# core_store

key: model_def_strapi::core-store
type: object
value:
  {"uid":"strapi::core-store","collectionName":"core_store","info":{"name":"core_store","description":""},"options":{"timestamps":false},"attributes":{"key":{"type":"string"},"value":{"type":"text"},"type":{"type":"string"},"environment":{"type":"string"},"tag":{"type":"string"}}}


key: model_def_application::about.about
type: object
value:
  {"uid":"application::about.about","collectionName":"abouts","kind":"singleType","info":{"name":"About","description":""},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"body":{"type":"richtext"},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_application::book.book
type: object
value:
  {"uid":"application::book.book","collectionName":"books","kind":"singleType","info":{"name":"Book","description":""},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"Title":{"type":"string"},"ExternalLink":{"type":"string"},"Summary":{"type":"richtext"},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_application::carpet.carpet
type: object
value:
  {"uid":"application::carpet.carpet","collectionName":"carpets","kind":"singleType","info":{"name":"carpet"},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"title":{"type":"string"},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_application::collaborator.collaborator
type: object
value:
  {"uid":"application::collaborator.collaborator","collectionName":"collaborators","kind":"collectionType","info":{"name":"collaborator","description":""},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"name":{"type":"string"},"summary":{"type":"richtext"},"slug":{"type":"uid","targetField":"name"},"projects":{"via":"collaborators","collection":"project","dominant":true,"attribute":"project","column":"id","isVirtual":true},"relationship":{"type":"string"},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_application::contact.contact
type: object
value:
  {"uid":"application::contact.contact","collectionName":"contacts","kind":"singleType","info":{"name":"Contact","description":""},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"body":{"type":"richtext"},"photo":{"model":"file","via":"related","allowedTypes":["images","files","videos"],"plugin":"upload","required":false},"Impressum":{"type":"richtext"},"credit":{"type":"string"},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_application::film-journal-entry.film-journal-entry
type: object
value:
  {"uid":"application::film-journal-entry.film-journal-entry","collectionName":"journal","kind":"collectionType","info":{"name":"Journal Entry","description":""},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"title":{"type":"string","required":true},"body":{"type":"richtext"},"slug":{"type":"uid","targetField":"title"},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_application::movie.movie
type: object
value:
  {"uid":"application::movie.movie","collectionName":"movies","kind":"singleType","info":{"name":"Movie","description":""},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"Title":{"type":"string"},"Summary":{"type":"richtext"},"ExternalLink":{"type":"string"},"Poster":{"model":"file","via":"related","allowedTypes":["images","files","videos"],"plugin":"upload","required":false},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_application::project.project
type: object
value:
  {"uid":"application::project.project","collectionName":"projects","kind":"collectionType","info":{"name":"project","description":""},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"title":{"type":"string","required":true,"unique":false},"summary":{"type":"richtext","required":false},"slug":{"type":"uid","targetField":"title"},"body":{"type":"richtext"},"collaborators":{"collection":"collaborator","via":"projects","attribute":"collaborator","column":"id","isVirtual":true},"StartDate":{"type":"date"},"EndDate":{"type":"date"},"Relationship":{"type":"string"},"role":{"type":"richtext"},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_application::tagline.tagline
type: object
value:
  {"uid":"application::tagline.tagline","collectionName":"taglines","kind":"singleType","info":{"name":"Tagline"},"options":{"increments":true,"timestamps":["created_at","updated_at"],"draftAndPublish":true},"attributes":{"body":{"type":"text"},"published_at":{"type":"datetime","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_strapi::webhooks
type: object
value:
  {"uid":"strapi::webhooks","collectionName":"strapi_webhooks","info":{"name":"Strapi webhooks","description":""},"options":{"timestamps":false},"attributes":{"name":{"type":"string"},"url":{"type":"text"},"headers":{"type":"json"},"events":{"type":"json"},"enabled":{"type":"boolean"}}}


