Mit Esra Ersen, Nomaduma Rosa Masileja, Antje Weitzel, u.a.

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Montag, 27. Mai 2019
14 – 17 Uhr: Einführung - Reading Session
ab 17:30 Uhr: Gäste-Impulsvorträge und Diskussion

Salzufer 14
3 Etage, Aufgang I/J
10587 Berlin

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Die Frage, wie spielt sich die mehrfache Diskriminierung im Kunstbetrieb ab – auf dem Kunstmarkt, in kommerziellen Galerien, in Museen sowie in öffentlich geförderten Ausstellungsorten – ist ein Trigger fürs Nachdenken und strategisches Überlegen. Von Kunstproduktion und burden of representation bis hin zu institutionellen und kulturpolitischen Strukturgegebenheiten: Mit welchen konkreten Strategien/Vorhaben können wir den Kunstbetrieb, die Ausstellung- und Museumspraxis aus der Perspektive der Intersektionalität herausfordern?


14 bis 17 Uhr: Einführung. Reading Session und Diskussion:
Im Rahmen von Kunst-im-Kontext-Projekt-TPS-en (Gäste sind willkommen); mit feministischen Manifesten sowie Texten von Yvette Mutumba, Sonia Elizabeth Barett, Eduard Glissant, u.a.

ab 17:30 : Gäste-Impulsvorträge & Diskussion
Diskussion mit Gästen Esra Ersen (Künstlerin), Nomaduma Rosa Masileja (Kuratorin/Künstlerin/Autorin) und Antje Weitzel (Kuratorin/Projektmanagerin) sowie Lehrenden und Studierenden des Instituts für Kunst im Kontext und der Klasse für Performance: mit Christoph Balzar, Karina Griffith, Julia Grosse, Jörg Heiser, Claudia Hummel, Mathilda ter Hijne, Kristina Leko (host) und Yvette Mutumba, u.a.

-- Bring & Share Buffet --



Esra Ersen’s work is based on an empirical and analytical study of social situations through culture, myths, ritual, and economy. She applies a methodologies borrowed from documentary filmmaking and anthropological investigation. She explores the relationship between the individual and society highlighting how identities are formed and changed. Working in photography, performance, video, and installation, she reacts to the specific location to formalize her investigations. Esra Ersen has participated in Istanbul Biennial 2015, 2003 and 1995; São Paulo Biennial 2006; Liverpool Biennial 2006; Kwangju Biennial 2002; Manifesta 4, Frankfurt 2002. Her works have been widely shown internationally, in solo- and group exhibitions at institutions including Salt Ulus, Ankara; The MARCO Foundation, Spain; Moderna Museet, Sweden; Frankfurter Kunstverein, Frankfurt; Kunsthaus Baselland, Basel; OK Center for Contemporary Art, Linz; Richmond Art Gallery, Vancouver; Tanas, Vehbi Koc Foundation, Berlin; Kunsthalle Fridericianum, Kassel; TBA 21 Thyssen Bornemisza Contemporary, Vienna; Augarten Contemporary, Wien, Queens Museum of Art, New York; P.S.1 Contemporary Art Center, New York; CCS Galleries, Bard College, New York; Museo Tamayo in Mexico; Bregenzer Kunstverein, Bregenz; Bild Museet, Sweden; Arter Vehbi Koc Foundation, Istanbul; SMART Project Space, Amsterdam; Casino Luxembourg, Luxemburg; Van Abbemuseum, Eindhoven;Koldo Mitxelena Kulturunea, San Sebastián;Galerie für Zeitgenössische Kunst, Leipzig;Walker Art Center, Minnepolis; The Museum of Modern Art, Saitama, Lieu Unique, Nantes. She has been awarded a fellowship at the German Academy Rome Villa Massimo for 2019.

Nomaduma Rosa Masilela is an artist, curator, and writer. Masilela’s art interests converge around ideas of the uncanny, the absurd, and the dissonant; collective work and strategy; and the ambivalent natures of authenticity, history and identity production. She curated the 10th Berlin Biennale for Contemporary Art with Gabi Ngcobo, Serubiri Moses, Thiago de Paula Souza, and Yvette Mutumba, for which she also produced an artists book titled Strange Attractors. She is currently writing a dissertation on public and performance art of 1980s Dakar in the Art History and Archeology department of Columbia University in New York. She was raised in Łódz and Los Angeles, and is now based in Berlin. Her writings include: “Ekphrasis for a Veiled Dream” in Portia Zavahera:I’m with You. Cape Town: Stevenson, 2017; “Firelei Báez and the Oscillations of the Historiographic” in Fore. New York: Studio Museum in Harlem, 2012; “Emancipation and the ‘will to power’: the productive ambiguities of set setal” in DON’T PANIC. South Africa: Jacana Media, 2011; “Augusta Savage” in Re: Collection – Selected Works from The Studio Museum in Harlem. New York, NY: Studio Museum in Harlem, 2010. Her curatorial work includes among others: The Museum of Modern Art (MoMA), NY, USA, Mellon Museum Research Consortium Fellow (2015 - 2016); Committee on Global Thought, Columbia, NY, consultant on “The World and Africa” (2010); Harlem Biennale (postponed), NY, consultant; (2010) RECESS Art Gallery, NY, contributing curator to “Be Black, Baby” by Simone Leigh (03.2010); The Kitchen, NY, curatorial fellow (2007-08).

Antje Weitzel works as curator and project manager in Berlin. Since 2012 she has been working in the artistic office of the Berlin Biennale for Contemporary Art, where she has been responsible for the project management of the Biennale since 2014. Furthermore, since 2007 she has been managing and curating the uqbar project space, which received the award from the Berlin Senate for Cultural Affairs in 2013 (Senatskanzlei für kulturelle Angelegenheiten). Her most recent curatorial projects include Persisting Realities, CTM Festival 2019, Kunstraum Kreuzberg Bethanien (2019), Reframing Worlds - Mobility and Gender from postcolonial, feminist perspective in the Neue Gesellschaft für Bildende Kunst and the Galerie im Körnerpark (2017-2018), as well as the first two editions of the Berliner Herbstsalon in the Maxim Gorki Theater and Palais am Festungsgraben (2013, 2015). She is a consultant for the latest edition of the Berlin Autumn Salon 2019, which will deal with intersectionality, as well as for the 2nd Roma Biennale 2020. She is also a member of the Berlin Council for the Arts (Rat für die Künste Berlin).


The project „Intersectional Matter“ is sponsored by DiVAversity of Arts, Universität der Künste Berlin
Frauenbeauftragte der Universität der Künste Berlin

www.wasistintersektionalitaet.de