
werden mehr und mehr Staaten in Afrika und im Nahen Osten zu Handlangern der 
EU-Migrationspolitik gemacht.

Wie ist die Flut an Gesetzesinitiativen, Datenbanken und neuen Agenturen in der 
EU-Migrations- und Grenzpolitik bewerten? In welche Richtung entwickelt sich 
das EU-Grenzregime? Welche Folgen werden die umfangreichen Reformvorschläge für 
Flüchtende und Migrant*innen haben?

Mit:

Bernd Kasparek (bordermonitoring.eu <http://bordermonitoring.eu/>) stellt seine 
kritische Analyse der migrationspolitischen Vorhaben der EU-Kommission 
?EU-Migrations- und Grenzpolitiken nach dem
EU-Türkei-Deal? vor.

Ilker Ataç (Universität Wien) wird im Anschluss die Folgen des Flüchtlingsdeals 
für das Migrationsregime und die Migrationspolitik der Türkei analysieren.

Ort: Atelierhaus / Semperdepot, 1. Stock., Léhargasse 6-8, 1060 Wien

https://www.facebook.com/events/808569409340715/?notif_t=plan_user_associated&notif_id=1523862911774384
 
<https://www.facebook.com/events/808569409340715/?notif_t=plan_user_associated&notif_id=1523862911774384>
 



/// Samstag, 21. April, 19 Uhr ///

The Balkanroute now and then ? a conversation with activists from
Hungary and Croatia

Even in 2015, the central European media coverage of the Balkanroute was 
dominated by stereotypical representations of ?the Balkans?, leaving out the 
factual socio-political situation in the transit countries itself and thereby, 
reproducing them as Europe?s periphery. On this evening we want to shift this 
focus: Having invited activists from Hungary and Croatia, we will discuss how 
the Balkanroute or generally speaking (transit-)migration has changed societies 
and political landscapes in the regions and cities of (South-)Eastern Europe. 
We want to introduce new political and grassroot initiatives to showcase what 
has happenend since 2015 and how the reactionary roll-back and blockade of the 
route has given birth to old and new local border regimes, that are 
characterised by violence and repression ? but that are also met with 
resistance.

The event will be held in English, with possible whisper translations into 
other needed languages

Ort: Slowenischer Klub, Mondscheingasse 11, 1070 Wien

https://www.facebook.com/events/165388797504861/?notif_t=plan_edited&notif_id=1523896936969084
 
<https://www.facebook.com/events/165388797504861/?notif_t=plan_edited&notif_id=1523896936969084>
 



/// Freitag, 27.4., 18 Uhr /// 

Sahel und Sahara: afrikanische Bewegungsfreiheit im Fokus des Grenzregimes

* Filmscreening: "Au bout de l'Odyssee" (1), anschließend Gespräch mit den 
Filmemacher*innen des Protest Productions Collective.

* Infos zu Grenzregime-Praktiken, Migrationskontrolle und deren Folgen für die 
Sicherheit der Menschen auf den Reisewegen im Sahel-Sahararaum am Beispiel der 
Region Agadez / Niger.

* Vorstellung des Projektes "Alarmphone Sahara" - eine Initiative gegen das 
Sterben-lassen von Migrant*innen und Flüchtenden in der Wüste.

(1) Filmbeschreibung Au bout de l'Odyssee:

In "Au bout de l'Odyssee" erzählt Aladji Traoré gemeinsam mit Anderen die 
Geschichte seiner Migration von Sokodé/Togo über Niger, Libyen und Mittelmeer 
bis nach Europa. Er gibt einen Eindruck von der lebensgefährlichen, 
traumatischen und oftmals tödlichen Realität dieser Migrationsroute und geht 
der Frage nach, warum viele sich trotz alldem auf diesen Weg begeben.

Ort: Afripont, Hofmühlgasse 2, 1060 Wien
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Message: 3
Date: Wed, 18 Apr 2018 12:21:24 +0200
From: "Daliah Hindler" <hindle...@mdw.ac.at>
To: <transversal-l...@eipcp.net>
Subject: [transversal] mdw_transculturality lecture series/ Herzliche
        Einladung zu Transkulturalität_mdw
Message-ID: <5ad71c240200001000021...@tgwia7.mdw.ac.at>
Content-Type: text/plain; charset="utf-8"

Invitation to the 7th date of the lecture series 2017/18 on
transculturality hosted by the University of Music and Performing Arts
Vienna.       Transkulturalität_mdw 
Cross-boundary Explorations in Arts and Science
  

9 May 2018, 5:00 p.m.
University of Music and Performing Arts Vienna
Fanny Hensel-Hall
3, Anton-von-Webern-Platz 1 
http://www.mdw.ac.at/ive/ringvorlesungsprogramm
 
7th lecture: Sound and Knowledge
Lecture (in German): Johannes Salim Ismaiel-Wendt
Since 2012 professor for systematic musicology with focus on music
sociology at the University of Hildesheim Foundation, before research
associate at the Haus der Kulturen der Welt in Berlin with the projects
?Translating Hip Hop? and ?Global Prayers?, doctorate in Bremen,
interests: popular music, media and postcolonial studies, musicology as
aesthetic practice, audio culture research in Germany
Selected publications: tracks?n?treks. Populäre Musik und Postkoloniale
Analyse (Münster: Unrast, 2011); post_PRESETS. Kultur, Wissen und
populäre MusikmachDinge (Hildesheim: Olms, 2016, auch online: open
access). ?Richt-Mikrofone. Gutachten zu Fragen nach möglicher ?sonischer
Segregation? im sogenannten NSU-Prozess?
(http://zbi-uni-hildesheim.de/publikationen/ (2017)).
 