key: model_def_strapi::permission
type: object
value:
  {"uid":"strapi::permission","collectionName":"strapi_permission","kind":"collectionType","info":{"name":"Permission","description":""},"options":{"timestamps":["created_at","updated_at"]},"attributes":{"action":{"type":"string","minLength":1,"configurable":false,"required":true},"subject":{"type":"string","minLength":1,"configurable":false,"required":false},"fields":{"type":"json","configurable":false,"required":false,"default":[]},"conditions":{"type":"json","configurable":false,"required":false,"default":[]},"role":{"configurable":false,"model":"role","plugin":"admin"}}}


key: model_def_strapi::role
type: object
value:
  {"uid":"strapi::role","collectionName":"strapi_role","kind":"collectionType","info":{"name":"Role","description":""},"options":{"timestamps":["created_at","updated_at"]},"attributes":{"name":{"type":"string","minLength":1,"unique":true,"configurable":false,"required":true},"code":{"type":"string","minLength":1,"unique":true,"configurable":false,"required":true},"description":{"type":"string","configurable":false},"users":{"configurable":false,"collection":"user","via":"roles","plugin":"admin","attribute":"user","column":"id","isVirtual":true},"permissions":{"configurable":false,"plugin":"admin","collection":"permission","via":"role","isVirtual":true}}}


key: model_def_strapi::user
type: object
value:
  {"uid":"strapi::user","collectionName":"strapi_administrator","kind":"collectionType","info":{"name":"User","description":""},"options":{"timestamps":false},"attributes":{"firstname":{"type":"string","unique":false,"minLength":1,"configurable":false,"required":false},"lastname":{"type":"string","unique":false,"minLength":1,"configurable":false,"required":false},"username":{"type":"string","unique":false,"configurable":false,"required":false},"email":{"type":"email","minLength":6,"configurable":false,"required":true,"unique":true,"private":true},"password":{"type":"password","minLength":6,"configurable":false,"required":false,"private":true},"resetPasswordToken":{"type":"string","configurable":false,"private":true},"registrationToken":{"type":"string","configurable":false,"private":true},"isActive":{"type":"boolean","default":false,"configurable":false,"private":true},"roles":{"collection":"role","collectionName":"strapi_users_roles","via":"users","dominant":true,"plugin":"admin","configurable":false,"private":true,"attribute":"role","column":"id","isVirtual":true},"blocked":{"type":"boolean","default":false,"configurable":false,"private":true}}}


key: model_def_plugins::users-permissions.permission
type: object
value:
  {"uid":"plugins::users-permissions.permission","collectionName":"users-permissions_permission","kind":"collectionType","info":{"name":"permission","description":""},"options":{"timestamps":false},"attributes":{"type":{"type":"string","required":true,"configurable":false},"controller":{"type":"string","required":true,"configurable":false},"action":{"type":"string","required":true,"configurable":false},"enabled":{"type":"boolean","required":true,"configurable":false},"policy":{"type":"string","configurable":false},"role":{"model":"role","via":"permissions","plugin":"users-permissions","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_plugins::users-permissions.role
type: object
value:
  {"uid":"plugins::users-permissions.role","collectionName":"users-permissions_role","kind":"collectionType","info":{"name":"role","description":""},"options":{"timestamps":false},"attributes":{"name":{"type":"string","minLength":3,"required":true,"configurable":false},"description":{"type":"string","configurable":false},"type":{"type":"string","unique":true,"configurable":false},"permissions":{"collection":"permission","via":"role","plugin":"users-permissions","configurable":false,"isVirtual":true},"users":{"collection":"user","via":"role","configurable":false,"plugin":"users-permissions","isVirtual":true},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_plugins::users-permissions.user
type: object
value:
  {"uid":"plugins::users-permissions.user","collectionName":"users-permissions_user","kind":"collectionType","info":{"name":"user","description":""},"options":{"draftAndPublish":false,"timestamps":["created_at","updated_at"]},"attributes":{"username":{"type":"string","minLength":3,"unique":true,"configurable":false,"required":true},"email":{"type":"email","minLength":6,"configurable":false,"required":true},"provider":{"type":"string","configurable":false},"password":{"type":"password","minLength":6,"configurable":false,"private":true},"resetPasswordToken":{"type":"string","configurable":false,"private":true},"confirmationToken":{"type":"string","configurable":false,"private":true},"confirmed":{"type":"boolean","default":false,"configurable":false},"blocked":{"type":"boolean","default":false,"configurable":false},"role":{"model":"role","via":"users","plugin":"users-permissions","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: model_def_plugins::upload.file
type: object
value:
  {"uid":"plugins::upload.file","collectionName":"upload_file","kind":"collectionType","info":{"name":"file","description":""},"options":{"timestamps":["created_at","updated_at"]},"attributes":{"name":{"type":"string","configurable":false,"required":true},"alternativeText":{"type":"string","configurable":false},"caption":{"type":"string","configurable":false},"width":{"type":"integer","configurable":false},"height":{"type":"integer","configurable":false},"formats":{"type":"json","configurable":false},"hash":{"type":"string","configurable":false,"required":true},"ext":{"type":"string","configurable":false},"mime":{"type":"string","configurable":false,"required":true},"size":{"type":"decimal","configurable":false,"required":true},"url":{"type":"string","configurable":false,"required":true},"previewUrl":{"type":"string","configurable":false},"provider":{"type":"string","configurable":false,"required":true},"provider_metadata":{"type":"json","configurable":false},"related":{"collection":"*","filter":"field","configurable":false},"created_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true},"updated_by":{"model":"user","plugin":"admin","configurable":false,"writable":false,"private":true}}}


