Geertjan de Vugt is a literary theorist and essayist. In 2015 he obtained his PhD in Comparative Literature (cum laude) from Tilburg University with a genealogy of political dandyism: The Polit-Dandy: On the Emergence of a Political Paradigm. He is also the Dutch translator of Daniel Heller-Roazen’s The Enemy of All: Piracy and the Law of Nations. His interests range from political theory and aesthetics to play theory, the philosophy of war and contemporary poetry. Geertjan is currently writing a book on the cultural history of fingerprints.
Geertjan de Vugt and Olfa Ben Ali teach the workshop Refuse.
“Human perfection is only in the imagination – in the desire for another reality.”
Olfa Ben Ali was born in a suburb of Toulouse, France as the daughter of Tunisian immigrants. Being raised between these two cultures has fundamentally influenced her artistic work. In her films and videos she combines a documentary approach with a strong poetic atmosphere and imagery, that embodies the contrast between the world the immigrant has left behind and the alien world of the new “home” country, that has adopted him/her. By shifting thematically from the political to the emotional, the friction and tension that the immigrant is faced with, is given a voice.
Olfa Ben Ali lives and works in Amsterdam, where she received her bachelor of art from the renowned Gerrit Rietveld Academy in 2012. During the last 4 years, she has been following, documenting and observing refugees in Amsterdam, Lesbos, Calais, Dunkerk.
Olfa Ben Ali and Geertjan de Vugt teach the workshop Refuse.
Rosa te Velde graduated from the designLAB department of the Gerrit Rietveld Academie in Amsterdam in 2010, after which she continued her studies and obtained an MA in Design Cultures from the Vrije Universiteit in Amsterdam in 2015. Her main research interests evolve around the politics of design and (national) identity (exemplified by concepts such as Dutch Design), decoloniality, race and gender. She is co-editor-in-chief of Kunstlicht and an editor for the Dutch Design History Society.
Anne La Berge’s career as a flutist/improviser/composer stretches across international and stylistic boundaries. Her performances bring together the various elements on which her reputation is based: ferocious and far-reaching virtuosity, a penchant for microtonal textures and melodies, and her unique array of percussive flute effects, all combined with interactive electronic processing and text.
She performs regularly as a soloist and as a member of the Shackle duo and the MAZE ensemble. She is a founding artist of Splendor Amsterdam, a collective of musicians, who have transformed an old bathhouse in Amsterdam into a cultural Mecca.
She can be heard on music labels such as Largo, Artifact, Etcetera, Hat Art, Frog Peak, Einstein, X-OR, Unsounds, Canal Street, Rambo, Esc.rec., Intackt and Data, in recordings with Ensemble Modern, United Noise Toys, Fonville/La Berge, Rasp/Hasp, Bievre/La Berge, Apricot My Lady, Big Zoom, Corkestra, La Berge/Williamson and MAZE, among others.
Her music is published by Frog Peak Music and Donemus. She is the Managing Director of the Volsap Foundation, which produces innovative music projects. http://annelaberge.com/
A Conversation about Afrofuturism, hybrid gender identity and African astronomy (EN)
Kapwani Kiwanga’s interests range from Afrofuturism and science fiction to the anti-colonial struggle, and investigations into the knowledge and beliefs of histories that have, as she says, ‘fallen through the cracks.’ Consistently weaving fact and fiction and uniting documents both archival and imagined, her process flies in the face of traditional practices that tailor an idea to a preferred material. Instead, she seamlessly integrates film, photography, performance, ephemera, and sculpture to play with the mutability of historical narratives. In her ongoing project “Afrogalactica” (2011-present), for example, Kiwanga occupied the invented persona of an anthropologist from the future, researching such fields as hybrid gender identity and African astronomy, and conducting interviews with pertinent figures. ‘I’m not at all pretending to be a seasoned academic,’ says Kiwanga. ‘But I’m always trying to look at multiplicities, or multiple tellings of the same story.’
Biography: Artist and filmmaker Kapwani Kiwanga was trained in the social sciences and conducts research projects in which she assumes the role of researcher. Her methodology includes fashioning systems and establishing protocols as in scientific experimentation to delineate lenses through which one can observe culture and its characteristic propensity toward mutation. Her projects materialise as installations, video, sound and performance. Afrofuturism, anti-colonial struggle and its memory, belief systems, vernacular and popular culture are but some of the research areas which inspire her practice.
Kapwani Kiwanga studied Anthropology and Comparative Religions at McGill University. She was an artist in residence at: l’Ecole National Supérieure des Beaux-Arts, Paris (France); Le Fresnoy: National Contemporary Art Studio (France), and MU Eindhoven (The Netherlands).
An award winning filmmaker, her documentary work has been nominated for two BAFTAs. She has exhitibited internationally including at the Centre Georges Pompidou (France), the Glasgow Centre of Contemporary Art (UK), the Bienal Internacional de Arte Contemporanea Almería (Spain), the Kassel Documentary Film Festival (Germany), the Kaleidoscope Arena Rome (Italy), and Paris Photo (France).
Musician, songwriter and composer Faarjam was born in Iran and grew up in The Netherlands. He began his career as a guitarist and studied Pop Music at ArtEZ. In 2010 he started his own band; the other members of the band are also from ArtEZ. Faarjam has rewritten work by Persian poet Hossein Panahi into songs and the music is inspired by associations that this poetry conjures up for the musicians. The music sounds atmospheric and dreamy. The songs are about childhood nostalgia and the futility of life. Currently, Faarjam is at the HKU in Utrecht, studying Composition and Music Production.
