"Violence of Inscriptions" takes interest in human bodies under political and social violence. Based on the performativity and physicality that the body introduces in the discussion, the project questions the possibility of representing and critically reflecting experiences of structural violence with artistic, discursive, and activist means.
In collaboration with HAU Hebbel am Ufer and grounded in existing and in-progress work by dramaturge and researcher Sandra Noeth and choreographer and performer Arkadi Zaides, the serial project “Violence of Inscriptions“ unfolds in five chapters that take place in between 2016 – 2018. Acknowledging the complexity of the topic and its ideological, political, ethical and legal implications, this format aims at breaking down the general question into more specific aspects and lines of tension, these might be:
#1 Experience – Representation (4.+5.3.2017)
#2 Resistance - Complicity
#3 Collectivity – Singularity
#4 Responsibility – Responsiveness
#5 Human Rights – The Performativity of Law
In each session, an international group of artists, thinkers, human rights activists and experts from other fields and different disciplines and geo-political contexts gathers in a workshop meeting of several days. The respective practices and perspectives of the participants provide the initial material for the exchange and concretize the discussion. This internal part of the project will be accompanied by a public program with artistic presentations, screenings, installations, round tables and lectures at HAU Hebbel am Ufer.
Violence of Inscriptions #1: On Experience and Representation
“Violence of Inscriptions #1: On Experience and Representation” is the first chapter in a series of artistic and theoretical reflections on bodies under structural violence, developed in collaboration with HAU Hebbel am Ufer between 2017-18. In their presentation and drawing on the performativity and physicality that the body and that movement introduce in the discussion, Arkadi Zaides and Sandra Noeth will introduce the program that questions the possibility of representing and critically reflecting experiences of structural violence with artistic, discursive, and activist means. Thereby, they acknowledge the problem that structural violence is often perceived in its repercussions, its aftermath and its gradual extension. As a consequence, it tends to not produce a spectacular and explosive imagery, and thus risks to be insufficiently represented (and have limited agency) in official memory, in strategic planning, archives, documentation and public media. Thus, “Violence of Inscriptions #1” is not only invested in critically questioning in which way arts and discourse provide means and strategies to raise awareness for the above-mentioned phenomena; it equally takes interest in the limits of our engagement, the thresholds of empathy, the uneasy relationship between the ‘real experience’ of violence and its representation.