key: plugin_users-permissions_grant
type: object
value:
  {"email":{"enabled":true,"icon":"envelope"},"discord":{"enabled":false,"icon":"discord","key":"","secret":"","callback":"/auth/discord/callback","scope":["identify","email"]},"facebook":{"enabled":false,"icon":"facebook-square","key":"","secret":"","callback":"/auth/facebook/callback","scope":["email"]},"google":{"enabled":false,"icon":"google","key":"","secret":"","callback":"/auth/google/callback","scope":["email"]},"github":{"enabled":false,"icon":"github","key":"","secret":"","callback":"/auth/github/callback","scope":["user","user:email"]},"microsoft":{"enabled":false,"icon":"windows","key":"","secret":"","callback":"/auth/microsoft/callback","scope":["user.read"]},"twitter":{"enabled":false,"icon":"twitter","key":"","secret":"","callback":"/auth/twitter/callback"},"instagram":{"enabled":false,"icon":"instagram","key":"","secret":"","callback":"/auth/instagram/callback"},"vk":{"enabled":false,"icon":"vk","key":"","secret":"","callback":"/auth/vk/callback","scope":["email"]},"twitch":{"enabled":false,"icon":"twitch","key":"","secret":"","callback":"/auth/twitch/callback","scope":["user:read:email"]},"linkedin":{"enabled":false,"icon":"linkedin","key":"","secret":"","callback":"/auth/linkedin/callback","scope":["r_liteprofile","r_emailaddress"]},"cognito":{"enabled":false,"icon":"aws","key":"","secret":"","subdomain":"my.subdomain.com","callback":"/auth/cognito/callback","scope":["email","openid","profile"]}}


key: plugin_content_manager_configuration_content_types::application::about.about
type: object
value:
  {"uid":"application::about.about","settings":{"bulkable":true,"filterable":true,"searchable":true,"pageSize":10,"mainField":"id","defaultSortBy":"id","defaultSortOrder":"ASC"},"metadatas":{"id":{"edit":{},"list":{"label":"Id","searchable":true,"sortable":true}},"body":{"edit":{"label":"Body","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Body","searchable":false,"sortable":false}},"published_at":{"edit":{"label":"Published_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Published_at","searchable":true,"sortable":true}},"created_at":{"edit":{"label":"Created_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Created_at","searchable":true,"sortable":true}},"updated_at":{"edit":{"label":"Updated_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Updated_at","searchable":true,"sortable":true}}},"layouts":{"list":["id","published_at","created_at","updated_at"],"edit":[[{"name":"body","size":12}]],"editRelations":[]}}


