Heizhaus / PSR

Heizhaus / PSR Heizhaus is both a historical and a contemporary space full of potential. We wish it to be a space of unlikely encounters between different people from diverse backgrounds and different artistic, political, and social contexts.

Wie gewohnt öffnen

Our program is online now (please register the latest until March 20): https://fb.me/e/3YQvIMeE4The Workshop. Investigat...
24/02/2021

Our program is online now (please register the latest until March 20): https://fb.me/e/3YQvIMeE4

The Workshop. Investigations Into an Artistic-Political Format

International Conference (March 26-28, 2021)

Online Event (Zoom)

The movements that redefined art in the 1960s and 1970s substantially drew on workshops for devising new concepts and practices. The workshop format highlights the value of effects that emerge from spending time together in a loosely defined situation. This resonated with artists’ wish to favour the collective process over marketable products, to blend in the aesthetic with the social and political, and to get rid of disciplinary divisions. While they maintained a relation to the craftsman’s working place with an emphasis on concrete, problem-oriented cooperation, an interest in material things and tools, and curiosity for experience-based learning and sharing knowledge, the workshop experiments of that era embraced almost anything that suggested some kind of performative dynamic: cult rituals, meditation exercises, techniques of psychological (self-)manipulation, improvisation, orgiastic lovemaking,… And this wild mix of approaches helped establish the idea that the workshop is a perfectly open, and almost universally applicable, setup for collective endeavors – an idea that does not seem to have lost its appeal.

Workshop culture expanded globally within a short period of time, and whereas many workshops are still given for free, for instance in political activism or social and community work, the service economy has been quick to exploit the workshop’s commercial potential. A workshop industry promises all sorts of ‘valuable’ personal experience and the feeling of togetherness as a return for investment – plus socio-economic benefit, if the workshop leaders are renowned, influential players in their professional fields. Education and training in theatre, dance and performance rely extensively on the workshop today, but it has also become the instrument of choice for skills transfer, motivational coaching, and teambuilding in the business world. A considerable number of artists who cannot live from selling their work offer workshops for companies, advocating techniques like musical improvisation as means for optimizing the workflow. However interesting it may be to observe the consequences of such transfers between the artistic and the economic sphere, a problematic point is also obvious here: Where pressure for self-improvement drives people to participate in one workshop after the other for fear of missing out on the latest trend, the freedom to experiment easily becomes hijacked by the coercive forces of a neoliberal regime. Perhaps this already happened during the first big wave of workshopping during the 1970s. In any case, an analysis of the workshop format must address issues of valorization and commercialization, of openness and its ideological simulacra, of ‘process vs. product’ and ‘process as product’.

This international conference will investigate the workshop at the intersection of art, politics, and economy, examining the format both in its historical success and in its relevance for current notions of collectivity. In addition to revisiting the history of artist-organized workshops from the 1960s to the present – with special attention also to the 1990s and early 2000s –, it will try to outline a genealogy, which includes the role of workshops in politicizing education, in grassroots political movements, in body-centered therapeutical approaches, in mediation, and in post-Fordist designs of organizing work. The conference will also present and analyze artistic work that critically-affirmatively engages with, and reflects on, the workshop. It will take place online via Zoom from March 26-28, 2021.

PROGRAM

Friday, March 26 (Talks and Discussions)

10:00 – 11:00 Opening and Introduction

11:00 – 12:00 Diedrich Diederichsen (Academy of Fine Arts Vienna)
Free Jazz with Children: A 13 year old boy among men who once were friends of Monk

12:00 – 12:30 Coffee Break

12:30 – 13:30 Sabeth Buchmann (Academy of Fine Arts Vienna)
Community in/as Progressive Work

13:30 – 14:30 Bojana Cvejić (Oslo National Academy of the Arts)
Scores, feelings: or whence workshops transindividate

