With her installation mars analog, video artist Anne Quirynen takes us from the ravaged landscape of the Minas de Riotinto in Spain to utopias of the colonization of Mars. For hundreds of years, both the planet Mars and the Minas de Riotinto have been objects in the creation of myths and of research: Minas de Riotinto is one of the oldest copper mines in the world and it is believed that these are the mines of the mythical King Solomon while today industrial archaeologists and scientists are researching the conditions of life on earth. As the consistency of the soil, due (partially) to the surface mining, is similar to that on Mars, the scarred landscape of Rio Tinto has become an analogue terrestrial site for simulation of future missions to Mars. The edited pictures and the found footage material by mars analog provide a small glimpse into the role of humanity in these two ghost-like empty landscapes.

2016, colour prints and single-channel video

Image Courtesy: NASA/JPL, ESA/NASA, Airbus Group (Luis Manuel Rivas, Raúl Pérez), ÖWF, ESA, CSEM/Schweiz, University of Manchester/UK and Fundación Rio Tinto, Achivo Histórico Minero De RIOTINTO

„Reflections into a Thousand Pieces“ bringt die Blicke zum Laufen: Wie ein Guckkasten können wir im Buch die Filme und Installationen betreten, uns in ihnen umsehen, draufsehen und durch diese hindurchschreiten. Das Blättern der Seiten bringt Filmabläufe in Bewegung und lässt eine Marslandschaft und die Mienen von Rio Tinto an uns vorbeiziehen; durch das Drehen des Buches stehen wir zwischen Aquarien, in denen die TänzerInnen William Forsythes wie in einem Diorama eines Naturkundemuseums schweben. Durch Schwarz hindurch erkennen wir in Nah- und Fernansicht zwei kleine queere Männer (Antonija Livingstone und Antonia Baehr), deren Bewegungen durch ein Standbild angehalten wurden. Bilder aus Bombay, dem Ground Zero und Berlin kreisen zur Choreografie von Enno Poppes Musik über die Seiten.

Video und Kino bringen den Körper im Kopf zum Tanzen, Installationen machen diese Welten begehbar. Anne Quirynens Arbeiten regen den Körper an, fordern ihn heraus und machen ihn in seinen Manipulationen, utopischen Erweiterungen und Ausbrüchen erfahrbar.
Inspiriert von den Bewegungen des Bildes experimentiert das Buch mit der Übertragung von Filmbildern in ein Buchformat, zerteilt die Bilder in ihre Teilchen und bringt sie in der Reflexion erneut in Bewegung.

Texte von Christine Hanke, Bettina Knaup, Anne Quirynen und Stefanie Schulte-Strathaus
Revolver Publishing (Berlin 2015)
160 Seiten, 21 × 28 cm, deutsch/englisch
Gestaltung: Hagen Verleger
Mit Unterstützung der Kulturverwaltung des Berliner Senats

Since the early 1990s, the focus of Quirynen’s work lies on interdisciplinary practices in the field of the moving image and body, art and science, as well as dance, music, and video. By digital sound and image manipulation her projects focus on the human body in relation to its movements and its dispositifs. Quirynen's works are inspired by collaborations with major contemporary choreographers such as William Forsythe, Enno Poppe, and Marcel Beyer. They define collective and interdisciplinary work as an essential aspect of the artist's practice.

With texts (German/English) by Christine Hanke, Bettina Knaup, Anne Quirynen, and Stefanie Schulte-Strathaus
Revolver Publishing (Berlin 2015)
160 pages, 21 × 28 cm, German/Englisch
Book design: Hagen Verleger
Kindly supported by the Senate of Berlin (Kulturverwaltung)

Rezension in "Tanz – Zeischrift für Ballett, Tanz und Performance"

A Project by Ian Kaler (A/D) & Anne Quirynen (D/BE)
Choreography: Ian Kaler
Video, sound and Installation: Anne Quirynen
With the support of PACT Zollverein Essen, MA7

Shifting the burden is a collaboration between video artist Anne Quirynen and choreographer, performer and videographer Ian Kaler. The joint project originates from a reserach on perception of movement from one artistic language to another and from one work to another. One sees a figure inscribing a figure. The installation shifts continuously between different media: painting, video art and choreography. The body – projected on a black surface – is caught in a frame. It seems to be deprived of physicality and is accompanied by the sound of someone trying to draw and follow the movement, knowing one can only fail to see and hear motion.