key: plugin_content_manager_configuration_content_types::application::book.book
type: object
value:
  {"uid":"application::book.book","settings":{"bulkable":true,"filterable":true,"searchable":true,"pageSize":10,"mainField":"Title","defaultSortBy":"Title","defaultSortOrder":"ASC"},"metadatas":{"id":{"edit":{},"list":{"label":"Id","searchable":true,"sortable":true}},"Title":{"edit":{"label":"Title","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Title","searchable":true,"sortable":true}},"ExternalLink":{"edit":{"label":"ExternalLink","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"ExternalLink","searchable":true,"sortable":true}},"Summary":{"edit":{"label":"Summary","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Summary","searchable":false,"sortable":false}},"published_at":{"edit":{"label":"Published_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Published_at","searchable":true,"sortable":true}},"created_at":{"edit":{"label":"Created_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Created_at","searchable":true,"sortable":true}},"updated_at":{"edit":{"label":"Updated_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Updated_at","searchable":true,"sortable":true}}},"layouts":{"list":["id","Title","ExternalLink","published_at"],"editRelations":[],"edit":[[{"name":"Title","size":6},{"name":"ExternalLink","size":6}],[{"name":"Summary","size":12}]]}}


key: plugin_content_manager_configuration_content_types::application::collaborator.collaborator
type: object
value:
  {"uid":"application::collaborator.collaborator","settings":{"bulkable":true,"filterable":true,"searchable":true,"pageSize":10,"mainField":"name","defaultSortBy":"name","defaultSortOrder":"ASC"},"metadatas":{"id":{"edit":{},"list":{"label":"Id","searchable":true,"sortable":true}},"name":{"edit":{"label":"Name","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Name","searchable":true,"sortable":true}},"summary":{"edit":{"label":"Summary","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Summary","searchable":false,"sortable":false}},"slug":{"edit":{"label":"Slug","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Slug","searchable":true,"sortable":true}},"projects":{"edit":{"label":"Projects","description":"","placeholder":"","visible":true,"editable":true,"mainField":"title"},"list":{"label":"Projects","searchable":false,"sortable":false}},"relationship":{"edit":{"label":"Relationship","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Relationship","searchable":true,"sortable":true}},"published_at":{"edit":{"label":"Published_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Published_at","searchable":true,"sortable":true}},"created_at":{"edit":{"label":"Created_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Created_at","searchable":true,"sortable":true}},"updated_at":{"edit":{"label":"Updated_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Updated_at","searchable":true,"sortable":true}}},"layouts":{"list":["id","name","slug","published_at"],"edit":[[{"name":"name","size":6}],[{"name":"summary","size":12}],[{"name":"slug","size":6},{"name":"relationship","size":6}]],"editRelations":["projects"]}}


key: plugin_content_manager_configuration_content_types::application::contact.contact
type: object
value:
  {"uid":"application::contact.contact","settings":{"bulkable":true,"filterable":true,"searchable":true,"pageSize":10,"mainField":"id","defaultSortBy":"id","defaultSortOrder":"ASC"},"metadatas":{"id":{"edit":{},"list":{"label":"Id","searchable":true,"sortable":true}},"body":{"edit":{"label":"Body","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Body","searchable":false,"sortable":false}},"photo":{"edit":{"label":"Photo","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Photo","searchable":false,"sortable":false}},"Impressum":{"edit":{"label":"Impressum","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Impressum","searchable":false,"sortable":false}},"credit":{"edit":{"label":"Credit","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Credit","searchable":true,"sortable":true}},"published_at":{"edit":{"label":"Published_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Published_at","searchable":true,"sortable":true}},"created_at":{"edit":{"label":"Created_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Created_at","searchable":true,"sortable":true}},"updated_at":{"edit":{"label":"Updated_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Updated_at","searchable":true,"sortable":true}}},"layouts":{"list":["id","photo","published_at","created_at"],"edit":[[{"name":"body","size":12}],[{"name":"photo","size":6},{"name":"credit","size":6}],[{"name":"Impressum","size":12}]],"editRelations":[]}}


