Dokumentarische Extraktivismen | Documentary Extractivisms
Screening und Workshop mit Su Yu Hsin (Berlin) und titre provisoire (Berlin).
Screening und Workshop finden auf Deutsch und Englisch statt. Für den Workshop bitte bis 01.07. anmelden: das-dokumentarische@rub.de.
Das Screening- und Workshop-Programm “Dokumentarische Extraktivismen” untersucht die Verbindung zwischen dokumentarischen Praktiken und extraktivistischen Prozessen. Ausgehend von der Idee der Extraktion als einer Produktionsweise, die Lebensnetze in Ressourcen für die materielle und immaterielle Akkumulation verwandelt, beschäftigen wir uns mit der künstlerischen Auseinandersetzung mit postindustriellen Orten im Ruhrgebiet, die als extraktive Zonen betrachtet werden können. Gleichzeitig gehen wir der Frage nach, inwiefern die Prozesse der Dokumentation solcher Orte selbst als extraktiv angesehen werden können.
Im Rahmen einer Filmvorführung, eines Rundgangs durch das LWL-Museum Henrichshütte und eines Workshops im Museum befragen wir verschiedene, wenn auch miteinander verflochtene Aspekte der Extraktion, die in dokumentarischen Praktiken und in der künstlerischen und akademischen Forschung im weiteren Sinne enthalten sind. Wie entwickeln Künstler:innen oder Filmemacher:innen kritische, situierte und anti-extraktivistische dokumentarische Ansätze? Wie können Film- und Medienwissenschaftler:innen ihre Situation innerhalb von Material- und Wissensflüssen reflektieren, wenn sie sich mit Archiven beschäftigen und mit Gemeinschaften interagieren?
(Für Englisch siehe unten / For English see below)
Screening und Q&A| Donnerstag, 04. Juli 2024, 18-20 Uhr | Museum unter Tage – Situation Kunst (Schloßpark, Nevelstraße 29D, 44795 Bochum)
- Screeningablauf
Pınar Öğrenci, Glück auf in Deutschland (2024)
Su Yu Hsin, Blast Furnace No.2 (2022)
titre provisoire, Strada Fabricii (2011)
Q&A mit Su Yu Hsin und titre provisoire
Workshop | Freitag, 05. Juli 2024, 10:30-16:30 Uhr | LWL-Museum Henrichshütte (Werksstraße 31-33, 45527 Hattingen)
- Ablauf:
Gemeinsame Anreise | Treffpunkt: Bochum Hbf, Bussteig 5, Bus SB 37, Abfahrt: 10:02 Uhr
10:30 – 11:00 Uhr: Ankommen und Grußwort
11:00-12:00 Uhr: Tour über das Gelände der Henrichshütte – Su Yu Hsin
12:00-12:15 Uhr: Kaffeepause
12:15 – 13:15 Uhr: Materialbesprechung – Su Yu Hsin
13:15 – 14:45 Uhr: Mittagspause
14:45 – 16:15 Uhr: Materialbesprechung – titre provisoire
16:15 – 16:30 Uhr: Ausklang
EN:
The screening-cum-workshop Documentary Extractivisms examines the link between documentary practices and extractivist processes. Taking up the idea of extraction as a mode of production that transforms the webs of life into resources for material and immaterial accumulation, we explore artists’ engagement of post-industrial sites in the Ruhr region that can be regarded as extractive zones. At the same time, we consider how the processes of documenting of such sites might be deemed extractive.
Over a film screening, a tour of the LWL-Museum Henrichshütte, and workshop sessions at the museum, we interrogate different, albeit intertwined aspects of extraction inherent in documentary practices and in artistic and academic research more broadly. How might the artist or filmmaker develop critical, situated, and anti-extractivist documentary approaches? How can scholars of film and media reflect their implicated situation within flows of material and knowledges when they attend to archives and interact with communities?
Bios:
titre provisoire is a collaboration between the artists Cathleen Schuster and Marcel Dickhage, they live and work in Berlin. They are working from a conceptual approach in time-based media and video installation. They are alumni of the Whitney Independent Study Program and the Academy of Visual Arts Leipzig. Recent exhibitions include Halle für Kunst Lüneburg, Singapore Biennale 2019, the public space of Semmering, Horse&Pony Berlin, D21 Leipzig, Sharjah Art Foundation, after the butcher Berlin, Taxispalais Kunsthalle Tirol, Kunstverein Harburger Bahnhof Hamburg, Berlinische Galerie, GfZK Leipzig, Ludlow 38 New York, Kunsthalle Düsseldorf, SAVVY Contemporary and the Kyiv Biennale 2015. In 2022, they developed the online journal Rosa Mercedes Issue No. 4 „Coincidences in Prepositions“ in collaboration with Renan Laru-an, the Vargas Museum Manila and the Harun Farocki Institute Berlin. They have been invited for lectures/conversations at the forums of Impossible Dreams hosted by Patrick Flores in the Taiwan Pavillion at the 59th Venice Biennial or at the South London Gallery amongst others, and they have been teaching at Institute for Art and Art Theory, University of Cologne.
Su Yu Hsin is an artist and filmmaker based in Berlin. She approaches ecology from the point of view of its close relationship with technology. Her artistic practice is strongly research-oriented and involves fieldwork where she investigates the political ecologies of water. Her work reflects on technology and the critical infrastructure in which the human and non-human converge. Her analytical and hydropoetic storytelling focuses on map-making, operational photography, and the technical production of geographical knowledge. Her video installations are exhibited worldwide in museums and International Art Biennials: Bundeskunsthalle Bonn, the Centre Pompidou-Metz, the Museum of Contemporary Art Busan, Taipei Biennial 2020 and 2023, ZKM Karlsruhe, UCCA Center for Contemporary Art, among others. Her films have been screened at Kurzfilm Festival Hamburg, Experimental Film and Video Festival in Seoul and e-flux.
Artist and filmmaker Pınar Öğrenci’s films and installations deal with displacement, migration, survival, and resistance. Driving her works are difficult, everyday struggles; the stories she hears, observes, experiences, collects, and documents from different geographies. In earlier works, Öğrenci followed the rarely spoken about stories of migrant communities around the Mediterranean, the Aegean, and in Berlin. Her film Aşît – The Avalanche gained international attention during documenta fifteen.
She has a background in architecture, which informs her poetic, atmospheric and experiential video-based works and site-specific installations that accumulate traces of ‘material culture’ related to forced displacement. Her works are decolonial and feminist readings from the intersections of social, political, and anthropological research, everyday practices, and human stories that follow agents of forced migration.
She was awarded the Villa Romana Preis 2022 and nominated for the Böttcher Strasse Kunstpreis 2022 in Bremen. Her works will be included at Disobedience Archive, Venice Biennial, Biennale Matter of Art Prag, and Frac Bretagne in Rennes in 2024.