Premiere: 8. Tanznacht Berlin 2014

Press comments:

Venus Mission at Forum Expanded Berlinale 2012
Photo credit: Anne Quirynen

Venus Mission at NON Berlin 2016 | Photo credit: Hanju Ki

2012 | Installation | 14min. 25sec.

The video installation mirrors images and sounds of the disused copper mine Rio Tinto and research on the planet Mars in an alchemistic way. The ghost-like emptiness of the landscape is interwoven with soundscapes and layers of pixels, setting free associations of time and space between industrialization in the 19th century and electronic data collection in the 20th/21st centuries, between human/mechanical and electronic/robotic means of production, between the train ride in early cinema, rattling slide projectors and digitally simulated images, between diminishing resources, scientific research and colonization, and traces of life, all of which seem to interlink seamlessly. The result is a blending of cultural technologies of mediation that render objects visible and audible with historical and social processes of transformation. Hybridization and amalgamation occur in every image and sound.
In its compression of time and space, VENUS MISSION gives us a sense of traces of living and working – traces that take us from the ravaged landscape of Rio Tinto to utopias of Mars colonization.
Will VENUS MISSION take us to Earth or to Mars?

Christine Hanke about VENUS MISSION (pdf)


Distributed by Arsenal Experimental, Berlin.
Contact: ars-exp@fdk-berlin.de

Anne Quirynen, Christine Hanke, Lena von Geyso:
‘VENUS MISSION – Bewegung und Spur in Bild und Ton. Ein Gespräch‘ In: Dieter Mersch, Jörg Sternagel, Lisa Stertz (Hg.): Kraft der Alterität. Ethische und aisthetische Dimensionen des Performativen. Transcript Verlag. Berlin. Im Erscheinen (2013)

Kaleidoscopic view
INTERZONE takes William S. Burroughs as a point of departure. The work deals with his cut-up methods and with the feeling of transition. The main figure is a bee finder searching for invisible worlds, for “ancient bee tracks…searching through compound eyes”. Taking up the idea of the compound eye, the installation refers to early moving image devices such as the zoetrope. It consists of four (or eight) large screens arranged in a circular mode. The space itself is covered with black reflective panels that heighten the impression of a kaleidoscopic view.
(Catalogue Berlinale Forum Expanded 2007)

Reflection into a thousand pieces
Appearing magically from out of the darkness – as if they
were detached from a silent movie – an arm, a hand, a
gesture that invite, present something, demand something. Street, cars, and high-rises appear kaleidoscopically in the warm colors of the darkness. The façades of the buildings with their many windows form the captured image, the result of a turning, a swaying, or the compound eye in which the broken-up image is reflected in the world in a thousand pieces. In Bombay people grope their way along a wall. At Alexanderplatz in Berlin the buildings still stand up
straight. In New York the eye is captured by Ground Zero.
From out of the bright whiteness of the sunlight, arias
ring out. Insects populate flowers and plants in unrealistic colors. Just as sentences become sound collages, images become structures of color and light. A person becomes light, becomes the substance of projection. The video images move jerkily, as if they were made of celluloid and had to run through an old projector.
(Stefanie Schulte Strathaus)

Made with support from the Berliner Festspiele
and the Kairos Musik-Verlag
Distributed by Arsenal Experimental, Berlin.
Contact: Arsenal Experimental: ars-exp@fdk-berlin.de

2007 | Installation | 77 min.
With: Antonija Livingstone and Antonia Baehr, installation 7min., 2004