type: object
key:
  plugin_content_manager_configuration_content_types::application::film-journal-entry.film-journal-entry

value:
  {"uid":"application::film-journal-entry.film-journal-entry","settings":{"bulkable":true,"filterable":true,"searchable":true,"pageSize":10,"mainField":"title","defaultSortBy":"title","defaultSortOrder":"ASC"},"metadatas":{"id":{"edit":{},"list":{"label":"Id","searchable":true,"sortable":true}},"title":{"edit":{"label":"Title","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Title","searchable":true,"sortable":true}},"body":{"edit":{"label":"Body","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Body","searchable":false,"sortable":false}},"slug":{"edit":{"label":"Slug","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Slug","searchable":true,"sortable":true}},"published_at":{"edit":{"label":"Published_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Published_at","searchable":true,"sortable":true}},"created_at":{"edit":{"label":"Created_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Created_at","searchable":true,"sortable":true}},"updated_at":{"edit":{"label":"Updated_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Updated_at","searchable":true,"sortable":true}}},"layouts":{"list":["id","title","slug","published_at"],"editRelations":[],"edit":[[{"name":"title","size":6}],[{"name":"body","size":12}],[{"name":"slug","size":6}]]}}


key: plugin_content_manager_configuration_content_types::application::movie.movie
type: object
value:
  {"uid":"application::movie.movie","settings":{"bulkable":true,"filterable":true,"searchable":true,"pageSize":10,"mainField":"Title","defaultSortBy":"Title","defaultSortOrder":"ASC"},"metadatas":{"id":{"edit":{},"list":{"label":"Id","searchable":true,"sortable":true}},"Title":{"edit":{"label":"Title","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Title","searchable":true,"sortable":true}},"Summary":{"edit":{"label":"Summary","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Summary","searchable":false,"sortable":false}},"ExternalLink":{"edit":{"label":"ExternalLink","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"ExternalLink","searchable":true,"sortable":true}},"Poster":{"edit":{"label":"Poster","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Poster","searchable":false,"sortable":false}},"published_at":{"edit":{"label":"Published_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Published_at","searchable":true,"sortable":true}},"created_at":{"edit":{"label":"Created_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Created_at","searchable":true,"sortable":true}},"updated_at":{"edit":{"label":"Updated_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Updated_at","searchable":true,"sortable":true}}},"layouts":{"list":["id","Title","ExternalLink","Poster"],"editRelations":[],"edit":[[{"name":"Title","size":6}],[{"name":"Summary","size":12}],[{"name":"ExternalLink","size":6},{"name":"Poster","size":6}]]}}


key: plugin_content_manager_configuration_content_types::application::project.project
type: object
value:
  {"uid":"application::project.project","settings":{"bulkable":true,"filterable":true,"searchable":true,"pageSize":10,"mainField":"title","defaultSortBy":"title","defaultSortOrder":"ASC"},"metadatas":{"id":{"edit":{},"list":{"label":"Id","searchable":true,"sortable":true}},"title":{"edit":{"label":"Title","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Title","searchable":true,"sortable":true}},"summary":{"edit":{"label":"Summary","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Summary","searchable":false,"sortable":false}},"slug":{"edit":{"label":"Slug","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Slug","searchable":true,"sortable":true}},"body":{"edit":{"label":"Body","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Body","searchable":false,"sortable":false}},"collaborators":{"edit":{"label":"Collaborators","description":"","placeholder":"","visible":true,"editable":true,"mainField":"name"},"list":{"label":"Collaborators","searchable":false,"sortable":false}},"StartDate":{"edit":{"label":"StartDate","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"StartDate","searchable":true,"sortable":true}},"EndDate":{"edit":{"label":"EndDate","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"EndDate","searchable":true,"sortable":true}},"Relationship":{"edit":{"label":"Relationship","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Relationship","searchable":true,"sortable":true}},"role":{"edit":{"label":"Role","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Role","searchable":false,"sortable":false}},"published_at":{"edit":{"label":"Published_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Published_at","searchable":true,"sortable":true}},"created_at":{"edit":{"label":"Created_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Created_at","searchable":true,"sortable":true}},"updated_at":{"edit":{"label":"Updated_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Updated_at","searchable":true,"sortable":true}}},"layouts":{"list":["id","title","slug","StartDate"],"edit":[[{"name":"title","size":6},{"name":"slug","size":6}],[{"name":"StartDate","size":4},{"name":"EndDate","size":4}],[{"name":"summary","size":12}],[{"name":"body","size":12}],[{"name":"Relationship","size":6}],[{"name":"role","size":12}]],"editRelations":["collaborators"]}}