Presentation of the book Post_PRESETS. Kultur, Wissen und populäre
MusikmachDinge and Soundlecture tracks?n?treks. Delinking AfricC
Current popular music making is rarely concerned with wood slash drums
or string instruments, but mainly with electrical or digital currents.
At the same time culturalized and racist representations are by no means
automatically ruled out as problems of contemporary music making and
?MusikmachDingen? ? on the contrary:
 
The cultural scientist, musicologist and musician Johannes
Ismaiel-Wendt shows how stereotypical preconceptions are also today
inherited analogous to colonial and national thinking patterns. He sets
up a 30 year old Yamaha Drum Computer and several effect devices as
representation critique machine. He deconstructs exemplary pre-sets in
sound generators and minds in a live mix with lecture. His permanent
play with beats, sounds and metaphors for de-naturalisation aims against
the colonial excess of categorisation. In his soundlecture he introduces
contemporary music aesthetics and the thinking in tracks as pop musical
alternative music conception.
Commentary and moderation: Melanie Unseld 
Professor for historical musicology at the Department of Musicology and
Interpretation Research at the mdw
 

----------------------------------------------------------------------------------------------------------------
Transkulturalität_mdw 
Grenzüberschreitende Erkundungen in Kunst und Wissenschaft 
 
Mittwoch, 9. 5. 2018, 17.00-20.00 Uhr
Universität für Musik und darstellende Kunst Wien
Fanny Hensel-Saal
3, Anton-von-Webern-Platz 1 
http://www.mdw.ac.at/ive/ringvorlesungsprogramm
 
7. Termin: Sound and Knowledge
Vortrag: Johannes Salim Ismaiel-Wendt
seit 2012 Professor für Systematische Musikwissenschaft mit dem
Schwerpunkt Musiksoziologie an der Stiftung Universität Hildesheim,
zuvor wissenschaftlicher Mitarbeiter am Haus der Kulturen der Welt in
Berlin in den Projekten ?Translating Hip Hop? und ?Global Prayers?,
Promotion in Bremen, Interessen: Popular Music, Media and Postcolonial
Studies, Musikwissenschaft als ästhetische Praxis, Audiokulturforschung
in Deutschland. Ausgewählte Publikationen: tracks?n?treks. Populäre
Musik und Postkoloniale Analyse (Münster: Unrast, 2011); post_PRESETS.
Kultur, Wissen und populäre MusikmachDinge (Hildesheim: Olms, 2016, auch
online: open access). ?Richt-Mikrofone. Gutachten zu Fragen nach
möglicher ?sonischer Segregation? im sogenannten NSU-Prozess?
(http://zbi-uni-hildesheim.de/publikationen/(2017)). 
 
Vorstellung des Buchs Post_PRESETS. Kultur, Wissen und populäre
MusikmachDinge undSoundlecture tracks?n?treks. Delinking AfricC
Populäres Musikmachen hat heute seltener etwas mit Holzschlitztrommeln
oder Streichinstrumenten zu tun, sondern vor allem irgendetwas mit
elektrischem oder digitalem Daten-Strom. Kulturalisierte und
rassistische Repräsentationen sind damit als Probleme aber keineswegs
automatisch aus zeitgenössischer Musikproduktion und auch nicht aus den
MusikmachDingen herausgerechnet ? im Gegenteil: 
Der Kultur-, Musikwissenschaftler und Musiker Johannes Ismaiel-Wendt
zeigt, wie sich stereotype Voreinstellungen auch zeitgenössisch ganz
analog zu kolonialen und nationalen Denkrastern vererben. Er baut einen
30 Jahre alten Yamaha Drum Computer und einige Effektgeräte als
Repräsentationskritik-Maschine auf. Er dekonstruiert in einem live
Mix mit Vortrag exemplarisch Presets in Klanggeneratoren sowie Köpfen.
Wider den kolonialen Exzess der Kategorisierung zielt sein permanentes
Spiel mit Beats, Sounds und Metaphern auf De-Naturalisierung. In seiner
Soundlecture stellt er zeitgenössische Musikästhetik und das Denken in
tracksals popmusikalische alternative Kulturkonzeption vor. 
 