With Antonija Livingstone as Iacob and Antonia Baehr as FritzIacob dances in the picture’s foreground. The Einstein wig takes up so much space that the teased hairdo sometimes extends outside the picture frame. But Iacob never dances out of the picture; Iacob dances as if trying to precisely measure the bounds of the video image: up, down, to the right and left. On the screen, the stage-film-space opens wide. With a step outside, colors appear, glaring light, and the sounds of a scratched record; the fairy-tale forest plays dance music from the 1930s. Iacob and Fritz sit in the woods and smile, relaxed, into the camera. The viewer’s eyes can pass over the branches and leaves from a safe distance, lose themselves in the thicket of trees, and trace the contours of the petrified bodies of the king and the mermaid. Maximilian made these images with a video camera; the videobeamer casts them onto the screen. One’s innocence returns; here is a world without time. The viewer – his head in a box – wonders how the rest of his body, below his head, must look to those who pass him to enter the real cinema he is in front of. But he can’t change his posture without destroying the architecture of his movie theater and missing the film, to boot. But has his shirt pulled out of his trousers as he’s bent over? Or is her skirt too short?

Stefanie Schulte Strathaus about Maximilian‘s Darkroom.pdf

Distributed by Arsenal Experimental, Berlin
Contact: ars-exp@fdk-berlin.de

Zwerge tragen falsche Bärte
Die Folgen exzessiven Kinogehens sind viel zu wenig erforscht. Schärfen vier Berlinale-Filme am Tag den Sinn für die Kunst und das Leben? Oder muss man mit dem Tunnelblick-Syndrom rechnen? Die Video- und Performancekünstlerin Anne Quirynen jedenfalls will, dass ihr Publikum in die Röhre schaut. Für das Berlinale-Beiprogramm in der ‘Black Box Area‘ hat sie ein Traum-Teleskop konstruiert: MAXIMILIAN‘S DARKROOM (...) Abseits des Kinotrubels steigt man also auf eine Kiste und verschließt mit dem Gesicht die vierte Wand einer Laterna Magica. Gegenüber, am Ende eines schwarzgelackten ‘Flurs‘ leuchtet das Leinwandfenster, auf dem Quirynen und zwei Performerinnen von Iacob und Fritz erzählen. Das sind ulkige Figuren mit falschen Bärten, so zwergenhaft klein, dass sie genau in die Röhre passen. Fritz ist beleibt und neigt zur Trägheit, der hagere Iacob agiert hypermotorisch. Dick und Dünn, Schwarzweiß-Gestalten wie aus der Frühzeit des Kinos. Wo Quirynen diese Puppenmenschen zum kratzigen Klang alter Grammophonmusik tanzen lässt, hat sie ihre Darsteller auf dem Boden liegend gefilmt und schafft mittels Filmtrick eine zappelige Schwerelosigkeit, wie in einem Méliès-Film. Doch Quirynens Video-Kanal ist kein Kabinett für Kino-Nostalgiker. Die mit starrer Kamera gefilmten Zwerg-Szenen konstrastiert sie mit aufwändig montierten Reißschwenks. Und der Slowfox wird von fetziger Perkussion zerrissen. In dem Sechs-Minuten-Loop steckt viel: Natur und Kultur, Stillstand und Bewegung, High-Tech und Klamottenkiste. So gesehen, öffnet sich MAXIMILIAN‘S DARKROOM doch – zum mikrokosmischen Rundumblick auf die Mittel und Erzählweisen des Kinos.
(Jens Hinrichsen // Der Tagesspiegel 14.02.2005)

Fotografien der Installation: Michael Moser und Kathrin Tschirner
INTERZONE was premiered as a concert at Konzert Oper 04 Produced by Berliner Festspiele. Eight right-angled white screens form a circle around the public and the musicians.