Donya Batta is an artist, musician and writer and studies at ArtEZ Creative Writing. They incorporate the frame of mind of ‘telling the truth’, through art(s). They were born in Amsterdam, raised in Zeeburg (Sea-burg) and at sea; on Bonaire. Their biculturality adds to the endless question of what a nationality can mean for one’s identity. The question of today.
Donya Batta is also a nongender, polyamorous queer, vegan. In a world where each of these terms can be categorised as a ‘political opinion’, art becomes the beare of new truths. The truths of today.
Donya will perform in Rozet in the Lectures & Conversations programme.
The International Centre for Human Quantum and Encounter Engineering (ICHEE) is a research and artists collective founded in the mid 1980s in Bochum, Germany with the aim of nurturing a cross-discipline polylogue within-and out the fields of molecular biology, sociology, quantum-physics, psychology, sonology and performance studies. In early publications, such as Seeing the world through Utz (1984), Rhizome Etudes (1991) and An Encyclopaedia of all things sticky (1992), the notion of glue crystallized as a central concept of the centre’s research focus and, in 2016, led to the establishing of the research field of Post-Brangelinian Studies. Starting from the Faustian exclamation ‘That I may perceive whatever holds // the world together in its inmost folds’, ICHEE’s work oscillates and mediates between physical and meta-physical aggregate states of an understanding of glue, once more, within-and out situations of human interconnectivity.
Ines Wuttke (1984, Munich) studied Arts and Scenography at the University of Arts and Design, Karlsruhe followed by studies in Applied Theater Science at the Institute for Applied Theatre Studies, Gießen. She is a ICHEE member since 2016 and founding member of ICHEE’s Research think tank in Frankfurt am Main, focusing on ambivalent mental states in times of non-linear places of references. Most recent publications include ‘The good life and the fragility behind’ (in: JOAR, Journal for Artistic Research, Tel Aviv, 2013), ‘Melancholic Optimism. Different concepts of desire.’ (in: Peter Slang International Academic Publishers, Frankfurt am Main, Berlin, Bern u. a. 2015) and Towards a Definition of Post-Brangelian Studies (co-edited by Gaia Vogel and Elischa Kaminer, Symposium Verlag, 2016, Frankfurt am Main).
Gaia Vogel (1992, Bern) studied acting at the Ernst Busch Academy of Dramatic Arts. She is an ICHEE member since 2016 and founding member of ICHEE’s Research Hub for interpersonal aggregate state transformations and bilateral herbicide psychology. Working from ICHEE´s Berlin-based laboratories, her major research focus lies on indentifying emotional irregularities as low-radiation consequence for human quantum disturbances. Most important publications: ‘Interpersonal Quantum-Implosions’ in The Journal of Occidental Sexology, 2012, Berlin) , ‘The Erotic Encyclopedia of the pre-emotional Post-Capitalist-Effect’ in Magazyn Gospodarki emocjonalnej, 2013 Warsaw) and Towards a definition of the Post-Brangelian-Studies (2016).
Elischa Kaminer (1991, Frankfurt am Main) studied composition at the Royal Academy of Music, London followed by postgraduate studies at the Institute for Applied Theatre Studies in Gießen. He is an ICHEE member since 2016 and founding member of ICHEE’s Research Hub for Sonology and Intra-Musical Terraforming in London. Recent publications focus on pre-natal dyadic relationships modeled around the fluctuations of the augmented fourth, such as in ‘SIC – or when I was seven breaths old’ (in: Collected Essays on Velocity, Hibbs Publishing, London 2014) and Towards a Definition of Post-Brangelian Studies (2016).
Jennifer Tosch is a Surinamese-African American born in New York City to Surinamese, South American parents. Her divergent experiences at the Black Europe Summer School in Amsterdam (2012) and a semester at Utrecht University inspired her to found the Black Heritage Tours in Amsterdam. In 2014 she co-authored the Amsterdam Slavery Heritage Guide, and launched Black Heritage Tours in New York State in 2016. She is also involved with the Mapping Slavery Project, a project portraying historical places relating to slavery on the map of the Dutch colonial empire. Tosch is a student at the University of Amsterdam earning a dual-Masters in Heritage and Memory Studies. http://mappingslavery.nl/
Elke Van Campenhout works as an artistic researcher, experimental performer, tarot reader, and body practitioner. Until recently she was the head of research of a.pass (advanced performance and scenography studies) in Brussels: a post-master and PhD-environment for international artists, theoreticians and other workers interested in developing their artistic work in a collaborative and engaged environment. (www.apass.be) Over the past 3 years Elke has developed her personal research project Bureau d’Espoir in several collaborative settings (www.bureaudespoir.org), in which she has worked on various projects such as Critical Hope, LaZone, Symptomatic Bodies, Hunger and Anorexic Practices, the Natural History Museum of Hope, the Battery Project and the MOBILE MNSTRY.
She also runs the WitchLab body experimentation space Studio La Limite (http://www.studiolalimite.org/), a research lab for practitioners from different contexts (tantra, shamanism, yoga, etc.) to compare tools and practice in a shared environment.