Kommentar und Moderation: Melanie Unseld (mdw)
Professur für Historische Musikwissenschaft am Institut für
Musikwissenschaft und Interpretationsforschung
 
 


 



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Message: 4
Date: Wed, 25 Apr 2018 22:39:31 +0200
From: "[KUL] Kunstraum der Leuphana Universitaet Lueneburg"
        <kunstr...@uni.leuphana.de>
To: transversal-l...@eipcp.net
Subject: [transversal] Demonstration against the »Lueneburg Line« on
        April 26, 2018, 6 p.m.
Message-ID: <5e7c20f0-aab0-4f55-bd16-d17ce36cf...@uni.leuphana.de>
Content-Type: text/plain; charset="utf-8"


»This Reconciliation Means Forgetting«! ? Against the »Lueneburg Line«
Demonstration on April 26, 2018, 6 p.m., Rathausplatz Lueneburg

Lueneburg is a small provincial town about 50 kilometers south-east of Hamburg. 
During national-socialism divisions of the Wehrmacht, stationed in Lueneburg 
were involved in terrible war crimes in Belarus. These crimes have barely been 
dealt with; instead the municipal government trivialized and relativized the 
crimes of war perpetrated by soldiers stationed in Lueneburg up until today. 
This state of affairs, this way of dealing with the national-socialist past 
falls short even compared to the generally poor memory culture in Germany.

This is why we want to take to the streets together on April 26, 2018! On this 
day 81 years ago, the Legion Condor under Wolfram von Richthofen, who had his 
residency in Lueneburg from 1938 to 1945, along with aircraft from fascist 
Italy bombarded Guernica, destroying a large part of the Basque city and 
killing 600 to 1,500 civilians. Decisively participating in this inhumane 
attack were soldiers who later formed the command. A monument was also erected 
to these Lueneburg perpetrators. Fearing »public polarization,« it was moved to 
the Bundeswehr Theodor-Koerner Barracks in 2002.
 
We want to stand up against a city policy that prefers to hush up instead of 
facing problematic issues, that prefers honoring the perpetrators instead of 
commemorating the victims. We want to remember the victims that National 
Socialism caused through and with the participation of Lueneburg and denounce a 
state of affairs that relativizes the perpetrators and prevents a broad 
critical debate. The relentless work of antifascists on location has not been 
and still isn?t appreciated by the city. It is partially even being obstructed. 
In the frame of the debate at the beginning of 2018, there were threats and 
hostilities against critics of this »Lueneburg Line« of forgetting. We denounce 
this state of affairs!
 
We take to the streets to call for ?
?the reappraisal and clarification of Lueneburg?s Nazi past!
?naming the perpetrators and their crimes!
?a critical culture of remembrance on the side of the city!
?compensating the victims as a necessary consequence of the own past!

We show our solidarity with ?
?the groups and individuals who have been met with hostility during the course 
of the current debate!
?the groups and individuals who have been engaged with antifascist work and a 
critical culture of remembrance in Lueneburg for years!
?the victims of fascist acts of violence, yesterday and today!
 
We call upon all of you to demonstrate with us at the Rathausplatz on April 26 
at 6 p.m.! Let us take to the streets to protest against the suppression of 
crimes and the reversal of perpetration. For a permanent critical engagement 
with the history of Lueneburg and Germany. For remembrance in solidarity. For a 
future without fascism!
 
Unbehagen in der Struktur
https://unbehageninderstruktur.wordpress.com/ 
<https://unbehageninderstruktur.wordpress.com/>


***
http://kunstraum.leuphana.de/e-index.html 
<http://kunstraum.leuphana.de/e-index.html>


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Message: 5
Date: Thu, 26 Apr 2018 00:46:28 +0200
From: petja dimitrova <dpe...@gmx.net>
To: aei-w...@lists.riseup.net, eipcp list <transversal-l...@eipcp.net>
Subject: [transversal] 03. Mai und 4.Mai. Lecture Jumoke Sanwo
        (Lagos/Nigeria)
Message-ID: <f0d0088f-5cd1-40d7-b038-9ad20561a...@gmx.net>
Content-Type: text/plain; charset="utf-8"

Vorträge zu antirassistischen, BPoC und migrantischen Perspektiven aus Kunst 
und Bildung

 
Thursday, May 3th, 6:30 pm: Academy of Fine Arts Vienna. Atelierhaus / 
Semperdepot, 1. Stock, Léhargasse 6-8, 1060 Vienna


Jumoke Sanwo (Lagos/Nigeria)


Lagos: Reshaping The Visual and Cultural Landscape through Artist-Led 
Initiatives

Jumoke Sanwo will talk about the growing impact of artist-led alternative art 
spaces shaping the visual language in the city of Lagos/Nigeria. The address is 
an overview of the role of artist-led initiatives as a model for shaping and 
redefining postcolonial spaces with a focus on the ongoing artist-led 
intervention and renegotiation of the creative outlook in the city of Lagos, 
through the work of alternative spaces such as ANAI, Revolving Art Incubator 
and the Q-Dance Centre. Her focus will include a look at the collaborative 
element of their practice through programs, workshops, presentations, cultural 
exchange and performances, which is shaping the visual and cultural landscape 
in the city.
A Reflection on the history of institutions and privately owned spaces which 
have shaped the cultural narrative in Lagos in the 21st Century as the 
Introduction of some emerging artists from Lagos presently redefining the 
visual landscape there as well.
Hosted by Njideka Iroh