14:30 – 15:30 Lunch Break

15:30 – 16:30 Konstantina Georgelou (Utrecht University)
workshop and nonwork: articulating collective needs by infiltrating existing structures

16:30 – 16:45 Short Break

16:45 – 17:45 Wadzanai Motsi-Khatai (Center for Intersectional Justice Berlin)
An Introduction to Intersectionality

17:45 – 18:00 Short Break

18:00 – 19:00 Dragana Bulut (Berlin)
Hedonimeter – Social Choreographies of Emotion

19:00 – 20:00 Dinner Break

20:00 – 21:00 Yvonne Rainer (New York) and Xavier Le Roy (Berlin)
Workshop Conversation

Saturday, March 27 (Talks and Discussions)

10:00 – 11:00 Hanna Poddig (Hamburg)
The workshop as an emancipatory mediation method of resistant practices

11:00 – 12:00 Sebastian Voigt (Polizei Berlin)
The Training of the Berlin Police Force in the Workshop

12:00 – 12:30 Coffee Break

12:30 – 13:30 Aernout Mik (Münster Academy of Art) in conversation with Kai van Eikels (RUB)
„Speaking in Tongues" – What workshops can make us say and do

13:30 – 14:30 Alice Chauchat (Berlin)
Fabricating Experience

14:30 – 16:00 Lunch Break

16:00 – 17:00 Anne Schuh (Zurich)
Sharing Practice, Formatting Dance

17:00 – 18:00 Heike Roms (University of Exeter)
"Anybody who uses the word 'workshop' and who's not connected with light engineering is a t**t": The changing fate of the workshop and the emergence of live art

18:00 – 19:30 Dinner Break

19:30 – 21:00 Marta Popivoda (Berlin)
Caressing Machine
Film screening and discussion between Marta Popivoda and Bojana Cvejić after

Sunday, March 28 (Talks, Workshops, and Discussions)

10:00 – 10:30 Juli Reinartz and Mila Pavićević (Berlin)
Presentation of the PSR Collective and the project series OUR DANCE

10:30 – 11:30 Julia Bee (Bauhaus University Weimar) and Gerko Egert (Justus Liebig University Giessen)
Learning to Experiment: Pedagogies Across Art, Activism and Academia

11:30 – 12:00 Coffee Break

WORKSHOPS

12:00 – 13:00 Lea Martini and Bella Hager (Berlin)
cellular encounters: Movements of fantastic anatomies

13:00 – 14:00 Lunch Break

14:00 – 15:00 Workshop Relationships – A Workshop About the Workshop

Concept+Text: Nana Melling and Jens Eschert Digital Concept: Nana Melling
Performance: Anne Mahlow and Nana Mellig (Frankfurt/M. and Offenbach/M.)

15:00 – 15:15 Short Break

15:15 – 16:45 Doris Uhlich (Vienna)
Seismic Touch

16:45 – 17:00 Conference Closing

Extracts of the video works “Speaking in Tongues” by Aernout Mik and “Caressing Machine” by Marta Popivoda will be available as online streams from March 20 till 29.

Organized by the Fritz Thyssen Project "Collective Realization – The Workshop as an Artistic-Political Format" (Institute for Theatre Studies, Ruhr University, Bochum) in collaboration with the ICI Berlin and the PSR project ’Our Dance’ (Heizhaus/Uferstudios GmbH) in Berlin. Funded by the Fritz Thyssen Foundation and the Berliner Senatsverwaltung für Kultur und Europa.

Concept and Organization: Kai van Eikels and Stefan Hölscher.
Speakers (in alphabetical order): Julia Bee, Sabeth Buchmann, Dragana Bulut, Alice Chauchat, Bojana Cvejić, Diedrich Diederichsen, Gerko Egert, Konstantina Georgelou, Aernout Mik, Wadzanai Motsi-Khatai, Hanna Poddig, Yvonne Rainer, Xavier le Roy, Heike Roms, Anne Schuh, and Sebastian Voigt.
Workshops and artistic presentations by (in alphabetical order): Jens Eschert, Bella Hager, Lea Martini, Nana Melling, Marta Popivoda, and Doris Uhlich.
Assistant: Miedya Mahmod.
Graphic Design: Zahra Rashid.

