The Many Headed Hydra: Imagination, Speculation, Dissolution of Space and Time
Sea Body Infrastructure Image
Magazine #01, Summer 2016
14 Aug 2016 - 31 Dec 2018
Editors: Emma Haugh and Suza Husse
Conributors: Anna Hallin & Olga Bergmann, Bryndís Björnsdóttir, Hannah Black, Natasha Ginwala, Tinna Grétarsdóttir, Emma Haugh, Suza Husse, Occupational Hazard Project, Tejal Shah, Ato Malinda, Nine Eglantine Yamamoto-Masson and participants of the workshops “Speaking As Fishes” in Leipzig and Reykjavík.
Cover: Tejal Shah, Between the Waves, Secret, 2012
Design: Elsa Westreicher
Published by District Berlin
in collaboration with Occupational Hazard Project, Reykjavík, 2016.
24 Apr 2016 - 30 Apr 2020
Felix: I’m concerned with who we are and how we move on this planet, what scales we are in and what they mean. Consequently, I’m interested in the interplay between space and us. I use a playful approach to such phenomena, such as inVertikale. It’s fascinating to me that the Earth's rotation gives rise to forces that we cannot see and that things attract one another without touching.
The installation Vertikale is accompanied by the artist made publication Horizontalgespräch über Vertikalwirkung, Magnetismus, Industrierepräsentanz, den prosaischen Raum, Edelstahlminimalismus und Nachbarschaftsökonomien.
THE FORGOTTEN PIONEER MOVEMENT - GUIDEBOOK
02 Oct 2014 - 31 Dec 2018
The Forgotten Pioneer Movement Guidebook is a companion volume to the interdisciplinary performance and exhibition project of the same name that reconsiders perspectives on the (post-)socialist experience. 25 years after the fall of the Berlin Wall, The Forgotten Pioneer Movement engages with the last generation to grow up in the final phase of the cold war, during perestroika and in the ‘pOst-Western’ Europe of the 1990s. As a fictional movement, TFPM probes forms of cultural memory and examines the social perspectives of this generation. The Guidebook to the project explores strategies and discourses from visual as well as performative arts, history and cultural theory in order to approach the “future behind us” described by art historian Edit András as a pan-European experience independent of geopolitical classifications. On 120 pages, theoretical and artistic contributions create new connections between that remote future and the present.