Jumoke Sanwo is an Artist/Photographer, Curator and Creative Director of 
Revolving Art Incubator in Lagos/Nigeria

Friday, May 4th, 11am - 1pm: Jumoke Sanwo on Artistic Responses to 
Dispossession in Lagos. 
PhD in Practice ? Room 4.18, 4th Floor, Block A, Augasse 2-6, 1090, Academy of 
Fine Arts Vienna. 

Fb event: https://www.facebook.com/events/383871422023530/ 
<https://www.facebook.com/events/383871422023530/>

weitere Vorträge Donnerstags:
14.06.2018 Sarah Owens (Zürich)
21.06.2018 Emily Ngubia Kessé (Berlin)
28.06.2018 Fatima El-Tayeb (San Diego CA)

Lesezirkel* das_kollektiv, Linz, Anmeldung: ju...@das-kollektiv.at 
<mailto:ju...@das-kollektiv.at> am 14.03 Linz - 28.03 Wien - 25.04 Wien - 09.05 
Linz (18:00-20:00 Uhr) in Linz in Willy*fred, Graben 3; in Wien auf der Augasse 
2-6, 4. Stock/B 4.19.8 *Der Lesezirkel findet im Vorfeld zur Tagung 
Pädagogische Reflexivität in der Basisbildung mit Migrant*innen von 
24.-25.5.2018 in Linz statt.

Organisiert und finanziert werden die Vorträge durch den Arbeitskreis für 
Gleichbehandlungsfragen, Akademie geht in die Schule, dem Institut für Kunst 
und Kulturwissenschaften und dem Institut für bildende Kunst der Akademie der 
bildenden Künste Wien, der Referat Genderforschung der Universität Wien, 
PhD-in-Practice und kulturen in bewegung/VIDC. Folgende Personen haben die 
Vortragsreihe zusammengestellt und sind verantwortlich: Simone Bader, Petja 
Dimitrova, Anna Janowiak, Annette Krauss, Sushila Mesquita, Günay Özayli, 
Abiona Esther Ojo, Ruth Sonderegger.


Diese Veranstalltung findet in Kooperation mit  kulturen in bewegung/VIDC und 
PhD-in-Practices statt.
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Message: 6
Date: Wed, 9 May 2018 20:45:42 +0000
From: Beryl Graham <beryl.gra...@sunderland.ac.uk>
To: "transversal-l...@eipcp.net" <transversal-l...@eipcp.net>
Subject: [transversal] NPIF/AHRC Funded PhD Studentships in AI, Data,
        Creative Sector - with Isis Arts and Open Data Institute
Message-ID: <c9e81dd9-d812-4c6f-a62d-a2032bc26...@sunderland.ac.uk>
Content-Type: text/plain; charset="iso-8859-1"

I thought that you might be interested in these professional development 
opportunities:

--
National Productivity Investment Fund PhD Studentships 2018 at University of 
Sunderland: Artificial Intelligence and Data-Driven Research
https://www.sunderland.ac.uk/more/research/institutes/institute-arts-creative-industries/centre-research-art-design/npif-phd-studentships/

Available part-time or full-time, these funded stipends of around £14,500 pa ft 
are great professional development opportunities for curators, designers, 
artists, digital media creatives, academics and others. To start on 1 October 
2018

In 2017 Northern Bridge Doctoral Training Partnership (NBDTP) and 
Northumbria-Sunderland Consortium in Art and Design (N-SC) jointly secured 12 
awards, funded by the AHRC.  This year we have secured 4 more studentships, 
this time with a specific in interest in Artificial Intelligence (AI) and 
Data-Driven research, in relation to the Creative Industries. 

At the University of Sunderland, we are offering exciting opportunities to 
research with a combination of two partners:
ISIS Arts (http://www.isisarts.org.uk) and 
Open Data Institute (https://theodi.org  & https://culture.theodi.org)
have been applying the highest levels of critical and analytical approaches by 
international artists, to systems of data, and the affordances of generative 
software (Artificial Intelligence), from the edges of Europe to semi-sentient 
crisp dispensers. This partnership could therefore support research including 
public events, new economic and policy models (ODI was originally funded by the 
Cabinet Office), and a critical approach to the metrics used for evaluating 
audiences and arts organisations. 

Application and procedure details are available from the web site above.
FRI 11 MAY 5:00pm  deadline for contacting beryl.gra...@sunderland.ac.uk with 
initial interest.
TUE 29 May 9:00am  deadline for emailing beryl.gra...@sunderland.ac.uk 
application form.
THU 31 MAY   online interviews for shortlisted applications. 