Please register in advance under the following address:

[email protected]

(Registration possible until March 20 – the program booklet with a Zoom link will be sent via mail then)

Hello!today a lot of oldiesin the playlist.We do a mini warm upand then dancing without breaks in between.Come and join ...
11/02/2021
Haïku de tango

Hello!

today a lot of oldies
in the playlist.

We do a mini warm up
and then dancing without breaks in between.

Come and join here from 19-19.30 today
https://hu-berlin.zoom.us/j/67411637222?pwd=L0ZHTmFrRXR5c0ZhTHlSRktaWTFwZz09

Here the playlist:
https://www.youtube.com/watch?v=j1vsaHlhX6I&list=PLPESk8nlYVUxJZ5Z76tBYZ5yw52PsuXC9&ab_channel=PascalComelade-Topic

See you in a bit,
Lea

Provided to YouTube by Believe SASHaïku de tango · Pascal ComeladeTraffic d'abstraction℗ dsaReleased on: 2005-08-17Auto-generated by YouTube.

22/01/2021

Welcome to the first online shared practice
on the 26.1.21 from 10-12h with Anna Städler

We will practice a mix of Kalaripayattu and Yoga.
Kalaripayattu is one of the oldest martial arts of the world, closely connected to Yoga and Ayurveda.
We will start with some stretches and a simple joint warm up to
mobilize our body, blocks and leg kicks are introduced, breathing
exercises, low animal poses and high jumps. It's a holistic body
training, building up strength, flexibility, focus and concentration,
increasing the energy flow in the body. The training of Kalari (short for Kalarippayattu) would end with kicks and a sort of choreographie (maypayattu) through the room.
Since this is for most of us hard to do spacewise in our living rooms, we will round up the class with some yoga sequences. So please keep a yoga mate and a blanket available if you have.

Anna is a contemporary dancer and Iyengar Yoga teacher. She has practiced Kalarippayattu for about 10 years and is happy to share her knowledge about this special and rich martial art.

If you wanna join this shared practice with Anna, write a mail
to [email protected] till the 25.1. and you‘ll get the zoomlink.

lea martini and bella hager: “lonely during residency. my friends: the traces of others.”
19/01/2021

lea martini and bella hager: “lonely during residency. my friends: the traces of others.”

It looks like we need to communicate in different ways for a little bit longer still so we opened an Instagram account a...
22/12/2020

It looks like we need to communicate in different ways for a little bit longer still so we opened an Instagram account as well. Come visit us there so that we can keep track of each other in these crazy times

https://www.instagram.com/psr.at.heizhaus/

Greetz during lockdown, part II: Today from Xberg 36 and Neukölln ❤️✨✌🏽
20/12/2020

Greetz during lockdown, part II: Today from Xberg 36 and Neukölln ❤️✨✌🏽

The Workshop. Investigations Into an Artistic-Political Formathttps://fb.me/e/ctZHBnxrpInternational Conference (March 2...
19/12/2020

The Workshop. Investigations Into an Artistic-Political Format
https://fb.me/e/ctZHBnxrp
International Conference (March 26-28, 2021)

