ATTENTION, Unfortunately, the performance can not take place on the 30 September and will be postponed. We will let you know once a new date is fixed.

Performances, tours, sounds - on this museum Sunday you can expect an artistic program in the forest room and museum garden. It is curated by the artist duo Po:era as part of the festival ONSITE.

We cordially invite you and your friends and families to Museum Sunday!
Admission is free. You do not need a time slot ticket for your visit.

With their walk-in reading room Center of Unfinished Business, C& reveal the diverse repercussions of colonialism that still resonate to this day. As lecturers at the UdK Institute for Art in Context, they invite students to augment the Whose Expression? exhibition with temporary artistic interventions:

The Sonic Circle is a sound performance by the artist Manuela García Aldana, which is part of the Transition Exhibition at Kunsthaus Dahlem.

Listening is the key to Manuela García Aldana’s artistic practice. Her Sonic Circle is inspired by El Círculo de las Palabras (Circle of Words) practiced by the Wiwa and other Colombian communities. It involves people gathering around a fire, listening and sharing ideas and stories.
 

Why poetry is a perennial, duration 10 min, one-to-one readings in the Transition Exhibition at Kunsthaus Dahlem by Ruth Buchanan (EN).

Ruth Buchanan’s artistic work addresses the dynamic relationship between body, power, language and architecture. Buchanan conducts herreadings face to face with visitors, creating an intimate encounter with poetry. They are based on an ongoing engagement with the poet J.C. Sturm (1927–2009), one of the first female Māori writers to have her work published. Sturm addressed the paradoxical situation faced by women in society today: while they have more autonomy, their status is perpetually unstable. Buchanan’s feminist gestures offer approaches to challenge these entrenched structures and imbalances exposed in exhibitions.

Performance by muSa Michelle Mattiuzzi in the exhibtition Transition Exhibition at Kunsthaus Dahlem.

A performance by Luïza Luz, Chao Li und D’Andrade, at the exhibition Whose Expression? at Brücke-Museum.

A performance by Luïza Luz, Chao Li und D’Andrade, at the exhibition Whose Expression? at Brücke-Museum (DE/EN). The project is a performance about dreams and traumas, and how these two dimensions can be connected through visual and sonic elements. The artists will present an interdisciplinary performance in the space of the Brücke-Museum that will enter into direct dialogue with the architecture. With a combination of sculptural method and ephemeral performance, they will create a temporary performative installation. Traum/Trauma is based on inner as well as outer experiences. The conceptual approach of the performance is to express how young people experience and deal with trauma and dreams in a time of climate change, technology and complex political struggles in capitalist and postcolonial societies.These narratives are expressed through the body, sound and the spoken or sung word in different languages (Portuguese, Chinese, English and German).

With their walk-in reading room Center of Unfinished Business, C& reveal the diverse repercussions of colonialism that still resonate to this day. As lecturers at the UdK Institute for Art in Context, they invite students to augment the Whose Expression? exhibition with temporary artistic interventions:

The artist Satch Hoyt presents the sound performance Sonic Oblation Un-Muted, as part of the Transition Exhibition.

The writer Haytham El-Wardany engages with traditions of storytelling that lend agency to seemingly lifeless objects. In his writings, they become subjects. In his reading of the short story In the Wrong Place, El-Wardany creates a verbal
space that encourages us to rethink the concept of a “source of inspiration”. Like many other modern artists, Karl Schmidt-Rottluff called the art of the regions of Asia, Africa, Oceania and South America “sources of inspiration” for his own works. El-Wardany’s reading and discussion intend to render the voids of labor in the socalled “sources of inspiration” visible. In his performance, El-Wardany works with the book Kalīla wa Dimna [Kalila and Dimna], a collection of fables recorded in Arabic by the Basra, Iraqborn writer and scholar Abdullah Ibn al-Muqaffaʿ
in the 8th century.

Haytham El-Wardany is an Egyptian writer of short stories and experimental prose who lives and works in Berlin.  He is the author of The Book of Sleep (2017, Alkarma Publishing House, Cairo / 2020 Seagull Books, Calcutta) and How to Disappear (2013, Kayfa Ta Publications, Cairo / 2018, Sternberg Press, Berlin/NY). His recent short story collection is titled Irremediable (2020, Alkarma Publishing House, Cairo).

With their walk-in reading room Center of Unfinished Business, C& reveal the diverse repercussions of colonialism that still resonate to this day. As lecturers at the UdK Institute for Art in Context, they invite students to augment the Whose Expression? exhibition with temporary artistic interventions:

Based on Gabriel Rossell Santillán’s twenty years of working with the Wirrarika community in the North of Mexico and researching 600 Wirrarika works that were displaced to the Ethnological Museum of Berlin at the beginning of the 20th
century. His performance Libreria de Tuapurie challenges the colonial library model. The reading begins with the story
of the book Ofrendas (Offerings), commissioned to the artist by the community elders. The book is conceived only for the Wirraka community.