These studentships have some UK residency requirements - see RCUK's Training 
Grant information: 
https://www.ukri.org/funding/information-for-award-holders/grant-terms-and-conditions/
 

Yours,

Beryl

-------------------------------------------------------------------

Beryl Graham, Professor of New Media Art http://www.crumbweb.org
Research Student Manager, Art and Design
MA Curating Course Leader http://www.macurating.net
Faculty of Arts, Design, and Media, University of Sunderland The David Puttnam 
Media Centre, St Peter's Way, Sunderland, SR6 0DD
Tel: +44 191 515 2896

Recent books:
New Collecting: Exhibiting and Audiences, Ashgate
Rethinking Curating: Art After New Media, MIT Press 
A Brief History of Curating New Media Art, The Green Box



------------------------------

Message: 7
Date: Tue, 15 May 2018 12:15:31 +0200
From: "Daliah Hindler" <hindle...@mdw.ac.at>
To: <transversal-l...@eipcp.net>
Subject: [transversal] mdw_transculturality lecture series/ Herzliche
        Einladung zu Transkulturalität_mdw
Message-ID: <5afab3430200001000023...@tgwia7.mdw.ac.at>
Content-Type: text/plain; charset="utf-8"

Invitation to the 8th date of the lecture series 2017/18 on
transculturality hosted by the University of Music and Performing Arts
Vienna.       Transkulturalität_mdw 
Cross-boundary Explorations in Arts and Science
  
6 June 2018, 5:00 p.m.
University of Music and Performing Arts Vienna
Fanny Hensel-Hall
3, Anton-von-Webern-Platz 1 
http://www.mdw.ac.at/ive/ringvorlesungsprogramm


8th lecture: Refugees - The Purpose of Music Making
Lecture : Evrim Hikmet Ö?üt 
Evrim Hikmet Ö?üt has completed her PhD in Ethnomusicology at Istanbul
Technical University Centre for Advanced Studies in Music (MIAM) with a
dissertation titled ?Music in Transit: Musical Practices of the
Chaldean-Iraqi Migrants in Istanbul?. She has completed her
undergraduate studies and master?s program at Mimar Sinan Fine Arts
University (MSGSU) Department of Musicology. Her master thesis is on the
relation between contemporary music and contemporary poetry. She teaches
as associate professor at MSGSU Ethnomusicology program. Her current
research focuses on the musical practices of Syrian musicians in Turkey;
her video project on the issue is available at
www.soundsbeyondtheborder.org.
Emergent Publics: Musical Practices of Syrian Migrants in Istanbul
A large number of Syrian refugees including professional and amateur
musicians from various musical backgrounds earn their living with
temporary, unsecured, low-paid, and precarious jobs in Istanbul. Street
musicianship, even though it is frowned upon in Syria, emerges as the
most suitable option for maintaining their lives for Syrian musicians as
well as musicians from other migrant communities. Therefore, Istiklal
Street, the most crowded street in the heart of Istanbul, hosts more
than 20 Syrian musicians every day, performing Arabic music in separate,
flexible bands.
These musical practices provide a fertile ground for an interaction
between the refugees and the locals. By drawing attention to the
refugees? talents, the diversity they bring to this geography, and the
possibilities of a common cultural world, these practices respond to
homogenizing and exclusionary perspectives. Moreover, they can be
regarded as one of the most powerful ways that Syrian refugees use the
public space in the city: filling ? literally ? it with their voices and
sounds. 
After providing a general outlook on the musical practices of Syrian
musicians in Turkey, this presentation focuses on various aspects of the
street musicianship experience as a male dominated musical practice,
including the creation of networks, political economy beyond the
practices, the chosen repertoire, the interrelations with the other
communities, etc.

Artistic contribution: Salah Ammo und Peter Gabis 
Salah Ammo: Vocals, Bouzouk (Syria - Kurdistan)
Peter Gabis: Percussion, Hang, overtone singing (Austria)
 
