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Picture: Christian Lutz
Ali Moini
Picture: Christian Lutz
Picture: Erli Gruenzweil
hoelb/hoelb
Picture: Erli Gruenzweil
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Logo of the Hebbel am Ufer

Ali Moini, Janez Janša, hoelb/hoeb

Violence of Inscriptions #2

On Resilience – Day 1

Part of “Violence of Inscriptions", a project by Sandra Noeth and Arkadi Zaides

7pm

Ali Moini: My Paradoxical Knives (performance / dance)

Hey Sky, don’t turn without Me.
Hey Moon don’t shine without Me.
Hey Earth, don’t grow without Me.
Hey Time, don’t pass without Me.

What is a safe distance? How much proximity is necessary in order to get close to someone, to get involved in something unknown? “My Paradoxical Knives“ explores the construction and metamorphosis of an image: the image of a turning man who becomes the center of moving knives. While he wipes out the sung words of a poem by the Persian mystic and poet Rumi with his feet, in reference to the circular movements of the Sufi dance, in his movements experiences of security come together with the experience of vulnerability and danger. With a haunting presence he reminds us that production of closeness and community is always linked with an act of separation. A dance like a deep breath. Poetic and – against the background of the censorship of expression and self-determination in Iran and elsewhere – simultaneously political.

Concept and Performance: Ali Moini. Production: Selon l`Heure Critical support: Loïc Touzé, premiered as part of the programme PEPCC of Forum Dança

8pm

Two Lectures & a Dialogue

Janez Janša: The Wailing Walls (Lecture)

The Wailing Walls is a piece that originates from the political notion of a wall as an object/space of separation. A wall has always been a cut in the space, a cut that makes two (or more) spaces out of a single one. A wall is a formation, which divides, delineates, threaten. A wall is one of the most potent manifestations of (political) power. It is always constructed by one party that wants to be separated from the other party no matter whether the other party agrees to the wall construction or not. The same as in the most part of the Western world, the political space in Slovenia is still most often separated by the view of the past charged with ideology, taking historical credits and accusations of historical injustice. The matrix of the political is still determined by red and black. This is where a structural violence takes it place in leaving an individual no choice: citizens either don’t go to vote or they vote against.
The Wailing Walls is an installation composed of two ice walls, a red and a black one. The walls were set on a slightly inclined ground so that the ice slowly melted into a fountain made in a form of a map of Slovenia. Following the example of the Jerusalem Wailing Wall, the two Wailing Walls invite the visitors to insert their notes in the holes of both walls and thus take an ideological stand or not.
At the same time, The Wailing Walls is a performance of two ‘actors’ that slowly and persistently, through constant metamorphoses, transform into nothing. The walls/"actors" disappear just like they disappear after any performance; they leave behind nothing but a memory of a fourteen-day durational performance.
The second part of The Wailing Walls brings resilient dimension of individual and collective memories. A spectator is invited to cry and donate tears based on recalling of memories.

hoelb/hoeb: Empathy Devices

The work by artist duo hoelb/hoeb is situated at the intersections of arts, everyday practice, visual procedures and performance. With their installations, they develop a spatial dramaturgy in which every individual can reflect on her or his personal experiences of loss: absolute and potential loss as well as the individual and collective potential and rituals to express empathy, grief and solidarity and participating in today’s society. In the framework of “Violence of Inscriptions,“ the artists will present selected works and introduce their artistic and social strategies of exchanging knowledge.
Past dates
June 2017
English
The project is supported within the framework of the Alliance of International Production Houses by the Federal Government Commissioner for Culture and the Media.