key: plugin_content_manager_configuration_content_types::application::tagline.tagline
type: object
value:
  {"uid":"application::tagline.tagline","settings":{"bulkable":true,"filterable":true,"searchable":true,"pageSize":10,"mainField":"id","defaultSortBy":"id","defaultSortOrder":"ASC"},"metadatas":{"id":{"edit":{},"list":{"label":"Id","searchable":true,"sortable":true}},"body":{"edit":{"label":"Body","description":"","placeholder":"","visible":true,"editable":true},"list":{"label":"Body","searchable":true,"sortable":true}},"published_at":{"edit":{"label":"Published_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Published_at","searchable":true,"sortable":true}},"created_at":{"edit":{"label":"Created_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Created_at","searchable":true,"sortable":true}},"updated_at":{"edit":{"label":"Updated_at","description":"","placeholder":"","visible":false,"editable":true},"list":{"label":"Updated_at","searchable":true,"sortable":true}}},"layouts":{"list":["id","body","published_at","created_at"],"editRelations":[],"edit":[[{"name":"body","size":6}]]}}


key: plugin_content_manager_configuration_content_types::strapi::permission
type: object
value:
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key: model_def_application::tster.tster
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key: model_def_application::door.door
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# journal

title: Last week I watched black orpheus.
slug: last-week-i-watched-black-orpheus
body:
  # Last week I watched black orpheus.
  ## Last week I watched black orpheus.
  ### Last week I watched black orpheus.
  ##### Last week I watched black orpheus.

  Lorem Ipsum is j**ust a dummy text from **the printing and typesetting industry. Lorem <u>Ipsum has been the industry's standard dummy text since the 16th century, when an unknown printer took a typesetter with letters and mixed them together to </u>create a font catalog. Not only has it survived five centuries, it has also been adopted, almost unchanged, in electronic typesetting. It gained popularity in the 1960s with the introduction of Letraset sheets con*taining Lorem Ipsum passages and more recently with desktop publishing software such as Aldus PageMaker containing versions of Lorem Ipsum.*

   Also, is the website as laggy for you as it is for me? The animations need work.
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   Also, is the website as laggy for you as it is for me? The animations need work.
   Also, is the website as laggy for you as it is for me? The animations need work.

   Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. Also, is the website as laggy for you as it is for me? The animations need work. 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title: more test (markdown)
slug: more-test-markdown
body:
  # An exhibit of Markdown

  This note demonstrates some of what [Markdown][1] is capable of doing.

  *Note: Feel free to play with this page. Unlike regular notes, this doesn't automatically save itself.*

  ## Basic formatting

  Paragraphs can be written like so. A paragraph is the basic block of Markdown. A paragraph is what text will turn into when there is no reason it should become anything else.

  Paragraphs must be separated by a blank line. Basic formatting of *italics* and **bold** is supported. This *can be **nested** like* so.

  ## Lists

  ### Ordered list

  1. Item 1
  2. A second item
  3. Number 3
  4. Ⅳ

  *Note: the fourth item uses the Unicode character for [Roman numeral four][2].*

  ### Unordered list

  * An item
  * Another item
  * Yet another item
  * And there's more...