Salah Ammo is according to the review of the Austrian Music Export 2016
"one of the most celebrated musicians in the Austrian world music
scene". He was born in northeast of Syria, where Kurds, Arabs, Turks,
Armenians and Assyrians have been living together for thousands of
years, his music is inspired by their cultural and musical traditions.
After graduating from the Higher Institute of Music in Damascus 2004 he
taught at the Faculty of Music in Homs/Syria.
Peter Gabis is known as a steady sideman in the viennese Jazz- and
Worldmusic scene. He studied jazz drums in Vienna and New York and
played concerts and tours in Europe, USA, Australia, Asia and Africa. In
recent years he intensively explored ethnic music from Afrika and Asia
and worked on the perfection of overtone singing. He teaches jazz-drums
and percussion at the Jam Music Lab University in Vienna.
Two Musicians, Multiple Cultures
It is people?s choice if they see cultural diversity as a threat or as
an enrichment. It was not Salah Ammos choice to leave his home Syria
because of the war, but he choose to get in touch with local musicians
when he settled down in Vienna in 2013, to enrich his art, which is
mostly shaped by the deep heritage of oriental music and poetry.
Peter Gabis was one of the first musicians Salah encountered in Vienna,
and soon their musical cooperation was founded. A liaison that reflects
the openness and the courage to combine different styles of many
cultures and to find joyfully their common sound. This highly successful
melange of two strong musical characters culminated in a firework of
musical highlights. 18 month after their first common musical experience
they reached 2014 the Finale of the ?Austrian World Music Award?, and
their Album ?Assi? was nominated for the Bestenliste of the renowned
?Preis der deutschen Schallplattenkritik?. Many concerts followed,
Salah and Peter performed together intensively on many renowned stages
such as the Wiener Konzerthaus, Porgy & Bess (Vienna), MuTh (Vienna),
Treibhaus (Innsbruck), World Museum Vienna, Rudolstadt Festival
(Germany), Boyne Music Festival (Ireland) and even the European
Parliament in Brussels, just to name a few. They performed at TEDx, and
in 2015 they were invited to the ?Voices for Refugees? concert and
performed there for more than 60.000 people. The Duo was also involved
in many artistic cooperations like the ?Ad.agio? project with the world
famous Wiener Symphoniker.

Commentary and moderation: Thomas Stegemann
Music therapist, medical specialist for Childhood and Adolescent
Psychiatry and Psychotherapy, couple and family therapist
Professor for music therapy, head of the Department of Music Therapy,
University of Music and Performing Arts Vienna
Co-initiator of refugees_mdw with a music therapy pilot project in the
Integrationshaus
www.thomasstegemann.at
  

----------------------------------------------------------------------------------------------------------------Transkulturalität_mdw

Grenzüberschreitende Erkundungen in Kunst und Wissenschaft 
 


Mittwoch, 6.6. 2018, 17.00-20.00 Uhr
Universität für Musik und darstellende Kunst Wien
Fanny Hensel-Saal
3, Anton-von-Webern-Platz 1 
http://www.mdw.ac.at/ive/ringvorlesungsprogramm
 
8. Termin: Refugees - The Purpose of Music Making
Vortrag: Evrim Hikmet Ö?üt 
Evrim Hikmet Ö?üt has completed her PhD in Ethnomusicology at Istanbul
Technical University Centre for Advanced Studies in Music (MIAM) with a
dissertation titled ?Music in Transit: Musical Practices of the
Chaldean-Iraqi Migrants in Istanbul?. She has completed her
undergraduate studies and master?s program at Mimar Sinan Fine Arts
University (MSGSU) Department of Musicology. Her master thesis is on the
relation between contemporary music and contemporary poetry. She teaches
as associate professor at MSGSU Ethnomusicology program. Her current
research focuses on the musical practices of Syrian musicians in Turkey;
her video project on the issue is available at
www.soundsbeyondtheborder.org.
Emergent Publics: Musical Practices of Syrian Migrants in Istanbul
A large number of Syrian refugees including professional and amateur
musicians from various musical backgrounds earn their living with
temporary, unsecured, low-paid, and precarious jobs in Istanbul. Street
musicianship, even though it is frowned upon in Syria, emerges as the
most suitable option for maintaining their lives for Syrian musicians as
well as musicians from other migrant communities. Therefore, ?stiklal
Street, the most crowded street in the heart of Istanbul, hosts more
than 20 Syrian musicians every day, performing Arabic music in separate,
flexible bands.
These musical practices provide a fertile ground for an interaction
between the refugees and the locals. By drawing attention to the
refugees? talents, the diversity they bring to this geography, and the
possibilities of a common cultural world, these practices respond to
homogenizing and exclusionary perspectives. Moreover, they can be
regarded as one of the most powerful ways that Syrian refugees use the
public space in the city: filling ? literally ? it with their voices and
sounds. 
After providing a general outlook on the musical practices of Syrian
musicians in Turkey, this presentation focuses on various aspects of the
street musicianship experience as a male dominated musical practice,
including the creation of networks, political economy beyond the
practices, the chosen repertoire, the interrelations with the other
communities, etc.
Künstlerischer Beitrag: Salah Ammo und Peter Gabis 
Salah Ammo: Vocals, Bouzouk (Syrien - Kurdistan)
Peter Gabis: Percussion, Hang, Obertongesang (Österreich)
Salah Ammo ist gemäß einer Review des Austrian Music Export 2016
?...einer der meist gefeiertsten Musiker in der Österreichischen
Weltmusik-Szene...?. Er wuchs in einer Region im Nordosten Syriens auf,
wo Kurden, Araber, Türken, Armenier und Assyrer tausende von Jahren
gemeinsam gelebt haben. Seine Musik ist von der kulturellen Vielfalt und
der Traditionen der verschiedenen Völker geprägt. Nach seinem Abschluss
auf dem ?Higher Institute of Music? in Damaskus 2004 begann er er auf
der Musik Fakultät in Homs zu unterrichten.
Peter Gabis ist als solider Sideman in der Wiener Jazz- und Worldmusic
Szene bekannt. Er studierte Jazz-Schlagzeug in Wien und New York und
spielte Konzerte und Tourneen in Europa, USA, Australien, Asien und
Afrika. In letzter Zeit hat er vor allem ethnische Musik aus Afrika und
Asien studiert und den Obertongesang perfektioniert. Er unterrichtet
Jazz-Schlagzeug und Percussion an der ?Jam Music Lab University? in
Wien.
Two Musicians, Multiple Cultures
Man kann sich entscheiden, ob man kulturelle Vielfalt als Bedrohung
oder als Bereicherung wahrnimmt. Salah Ammo konnte sich nicht
entscheiden, er musste seine Heimat Syrien wegen des Krieges verlassen.
2013 in Wien angekommen entschied er sich für die kulturelle Vielfalt,
indem er den Kontakt mit heimischen Musikern suchte. Diese Wahl
bereicherte seine Kunst, die bisher in erster Linie von dem reichen Erbe
der orientalischen Musik und der Poesie beeinflusst war.
Peter Gabis war  der erste Musiker, dem Salah in Wien begegnete, und
schnell war ihre musikalische Zusammenarbeit besiegelt. Eine Liaison,
die die Offenheit und den Mut aus verschiedenen Stilen und Kulturen zu
schöpfen, reflektiert. Und in diesem Gemisch finden die beiden ihre
eigene Klangwelt, ihren eigenen Sound. Diese äußerst erfolgreiche
Melange von zwei starken musikalischen Charakteren mündete schnell in
ein Feuerwerk der musikalischen Höhepunkte. Nur 18 Monate nach ihrer
ersten Begegnung erreichten die beiden das Finale des ?Austrian World
Music Awards? und ihre erste CD ?Assi? wurde für die Bestenliste des
renommierten ?Preis der deutschen Schallplattenkritik? nominiert. Viele
Konzerte folgten, Salah und Peter spielten auf einigen der bekanntesten
Bühnen und waren in viele künstlerische Projekte involviert, wie z.B.
dem ?Ad.agio? Projekt mit den weltberühmten Wiener Symphonikern.