The movements that redefined art in the 1960s and 1970s substantially drew on workshops for devising new concepts and practices. The workshop format highlights the value of effects that emerge from spending time together in a loosely defined situation. This resonated with artists’ wish to favour the collective process over marketable products, to blend in the aesthetic with the social and political, and to get rid of disciplinary divisions. While they maintained a relation to the craftsman’s working place with an emphasis on concrete, problem-oriented cooperation, an interest in material things and tools, and curiosity for experience-based learning and sharing knowledge, the workshop experiments of that era embraced almost anything that suggested some kind of performative dynamic: cult rituals, meditation exercises, techniques of psychological (self-)manipulation, improvisation, orgiastic lovemaking,… And this wild mix of approaches helped establish the idea that the workshop is a perfectly open, and almost universally applicable, setup for collective endeavors – an idea that does not seem to have lost its appeal.
Workshop culture expanded globally within a short period of time, and whereas many workshops are still given for free, for instance in political activism or social and community work, the service economy has been quick to exploit the workshop’s commercial potential. A workshop industry promises all sorts of ‘valuable’ personal experience and the feeling of togetherness as a return for investment – plus socio-economic benefit, if the workshop leaders are renowned, influential players in their professional fields. Education and training in theatre, dance and performance rely extensively on the workshop today, but it has also become the instrument of choice for skills transfer, motivational coaching, and teambuilding in the business world. A considerable number of artists who cannot live from selling their work offer workshops for companies, advocating techniques like musical improvisation as means for optimizing the workflow. However interesting it may be to observe the consequences of such transfers between the artistic and the economic sphere, a problematic point is also obvious here: Where pressure for self-improvement drives people to participate in one workshop after the other for fear of missing out on the latest trend, the freedom to experiment easily becomes hijacked by the coercive forces of a neoliberal regime. Perhaps this already happened during the first big wave of workshopping during the 1970s. In any case, an analysis of the workshop format must address issues of valorization and commercialization, of openness and its ideological simulacra, of ‘process vs. product’ and ‘process as product’.
This international conference will investigate the workshop at the intersection of art, politics, and economy, examining the format both in its historical success and in its relevance for current notions of collectivity. In addition to revisiting the history of artist-organized workshops from the 1960s to the present – with special attention also to the 1990s and early 2000s –, it will try to outline a genealogy, which includes the role of workshops in politicizing education, in grassroots political movements, in body-centered therapeutical approaches, in mediation, and in post-Fordist designs of organizing work. The conference will also present and analyze artistic work that critically-affirmatively engages with, and reflects on, the workshop. It will take place at the ICI Berlin and at Heizhaus (Uferstudios GmbH) in Berlin from March 26-28, 2021.

Organized by the Fritz Thyssen Project "Collective Realization – The Workshop as an Artistic-Political Format" (Institute for Theatre Studies, Ruhr University, Bochum) in collaboration with the ICI Berlin and the PSR project ’Our Dance’ (Heizhaus/Uferstudios GmbH) in Berlin. Funded by the Fritz Thyssen Foundation and the Berliner Senatsverwaltung für Kultur und Europa. Venues: ICI Berlin and Heizhaus/Uferstudios (Berlin).

Concept and Organization: Kai van Eikels and Stefan Hölscher.
Speakers (in alphabetical order): Julia Bee, Ulrike Bergermann, Sabeth Buchmann, Dragana Bulut, Alice Chauchat, Bojana Cvejić, Diedrich Diederichsen, Gerko Egert, Konstantina Georgelou, Tom Holert, Aernout Mik, Hanna Poddig, Yvonne Rainer, Emilia Zenzile Roig, Xavier le Roy, Heike Roms, Anne Schuh, and Sebastian Voigt.
Workshops and artistic presentations by (in alphabetical order): Jens Eschert, Bella Hager, Lea Martini, Nana Melling, Marta Popivoda, and Doris Uhlich.
Assistant: Miedya Mahmod.
Graphic Design: Zahra Rashid.

Due to security regulations, only a limited number of visitors will be permitted to join the conference talks and workshops at ICI Berlin and Heizhaus/Uferstudios (there will be additional live streaming). Please register in advance under the following address and inform us about the days and parts of the conference in which you want to participate:

[email protected]

(Registration possible until March 15)

To be continued...
16/12/2020

To be continued...