Music: Enno Poppe mit Omar Ebrahim, Neue Vocalisten, Ensemble Mosaik Libretto: Marcel Beyer Video Editing: Frederic Moffet, Anne Quirynen Performers: Asimina Chremos, Douglas Grew, Bryson Engelen, Catalina Mejia Restrepo, Wolfgang Prinz, Michel Gholam. 4 x 77 min. (Loop)

Made with support from the Berliner Festspiele
and Kairos Musikproduction GmbH
For more information about the concert please contact:

Das von Poppe selbst gegründete Ensemble Mosaik, umsichtig dirigiert von Jonathan Stockhammer, absolviert seinen Part mit Verve und offenkundigem Spaß an der Freude: Es geht fast ausschließlich um brünstige Bläserklänge in diesem Werk, doch haben auch der Fernwehklang des Akkordeons und die Keyboards große Auftritte. Der überschaubaren Ordnung im Chaos des verzahnten Wort-Ton-Verhältnisses entspricht das Bemühen um synchrones Handeln, das die dazu eingespielte Video-Arbeit von Anne Quirynen kennzeichnet. Sie hat INTERZONE zuliebe, in Chicago, Berlin, Bombay und New York wunderschöne, melancholische Parallelwelten gefunden und agbefilmt: Häuser wie Bienenwaben, Menschen wie Gras, Straßenzüge wie schöne Ornamente – und all das kann sich, wie Poppes temperierte Vierteltöne, gelegentlich auflösen in edel verwischtes Farbenglissando. Muß man hinzufügen, daß diese Video-Sprech-Oper sogar die klassische A-B-A-Form erfüllt?
(Eleonore Büning // Frankfurter Allgemeine Zeitung 06.09.2004)

2004 | concert with 22 musicians, 5 singers, 8 screens | 77 min.

Literat Marcel Beyer hat Bourroughs transformiert in eine fast schon abstrakte und in Englisch abgefasste Lieder- und Gedicht-Folge, die am besten versteht, wer mit Leben und Werk Burroughs vertraut ist. Da ist ein einsamer Reisender, verloren in einer Großstatdt, ausgeliefert seinen Erinnerungen und Passionen, die fragmentarisch und oft unzusammenhängend, in sein Bewusstsein dringen. Ähnlich fragmentarisch wirkt Anne Quirynens Videokunst, die über acht in der Höhe um die Musiker herumgehängte Leinwände huscht: Städtebilder aus den verschiedensten Kontinenten, Visionen der Einsamkeit, trostlose Industrie- und Hinterhöfe. Es sind Bilder, die oft ins Verwaschene abdriften oder im Zeitraffer verschmieren.
(Reinhard J. Brembeck // Süddeutsche Zeitung 04./05.09.2004)

Dass die 80 anstrengenden Minuten wirklich lohnen, ist aber zuletzt Anne Quirynens multipler Bilderwelt zu danken. Anders als bei den meisten – extrem unbedarften – Aktionen dieser Art in den letzten Jahren hat sich die Belgierin mit großer Sensibilität nicht nur auf die Stimmigkeit, sondern auch auf die Choreographie von Poppes Musik eingelassen.
(Gerald Felber // Leipziger Volkszeitung 07.09.2004)

2010 | concert with 22 musicians, 5 singers, 4 screens | 77 min.

INTERZONE bei Cité de la Musique (3.12.2009)

Stefanie Schulte Strathaus about INTERZONE_pdf

The video creates a series of explorative spaces of Berlin during the night. With extreme digital zooms I filmed connections between these spaces, me as an observer and other women.
Based upon the music of John Cage, In a Landscape.

Distributed by Arsenal Experimental, Berlin.
Contact: Arsenal Experimental: ars-exp@fdk-berlin.de

2001 | film | 9min. 25 sec.

Video installation, as a part of the dance performance JETZT - directed by Thomas Hauert. JETZT (2000) is a study on movement between falling and landing, the creative potential of the body in a state of instability. Thelonious Monk's stumbling rhythms and surprising harmonic sequences forms the appropriate musical counterpart.

2000 | dance performance with video

Please contact: ruth.zoo@skynet.be
Co-Directed by Peter Missotten and An-Marie Lambrechts

The year is 7079. Researcher Thomas McManus is dropped in a desert and is meant to find out about an old experiment. He gathers samples of the desert grounds and discovers the collecter, the place where the former experiment used to take place. He manages to hack into the computer of the head of the research and is stunned: instead of discovering weed and weed movements he stumbles into the team of weed researchers, or rather whats left of them.