Kommentar und Moderation: Thomas Stegemann
Musiktherapeut, Facharzt für Kinder- und Jugendpsychiatrie und
Psychotherapie, Paar- und Familientherapeut
Professor für Musiktherapie; Leiter des Instituts für Musiktherapie,
Universität für Musik und darstellende Kunst Wien. 
Mit einem Musiktherapie-Pilotprojekt im Integrationshaus Mitinitiator
von refugees_mdw.
www.thomasstegemann.at

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------------------------------

Message: 8
Date: Wed, 23 May 2018 19:39:50 +0000
From: eipcp info <i...@eipcp.net>
To: transversal list <transversal-l...@eipcp.net>
Subject: [transversal] Vienna, 9 June 2018: Conference "After
        Audience"
Message-ID: <a27a919b-61b1-c553-b20b-43202b53c...@eipcp.net>
Content-Type: text/plain; charset="utf-8"

After Audience
A conference convened by the Midstream project

9 June 2018
Belvedere 21, Arsenalstraße 1, 1030 Vienna

With Manuel Borja-Villel (Museo Nacional Centro de Arte Reina Sofía, Madrid), 
Christoph Brunner (Leuphana Universität Lüneburg), Boris Buden (eipcp permanent 
fellow), Lucie Kolb (Hochschule für Gestaltung und Kunst, Basel), Solvita Krese 
(Latvian Centre for Contemporary Art Riga), Brigitta Kuster 
(Humboldt-Universität Berlin), Isabell Lorey (Universität Kassel), Kelly 
Mulvaney (University of Chicago), Stefan Nowotny (Goldsmiths, University of 
London), Gerald Raunig (Zürcher Hochschule der Künste), Stella Rollig 
(Belvedere Wien), Ruth Sonderegger (Akademie der bildenden Künste Wien).
Moderation: Monika Mokre (Österreichische Akademie der Wissenschaften) and 
Luisa Ziaja (Belvedere Wien)


Twentieth-century European social democracy wanted to make the ?uneducated 
classes? into the audience of high culture. Social advancement through 
education, culture for all, and finally, with a turn from reception to 
production: culture by all. Around and after the translocal events of 1968, the 
practices broadly tested in these programs in ?the West? and elsewhere provoked 
all kinds of successes and failures, culminating in the band collective, the 
commune, and the dissolution of art into life. At some point in the final 
decades of the twentieth century, this emancipatory narrative tipped into a 
dystopian one. Participation became an imperative, joining a principle, and 
self?activation ? so as to not completely exclude oneself from social media and 
self?governing networks ? a duty. For its part, neoliberal management wants to 
measure the audience to the utmost detail and "tap into" new audiences that can 
be measured. Here, too, a circle reaches its completion: from the audie
 nce of high art to the audit, the examination of performance figures as new 
high art. Eventually, the amalgam of these very different policies became a key 
aspect of the Creative Europe program as ?audience development?.