27/11/2020

Was würdest du gerne an diesen grauen Tagen an den Berliner Wänden lesen?
Zitate, Sprüche, Liebesnachrichten,... Schickt uns eure kurze Nachricht für die Nachbarschaft - wir schreiben sie auf Plakate und verteilen sie im Wedding!

What would you like to read on the walls of Berlin during these grey days?
Quotes, proverbs, love messages,... Send us your short message for the neighborhood - we will write it on posters and spread it in Wedding!

Heizhaus / PSR's cover photo
07/11/2020

Heizhaus / PSR's cover photo

Heizhaus / PSR
07/11/2020

Heizhaus / PSR

PSR-Klausurtagung Ana Conda am Ufer / ACaU during Lockdown Light.
05/11/2020

PSR-Klausurtagung Ana Conda am Ufer / ACaU during Lockdown Light.

Im November im Heizhaus !!!CHÖRE DES SPEKULATIVENvon Sebastian BlasiusIm antiken Drama war der Chor zentrales Element au...
26/10/2020

Im November im Heizhaus !!!

CHÖRE DES SPEKULATIVEN
von Sebastian Blasius

Im antiken Drama war der Chor zentrales Element auf dem Theater – in Dramen und Aufführungen fand er seinen Platz meist zwischen den Protagonist*innen und dem Publikum. Mit der Entwicklung des Theaters der Neuzeit verschwand er von den Bühnen und mit ihm die Stimme, die kommentierte und kontextualisierte oder – wie Roland Barthes schreibt – das “fragende Element”.
Chöre des Spekulativen stellt die Frage, was der Chor zu den Texten und Szenen der Neuzeit zu sagen, wie er sich zu ihnen verhalten hätte, wäre er nicht von ihnen ausgeschlossen worden: Wie hätte er sich positioniert zum Theater des Barock, zum Theater der Aufklärung, wie zum Theater der Nachkriegszeit? Wie hätte er diese Szenerien, die zumeist das Individuum ins Zentrum stellten, kommentiert, wie sie befragt und konterkariert, wie hätte er ihnen beigewohnt? Chöre des Spekulativen lädt ein zur Begegnung mit einem Chor, der sich spekulativ-retrospektiv wesentlichen Stationen der Theatergeschichte annähert. Zugleich stellt das Projekt die Frage, wie eine heutig relevante Form des Chorischen aussehen kann: Ist der Chor immer eine Einheit oder kann er nicht viel eher diverse Positionen und Perspektiven in sich vereinen? Der Fokus liegt dabei auf Perspektiven der Gegenwart, acht Autor*innen aus Jordanien, Brasilien, China, der Türkei, Marokko, Burkina Faso, Griechenland und Deutschland perspektivieren ausgewählte Texte neu und erschaffen eine dekoloniale Perspektive auf das, was wir als den ‘westlichen Kanon’ bezeichnen. Die Zuschauer*innen werden im Heizhaus Teil einer szenischen Installation: Statt auf festen Plätzen zu sitzen sind sie Teil der mobilen Gemeinschaft, die ihre Perspektive selbst bestimmt und immer neu wählt.

Uraufführung mit Texten von Ebru Nihan Celkan, Vinicius Jatobá, Amahl Khouri, Paul P. Zoungrana, Karima El Kharraze, deufert + plischke, Zhu Yi, Björn SC Deigner, Antigone Akgün, Sophokles, Henrik Ibsen, Jean Racine, Molière, Samuel Beckett, William Shakespeare, Johann Wolfgang Goethe, Friedrich Schiller u.a.

Gefördert durch: Hauptstadtkulturfonds, Kunststiftung NRW, Stadt Köln, NRW Landesbüro freie darstellende Künste, Ministerium für Kultur und Wissenschaft des Landes NRW.

Besetzung

Regie: Sebastian Blasius | Dramaturgie: Dirk Baumann | Raum: Mark Lammert | Mit: Alexandra Finder, Vincent Zur Linden, Berit Jentzsch, Alicia Agustin, Leonard Dick, Jasmina Music, Maria Helgath, Katharina Palm u.a.