The cult novel Locus Solus by Raymond Roussel was at one point a source of inspiration of THE WAY OF THE WEED. In Locus Solus Professor Canterei invites his guests to a tour in the large park he owns. It appears to contain an amazing amount of machines, extremely clever but self-contained with no aim in terms of what our world considers to be useful. THE WAY OF THE WEED is to be found between anti-gravitation and freezing. It is a search in the desert for new life forms in an old experiment. Roussel‘ s machines have become kaleidoscopic show-boxes.

With: Thomas McManus, Tamas Moritz, Regina Van Berkel, Antony Rizzi, Ana Catalina Roman, Demond Hart, Jone San Martin, Jacopo Godani, William Forsythe

And in a remarkable guest role: choreographer William Forsythe

In the tape, investigator Thomas is dropped into a desert, not just to investigate the growth movements of the plant life there, but also the life‘ s work of the obscure ‘scientist William F. (William Forsythe) That knowledge is stored in the enormous data bank of an under-ground laboratory. It is Thomas` task to check the obscure professor‘ s secret discoveries with his own investigations into unusual flora. This tape is a video letter written to his co-worker Allen (who does not appear in this tape) during his stay in this strange place. His research leads him into the catacombs of a complex built by William F. There he finds people in a comatose state, stored in cupboards. They are loaded with professors F.‘s knowledge of vegetation. He puts the people-plants into a large transparent pool of water and notices that in the water the ‘samples‘ come to life again. Their dance-like movements are autistic with many pauses. Thomas presumes that the species needs some time to remember their programmed movements. In order to achieve better contact with their secrets, Thomas imitates their movements and plunges into the pool alongside the models. He is literally swallowed up by this wordless investigation and loses his scientific objectivity, despite his fiercest attemps at methodology. It is as if he has been able to establish contact with a ‘science‘ that is much older than the science he thought he practised. Thomas the investigator becomes, himself, a moving plant, unable to reveal the secret insight. (World Wide Video Festival ‘97)

1997 | film | 90 min.

Die Produktion filmt keine Choreographie ab. Vielmehr bringt sie Bilder zum Tanzen, bis die Grenze zwischen Innenwelt und Außenwelt, Vergangenheit und Zukunft aufgehoben ist. Am Ende erscheint Forsythes verzerrtes Gesicht im Bild. Aufgelöst in einem geometrischen Muster, erscheint er als der sprechende Körper des Universums. (Gerald Siegmund // Frankfurter Allgemeine Zeitung 22.04.1998)

Gerald Siegmund about "The Way of the Weed"

You could see a bizarre flowering of the creative process, something which explored our contemporary visions of computer technology and the way we can be trapped within it. There was just the hint of a story – a man sent to investigate events o a barren planet – and this was enough to snatch at your fascination while inventive camera work and editing did the rest. This enigmatically sexy piece was described as a ‘study of movement‘, and who could argue with that?
(Anthony Troon // The Scotsman 16.04.1998)

More articles about ‘The Way of the Weed‘

Ausgezeichnet mit dem The New Visions Award von Film+arc.Graz 1997
Co directed by Peter Missotten and An-Marie Lambrechts

Humans are afloat in narrow containers, weightless and most of the time motionless. There are two rows of containers, seamlessly attached. As in a Museum of Natural History, the visitor can walk between the two rows or between the screens and the projectors. Every now and then a wave of motion goes through the containers, as if something disturbs the hibernating creatures - but this passes and everything goes on in the same soothing way.

1997 | installation | 18min.