After the Publicum conference held in Luneburg in 2005, which considered 
questions of reception in the arts and beyond through the prism of theories of 
the public, eipcp and its partners are now attempting once more to question the 
concept and practice of audience. The international conference After Audience 
is intended to move beyond evidence and criticism of the participation 
imperative and the delusion of quantification to ask questions about the 
successors to the figure once called an audience. What has become of this 
figure in times of the participation imperative? How can disobedient-activist 
collectives be imagined in machinic capitalism? How can we connect with the 
narratives and practices of 1968, which were not least feminist, anti-colonial 
and anti?capitalist? What potentials can today be attributed to technopolitical 
aspects of these questions? How can we conceptualize a new figure of the 
technecological middle or milieu in the place of the publicum as a bourgeois
  public sphere, as a mode of subjectivation that transgresses the distinction 
of production and reception and at the same time permits a new emancipatory 
turn?


PROGRAM

11:00-11:15 Welcome und Introduction

11:15-12:30 After Audience
Manuel Borja-Villel / Stella Rollig

12:45-14:00 After Experience
Boris Buden / Solvita Krese

14:15-15:30 After Resistance
Christoph Brunner / Kelly Mulvaney

15:30-16:15 Break

16:15-17:30 After Production
Brigitta Kuster / Stefan Nowotny

17:45-19:00 After Representation Before Study
Isabell Lorey / Ruth Sonderegger

19:00-20:00 Buffet Dinner

20:00-21:30 After e-flux
Lucie Kolb / Gerald Raunig


The conference languages are German and English, with translation by Herwig 
Bauer and Alexander Zigo.
 
Download flyer: http://midstream.eipcp.net/sites/default/files/flyer-en.jpg
Video documentation: http://midstream.eipcp.net/after-audience

http://midstream.eipcp.net
http://transversal.at
http://www.belvedere21.at 


The conference has been organized by eipcp as part of Midstream in cooperation 
with Belvedere 21.

Midstream is a joint project of eipcp (Vienna), LCCA - Latvian Centre for 
Contemporary Art (Riga) and Museo Nacional Centro de Arte Reina Sofía (Madrid).


-- 
eipcp - european institute for progressive cultural policies
a-1060 vienna, gumpendorfer strasse 63b
a-4040 linz, harruckerstrasse 7

cont...@eipcp.net
http://midstream.eipcp.net | http://transversal.at | http://www.eipcp.net
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------------------------------

Message: 9
Date: Tue, 12 Jun 2018 17:22:51 +0200
From: Oliver Ressler <oli...@ressler.at>
To: "newslet...@ressler.at" <newslet...@ressler.at>
Subject: [transversal] [Newsletter] current and coming exhibitions
Message-ID: <b246a241-1e0b-4584-c391-c8ca40599...@ressler.at>
Content-Type: text/plain; charset="utf-8"; Format="flowed"

Dear friends and colleagues,

I have work in several exhibitions. If you're near one, I hope you'll 
drop in.

Best wishes
Oliver



Democracia en obra
*CCK ? Centro Cultural Kirchner, Buenos Aires (AR)*
16.05 ? 25.11.2018
http://www.cck.gob.ar/eventos/democracia-en-obra_2715

Bodies in Alliance. On Human Condition
*Teatro Massimo ? M Gallery, Cagliari (I)*
09.05.2018 ? 24.06.2018
http://www.sardegnateatro.it/content/human-condition

Global Control and Censorship
*Gallery of the National Library of Technology, Prague (CZ)*
19.06. ? 26.07.2018
https://www.facebook.com/galerientk/

City Fabrics
*ARCC.art Open Space, Vienna (A)*
20.06. ? 27.07.2018
Opening: 19.06.2018, 7:30 pm
https://www.arcc-art.com/pages/exhibitions

RESIST! The 1960s protests, photography and visual legacy
*Centre for Fine Arts ? BOZAR, Brussels (B)*
27.06. ? 26.08.2018
https://www.bozar.be/en/activities/126715-resist

26.06. 05:30 pm: panel discussion with Antigoni Memou, Christine Eyene, 
curator and the artists Marcelo Brodsky, Artem Loskutov, Gideon Mendel, 
Oliver Ressler
https://www.bozar.be/en/activities/143779-panel-discussion

Resilient Futures
*Centre of Contemporary Art, Thessaloniki (GR)*
27.06. ? 23.09.2018
https://www.cact.gr/en/

Operaismo Naturale: Ecology of the Event
*Center for Contemporary Art, Plovdiv (BG) *
27.07. ? 31.08.2018
https://plovdiv2019.eu/en/events/529-digital-ecologies-2018




Oliver Ressler, ?When The Levee Breaks?, foil on mirror, 213 x 150cm, 
2018; ?New Model Army?, stand-in activist, 2017 (Installation view: ?How 
to Occupy a Shipwreck?, Kunst Haus Wien, Vienna, 2018; photo: O. Ressler)
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