Termine
Di 24.11.20 19:00 Uhr
Mi 25.11.20 19:00 Uhr
Fr 27.11.20 19:00 Uhr
Sa 28.11.20 19:00 Uhr

Anmeldung/Reservierung unter:
[email protected]
DER EINTRITT IST FREI. SPENDEN SIND WILLKOMMEN

https://sebastianblasius.com/

Adresse

Uferstraße 8/23
Berlin
13357

Benachrichtigungen

Lassen Sie sich von uns eine E-Mail senden und seien Sie der erste der Neuigkeiten und Aktionen von Heizhaus / PSR erfährt. Ihre E-Mail-Adresse wird nicht für andere Zwecke verwendet und Sie können sich jederzeit abmelden.

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Kategorie

Preamble / Präambel (28.4.2020)

Heizhaus is both a historical and a contemporary space full of potential. We wish it to be a space of unlikely encounters between different people from diverse backgrounds and different artistic, political, and social contexts. It is a messy playground for all of us and our dances. It is my community center, your dance hall, their gathering space, her teaching studio, your forum for thinking, and our performance space. It is accessible and open to all who want to engage with the space and the idea.

Projects in Heizhaus are process-oriented, focusing on the question what happens when we meet. The space functions like an organism in which the different parts are referring to and feeding into one another. At the same time, its sensuous connections to the outside are its life lines: In Heizhaus, we want to engage with other practices already taking place outside of Uferstudios. We want to re-view our own artistic practices in the light of their social and political embeddedness and make it possible for you to develop yours. We want to experiment with the time conventions of artistic production. We want to support practices and works that include and address more than one community. When we speak of unlikely encounters and messy playgrounds, we hope for the radical permeability of different artistic, political, and social contexts. Departing from dance, we however encourage projects of all disciplines that take into consideration other disciplines to engage with this space. Welcome to experimentation and the entangled messiness of animating this space together!

For us, Heizhaus functions like an incubator: breeding ideas, practices, alternative habits, and senses. Come and make it yours, give it your warmth, your colours, and your feels. Use it as your tentacular organ. Work on something new, invite people you always wanted to meet, reinvent your practice, change your time economy, share what you don’t know yet and learn from everything that is happening around. Let’s spend time differently. Let´s spend it together.

What we would hope to see:

Kunst & Unterhaltung in der Nähe


Bemerkungen

Sharing space with young talents of the hood- moving, loving, learning from each other 🙌🏽
Feels like heaven being amongst my small and extremly inspiring team! I’m so grateful to be able to start with „Insellandschaften“ in Kooperation with Heizhaus/ Uferstudios. Thank you all for your support! Leben auf der Insel West-Berlin. Ein Blick über die Mauer. INSELLANDSCHAFTEN zeichnet die Erfahrungen von Frauen zwischen West-Berlin und Iran 1979 nach – zwischen Diaspora und Revolution, in der deutsch-deutschen Erinnerung unsichtbar unter der Wasseroberfläche zurückgeblieben. Der künstlerische Dokumentarfilm taucht in weibliches Erzählen ab, denn vielleicht sind Inseln nichts anderes als Bergspitzen unter Wasser liegender Gebirge. Erinnerungen an die Teilung Berlins und den Beginn der Iranischen Revolution verschwimmen: 1979 auf den Schultern der Eltern in Teheran für Demokratie kämpfend, stehen diese Kinder zehn Jahre später an der Berliner Mauer, um erneut für Freiheit einzustehen. INSELLANDSCHAFTEN erzählt (Un-)Sichtbarkeiten des kollektiven Gedächtnisses und wirft Licht auf den blinden Fleck der Geschichtsschreibung. Eine Produktion von Modjgan Hashemian gefördert durch den Hauptstadtkulturfonds mit freundlicher Unterstützung der Uferstudios.