  ## Paragraph modifiers

  ### Code block

      Code blocks are very useful for developers and other people who look at code or other things that are written in plain text. As you can see, it uses a fixed-width font.

  You can also make `inline code` to add code into other things.

  ### Quote

  > Here is a quote. What this is should be self explanatory. Quotes are automatically indented when they are used.

  ## Headings

  There are six levels of headings. They correspond with the six levels of HTML headings. You've probably noticed them already in the page. Each level down uses one more hash character.

  ### Headings *can* also contain **formatting**

  ### They can even contain `inline code`

  Of course, demonstrating what headings look like messes up the structure of the page.

  I don't recommend using more than three or four levels of headings here, because, when you're smallest heading isn't too small, and you're largest heading isn't too big, and you want each size up to look noticeably larger and more important, there there are only so many sizes that you can use.

  ## URLs

  URLs can be made in a handful of ways:

  * A named link to [MarkItDown][3]. The easiest way to do these is to select what you want to make a link and hit `Ctrl+L`.


# strapi_permission

action: plugins::content-manager.explorer.create
subject: plugins::users-permissions.user
conditions: []
fields:
  ["username","email","provider","password","resetPasswordToken","confirmationToken","confirmed","blocked","role"]


# upload_file

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# collaborators

name: Buse Yilidrim
slug: buse-yildrim
summary:
  Buse Yildirim is a cultural entrepreneur, curator, and filmmaker based in Istanbul. She received her BA degree in History of Art at Goldsmiths University of London and completed a second degree in documentary filmmaking at ESEC in Paris. Most recently, she finished an MA degree on Visual and Media Anthropology at Freie Universität in Berlin. Her MA thesis film has shown in multiple festivals.

  She is the artistic & cultural manager of Kundura Stage and Cinema in [Beykoz Kundura](http://beykozkundura.com/). Impressed by the rich history of the factory, she also initiated the oral history and visual archive project Kundura Hafıza, which is developing into a documentation/memory center. In her spare time, she helps other artists produce works under [Lita](http://litahop.com/), a house of production that she founded. You can see more of her work [here](http://www.sbuseyildirim.com). 


name: SAVVY Contemporary
slug: savvy-contemporary
summary:
  SAVVY Contemporary – The Laboratory of Form-Ideas is an independent, non-commercial project space for international visual and performing artists and curators, founded in 2010 by curator Bonaventure Soh Bejeng Ndikung in Berlin-Neukölln. It is now located in Berlin-Wedding. An art space, discursive platform, njangi house, and space for conviviality, SAVVY Contemporary situates itself at the threshold of notions and constructs of the West and non-West, primarily to understand and negotiate between, and obviously to deconstruct the ideologies and connotations eminent to such constructs. An extended concept and link to their website can be found [here](https://savvy-contemporary.com/en/about/concept/).


name: Sinema Transtopia
slug: malve-lippmann-and-can-sungu
summary:
  [Sinema Transtopia](https://bi-bak.de/en/bi-bakino) explores cinema as a space for social discourse and a place for exchange and solidarity. Bringing together diverse social communities, Sinema Transtopia links geographically distant and nearby places, the past, present and future, and de-centers a eurocentric view through transnational, (post-) migrant and postcolonial perspectives. As part of the pioneering urban policy Initiative Haus der Statistik, the cinema experiment bridges the gap between everyday urban practices and film to create an alternative art form that connects different social perspectives. It was initiated by [bi’bak](http://bi-bak.de/) (Turkish: have a look), a non-profit organization and project space based in Berlin-Wedding. 


name: Studio Eli Cortiñas
slug: eli-cortinas
summary:
  Eli Cortiñas is a video artist of Cuban descent, born in Las Palmas de Gran Canaria. Her artistic practice can be located within the appropriation tradition, using already existing cinema to de- and re-construct identities as well as narratives according to new discourses. Her collage-like video essays and installations mix found imagery with documentary strategies. More info about Eli [here](http://soycapitan.de/artists/eli-cortinas/).  


