Talk and Presentations followed by a Get together
Since the Filmhaus Stuttgart – where the Filmwinter Stuttgart had its home for 16 years – closed its doors in 2008, the corresponding scene around Verein Kommunales Kino e.V. (Association for an Municipal Movie Theatre) has been sticking up for the establishment of a Film and Media House as a place for presenta¬tions, exhibitions and as a laboratory for new forms of film and media as well as a lively meeting point of cultures.
As a festival, we are accompanying the discourse on a new Film and Media House with our new format “Movies like never before”. Based on the title of Harun Farocki and Antje Ehmann’s exhibition at Akademie der Künste in 2007, we don’t see this format as a presentation of completed models but as a forum to take practices and approaches of film media art and net art as well as their formats, location and working processes further.
(from the series of the format "Movies like never before")
Julian Kamphausen (Performing Arts Programm Berlin, PAP), Kurator/Curator „Performersion“
“Performersion” brings artists, initiators, developers and researchers from dance, theatre, performance, digital sciences and technology development together in one place. Goals of the “Performersion” are exchange, networking and knowledge transfer between experts on new narrative spaces and people creating new topics and telling new stories. The cooperation between the re:publica and the Performing Arts Programm of the LAFT Berlin, which happened for the first time in 2016, offers a great chance to agents of the independent performing arts and of digital culture/technology to make connections and get to know each other. Together they can consider and take new roads towards developing immersive forms of communication, of entertainment, of the arts and of dealing with issues and telling stories. "Performersion" Curator Julian Kamphausen reports on the successful development of this format and uses concrete examples from the performing (but also digital) arts to answer which forms of knowledge transfer and art presentation are relevant for these genre-spanning developments.
Julian Kamphausen was born in 1975 and has worked in the performing arts since 1994. Alongside individual art projects, such as www.balafo.de for the German Federal Cultural Foundation, he also work as an event director for various projects, including the Artists Against AIDS Gala at Theater des Westens since 2010 or the celebration of the 50th anniversary of the founding of Amnesty International at the House of World Cultures. He conceives and curates symposia, including the annual Industry Get-Together of the Independent Performing Community for the Performing Arts Program since 2013 www.pap-berlin.de/bt or, since 2016, “Performersion”, a cooperation of the Performing Arts Program with re:publica for the networking of immersive and performing arts and artists www.performersion.berlin.
Alexander Kerlin (Dramatic Advisor and Author), Schauspiel Dortmund
Real Time and Fragment
How digital technologies change (story)telling
Digital transmissions and processing of even huge amounts of data has become so fast and reliable that the number of applications used on stage – without any noticeable loss of time – has increased immensely. Video images and sound samples can be recorded, edited and played in real time; stable radio transmission provide a new freedom for camera operators, movement data of bodies can be tracked live and transmitted to virtual spaces – lip synchronicity included; images, sound, and other data can be imported from afar and live on to the stage, and even the interconnection of several stages and the interaction of two individual ensembles across hundreds of kilometres has been proven and tested.
Alongside several theatre projects at Schauspiel Dortmund between 2013 and 2018 and the planned "Akademie für Theater und Digitalität", Alexander Kerlin demonstrates how digital technologies extend into stage narratives and images, how they split them up into fragments and rearrange them to form new contexts – and thus how they keep changing the productions of the meaning on stage with lasting effect. The question to the stage is not: how is the relation of the presentation to the so-called reality? But: How do meaning and orientation in the digital modernism come about after all?
As of summer 2019, Alexander Kerlin will be dramatic adviser at Vienna’s Burgtheater. From 2010 to 2019 he was dramatic adviser and author at Schauspiel Dortmund. He writes columns, essays and mash-up theatre plays such as for instance “Das Goldene Zeitalter”, “Die Borderline Prozession”, “Die Parallelwelt” (with Kay Voges) and “Das Internat” (with Ersan Mondtag).
In 2018, he was artistic director of the conference “Enjoy Complexity - 1. Dortmunder Konferenz für Digitalitität und Theater“ and he is also a founding member and organisor of „Akademie für Theater und Digitalität“ in Dortmund.
Alexander Kerlin curates and hosts the talk show “Blackbox” on topics of the migration society. He teaches dramaturgy and dramatics in Leipzig, Bochum and Frankfurt.
In 2014 he received an award for young artists in the theatre section by the Federal State of North Rhine-Westphalia. His play “Die Borderline Prozession” was invited as part of the programme at 54. Berliner Theatertreffen in 2017. “Das Internat” was nominated for Vienna’s Theatre Prize Nestroy 2018.