Gardens in Transition. COMMITMENTS, OBLIGATIONS AND PRACTICES (Day 1) скачать в хорошем качестве

Gardens in Transition. COMMITMENTS, OBLIGATIONS AND PRACTICES (Day 1)

WITH  Ayham Allouch, Ali Bakhtiari with Farshid Mesghali & Ali Akbar Sadeghi, Felisha Carenage & Xavier Robles de Medina, Kamari Clarke, Ragil Huda, Sarah Imani, Rada Iveković, Eman Karmani, Savanna Morgan, Hibatolah Nassiri-Vural, John Njenga Karugia, Glenda Obermuller, Helena Uambembe, Jorge Vega, Bodhari Warsame, Mali Wu, Samba Yonga, Roberta Zollo, Joël Zouna SAVVY Contemporary’s upcoming artistic program takes colonial heritage and decolonization as facts and practices of transition. Relying on experimentation, the programme TRANSITIONS will show that decoloniality, as the anthropologist Rosalind Morris describes it, immerses us in lifeworlds and artworlds known to be “an incomplete dialectic.” Thereby, we will put an emphasis on deepening the study of decolonization in methodologies and assemblages: the historical and contemporary links in Afro-Asia colonial intricacies and decolonial futures; the theater of developmentalism in the Pacific; and the underrepresented roles of settlement—say Germany’s deep migration history in its neighbouring regions. These co-responding geographies and their geopoetics complicate colonisation and decolonization that may have stagnated in specific discursive milieux. The current German discursive architecture disallows the study of the evolution of colonial ideologies to translocal, supranational and extraterritorial policies covering topics, such as justice, education, migration, climate change, labour or even war and other conflicts. There is a huge gap in discussions of colonisation and decolonization. In this chasm, SAVVY Contemporary’s experiments continue the process of what Rada Iveković calls “permanent translation” of colonisation as a practice and concept that coexists in the daily fabric of Germany and in the long arc of this ideology. By translating the quotidian as well as affective dynamics of colonial thought and in effect, deliberating its “non-translation” as a legitimate progress of history, the overall program called TRANSITIONS pays attention to segments, holes, fragments, and patterns of colonial ideology, action, fantasy and afterlife within the waves of pressing contemporary issues. GARDENS IN TRANSITION welcomes the fact that transition builds a world of organisation and disorder akin to the wildness in a tropical garden. For some, the transitional nature of world-making remains to be a metaphor that requires forms and translations; in other contexts, it is a matter of survival. Moral rifts growing in the ground, it has been more challenging to propose the values of intersectional tending and sowing that can engage with shared socio-political concerns. Acknowledging this, we revisit the irregularities of transition that transcend the utterance, “Something must be changed,” or “It will never be the same.” Transitions excite a language that is not fully translated, they only and permanently cite the situatedness of those who have committed to the direction of a new ideology, movement, and fiction. The charisma of such a radical shift is something we would like to offer alongside other methods that have attracted us into critical thinking. Not all transitions can be experienced or assigned or encountered. Especially when they are converted in contexts that demand them to be fundamentalist, for example in the fields of eugenics. Any attempt to transcend the difficult now and to repair the abusive past exposes us to slow violence. If this would be the case, who can refuse it and why must one accept transition? Is it a medium of an impossible return? When we imagine transitions in the poetics and ethics of their undoability, might we be able to cushion ourselves from the maddening cycle of development, progression, or even revolution? This calls for becoming artificial: that is to transition artistically. New transitions must be invented.