The video installation makes use of the ‘aquarium images‘ from ‘THE WAY OF THE WEED‘. And although these look fundamentally different from the images in ‘THE MIND MACHINE OF DR. FORSYTHE‘ the human species was clenched between two glass plates, squirming about like tadpoles, or amoebae. In ‘EVERYTHING WILL BE ALRIGHT‘ humans are afloat in narrow containers, weightless and most of the time motionless. There are two rows of containers, seamlessly attached. As in a Museum of Natural History, the visitor can walk between the two rows, looking at the naked bodies as wird specimen of the human species. Every now and then a wave of motion goes through the containers, as if something disturbs the hybernating creatures – but this passes and everything goes on in the same soothing way. I a corner hangs the custodian – the negative image of Bill' s head, projected vertically. And this head repeats over and over again, but very slowly: ‘Everything will be alright‘ (World Wide Video Festival ‘97)

If you call EVERYTHING WILL BE ALRIGHT by Quirynen, Missotten & Lambrechts (QM&L) the most important work of art from the nineties will not get much reaction.
Especially if you add that the high rating is the result of not much more than a half-hour's viewing time, and that, without checking afterwards to see how much of that time was taken by the installation Iooping. But I just can't get away from it: to me, EVERYTHING WILL BE ALRIGHT expresses exactly what I regard as the essence of nineties' art. Not by belfowing out straight in your face, but in a lovely detached manner. At least that is what I found when I saw this work in September 1997 in the new wing of the Stedelijk Museum in Amsterdam. I saw right there in front of me the definitive artistic programme that I had so nicely formulated in my mind with such difficulty. And my standards aren't paltry: it had to be the masterpiece from that period and have similar Iasting value as the great images from the canon of art history. While the names Bill Viola, Bruce Nauman and their clones who for so long held video art hostage were buzzing round me, here was an ideal work that suddenly made much of theirs quite superfluous. And not just so-called video art itself, for I didn't actually believe in that at all, but all art from that period. Here I saw how the new art from the nineties had taken shape, in ideal proportions...

Paul Groot about 'Everything will be alright‘.pdf

Co directed by Peter Missotten

A negative image of a head, projected vertically. This head repeats over and over again, but very slowly: ‚Everything will be alright’.

1997 | installation | 4min.

Co-Directed by Peter Missotten and An-Marie Lambrechts

Nine dancers of the Ballett of Frankfurt, move slowly on glass. As bacteria stranded in a giant microscope. They leave their bodies' imprints on glass, redrawn and rewritten with every new movement made. Transcriptions - glyphs on glass.

The artistic use of video has often been most effective in large video installations, here represented through Ann-Marie Lambrechts, Peter Misotten & Anne Quirynen‘s THE MIND MACHINE OF DR. FORSYTHE, a grotesque and imposing crane construction carrying a number of ballet dancers, whose patterns of movement are frozen and confined by horizontal glass plates.
The stylized body control, suppleness caught in a pictorial language, which seems on the surface to be deprived of physicality, and accompagnied by the sound of the dancer‘ s breathing. An unplesantly insistent experience of physical presence without body. (Elo Nielsen: Zen, Lies and Video 1996)

With: Ana Catalina Roman, Jone San Martin, Dana Caspersen, Eda Holmes, Antony Rizzi, Thomas McManus, Stephen Galloway, David Kern and Brian Reeder

1993 | installation | 20min.

In der Videoinstallation – ihr Titel THE MIND MACHINE OF DR. FORSYTHE spielt vor allem auf den experimentellen Rahmen als typische Arbeitssituation in Frankfurt an – sieht Forsythe Parallelen zu seiner Arbeit, aber auch das Entstehen von ‘etwas ganz anderem‘. Die jungen belgischen Videokünstler bürsten mit der Kamera gegen den Strich. Sie schalten alle intermittierenden Einflüsse aus und wählen eine Beziehung ohne Umschweife zwischen Subjekt und Objekt. (Edith Boxberger // Frankfurter Allgemeine Zeitung)

In a scary, but fascinating way, An Marie Lambrechts, Peter Misotten and Anne Quirynen have confined nine of ballet dancers to a plexiglass cage. Like animals on the slide of the microscope they crawl tirelessly round in patterns varying from dancer to dancer accompagnied by the sound of their breathing and the rubbing and rustling of their bodies across the patternded base.
(Morgenpost Fyens Stiftstidende, 22.09.1996)

I would say that this is the most impressive and not at least the most dramatic presentation of video I have ever seen.
(Karsten R.S. Ifversen: Video Bang // Politiken 07.09.1996)

Edith Boxberger about ‘The Mindmachine of Dr. Forsythe'
in ‘Art and Video in Europe‘.pdf
Co directed with Peter Missotten

The Eidos Telos clips are based on the choreography by William Forsythe. Each clip is a short fly over by helicopter of the performance. Most of them are shaky or blurred, emprissonned in our ultrabright searchlight.

1996 | film | 13 min.
The piece is set in a civilization after disaster a world where only scattered elements of technology remain. FAUSTAE TABULAE is based upon the third act of Faust of Gonod, The Journey of Anna Blume by Paul Auster and Galactic Pot-healer of Philippe K. Dick. Directed by Thierry Salmon. Produced by KunstenfestivaldesArts.

1995 | theatre with video

A documentary on contemporary dance featuring Steve Paxton, William Forsythe and Michèle Anne De Mey

film | 1990

With Simon Vincent

In: Jan-Henrik Möller, Jörg Sternagel, Lenore Hipper, (Hg.): Paradoxalität des Medialen. München. Fink Verlag 2013.


Performance (work in progress)

Play with the imagination of women bodies on various levels, by women filmmakers and artists since the last twenty years. The essay film wants to examine the evolution of women images from the seventies to the digital image worlds now. THE LADY IS HUNGRY explores and links to topics like geography, body, technology and history.

Stefanie Schulte Strathaus: "The Lady is Hungry. Ein Gespräch mit Anne Quirynen". In: ‘Frauen und Film." Heft 65: Celluloid & Co. Herausgegeben von Annette Brauerhoch, Heike Klippel, Gertrud Koch, Renate Lippert, Heide Schlüpmann

The EMW Orchestra presents:
ReVolt Feminism.

8pm, Saturday 6th July 2013.
Akademie der Künste
Hanseatenweg 10
10557 Berlin

Protest, housework, in/visibility, precarity, laughter, humour... Focusing on materials collected by the "re:act feminism" Archive, these are the keywords that provide the foundation for the performance Re:Volt Feminism.

By using sound and selected video materials, Re:Volt brings together the work of many different artists, and - combined with the experimental uses of space - the performance creates zones of multi-layered dialogues,re-animating the messages of these powerful contemporary 'voices'.

Sound performance with students of European Media Studies, University and University of Applied Sciences Potsdam, under the direction of Anne Quirynen and Simon Vincent. With Tino Bogedaly, Tina-Maleen Bölle, Sophie Labitzke, Franziska Schubert, Nora Spiekermann

re.act.feminism - performancekunst der 1960er
und 70er jahre heute

Ausstellung, Videoarchiv, Live-Performances und Tagung
Ein Projekt von cross links e.V

Kuratorinnen: Bettina Knaup und Beatrice E. Stammer.
Realisiert in Partnerschaft mit der Akademie der Künste, Berlin.


GenderArtNet’s primary aim is to thematically link the various existing online resources of feminist and queer artists, projects and networks rather than provide yet another user platform for artist profiles. By connecting existing, often remote, online resources, we would like to improve the accessibility and readability of these resources while keeping the memory of feminist artistic and cultural production in the broader Europe alive.

The project in its current form is the result of a grant of the European Cultural Foundation, allowing for a two year development phase involving regular collaborations and conversations between a group of feminist curators, producers, artists, media activists and critics, as well as contributions from students of European Media Studies at University of Potsdam / University of Applied Sciences Potsdam. It understands itself as a work in progress, a proposal, a potential, that can be further developed through a growing network of contributors and participating individuals and organisations in the future.

Concept and development: Bettina Knaup in cooperation with the media art organisation Constant vzw, Brussels and Maria Ptqk Programming: Nicolas Malevé, Constant vzw