name: Eirini Fountedaki
slug: eirini-fountedaki
summary:
  Eirini Fountedaki  is an independent curator and writer based in Athens and Berlin. She co-curated the exhibition *Letter from a Guarani Woman in Search of the Land Without Evil* within the framework of the 15th Forum Expanded at the Berlinale. She also curated the film program Black Audio-Visions: Transforming the Gaze through Sound for the London Short Film Festival 2020, exploring the auditory experience of ‘listening’ to a film through the eyes of Pan-African cinema-makers. She holds a BA in musicology (Aristotle University of Thessaloniki) and an MA in Contemporary Art Theory (Goldsmiths, University of London, Visual Cultures Department) and has also completed violin studies at the State Conservatory in Thessaloniki. In 2018, she took part in the Curatorial Exchange Program ran jointly by the ΝΕΟΝ Organization for Culture and Development and Whitechapel Gallery (London). We have collaborated on numerous projects. 


name: Ola Zielińska
slug: ola-zielinska
summary:
  Ola Zielińska graduated from the Academy of Art in Szczecin (Poland) in the faculties of Fine Arts and Interior Design. In her artistic practice she works with site-responsive sound installations. Her writings and research is around different forms of institutional critique towards different forms of organizing labor. As part of the team of Untraining The Ear, Listening Sessions Program, her focus is on art production, curation and sound engineering. In the years of 2015-2018 she co-ran Obrońców Stalingradu 17 / OS 17 - an independent art-space located in the tenement house in the city center of Szczecin. Ola is a member of SAVVY Contemporary since 2018. See more of her work [here](https://www.behance.net/aleksandrazielinska). 


name: Anna Jäger
slug: anna-jaeger
summary:
  Anna Jäger is a curator, translator and editor with a passion for the crackling between different art forms. Based in Berlin, she is a member of SAVVY Contemporary where she heads the communications department, curates and realizes international research and exhibition projects as well as literary events. Anna has worked for documenta 14 and the German pavilion at the Venice Biennial 2015. She has curated and organized numerous cultural programs, among others LIFELINES#2 with and dedicated to Nuruddin Farah at the Haus der Kulturen der Welt Berlin and SPOKEN WOR:L:DS – a lyrical exchange project between Nairobi and Berlin.

  Anna has translated stories, interviews, poems, movies and plays from English and Kiswahili to German – among others by Binyavanga Wainaina, Elnathan John, Yemisi Aribisala, Euprase Kezilahabi and Billy Kahora. In 2015, she was awarded with the research and work grant by the Senate of Berlin.  Currently she is working on a translation of Diriye Osman’s Fairytales For Lost Children as well as on an anthology on inequality in Berlin.  


name: Jörg-Peter Schulze
slug: joerg-peter-schulze
summary:
  Jörg-Peter Schulze is a project coordinator and manager at SAVVY Contemporary, where he has worked since 2016. 


name: Abhishek Nilamber
slug: abhishek-nilamber
summary:
  Abhishek Nilamber is an independent artist and curator living and working in Berlin. Primarily working at SAVVY Contemporary, Berlin and as artistic consultant for Backyard Civilization, Kochi, India, his work focuses on projects and products which democratize accesses to knowledge, culture and art. He is the curator of the UNITED SCREENS project, together with associate curator Laura Klöckner. More information about the project [here](https://savvy-contemporary.com/en/projects/2020/united-screens/).


name: Laura Klöckner
slug: laura-kloeckner
summary:
  Laura Klöckner is a curator and manager at SAVVY Contemporary, where her primary projects are RUSHES and UNITED SCREENS, and the coordination of SAVVY Friends. More information about RUSHES [here](https://savvy-contemporary.com/en/projects/2020/rushes/) and about UNITED SCREENS [here](https://savvy-contemporary.com/en/projects/2020/united-screens/). 


name: Zoë Claire Miller
slug: zoe-claire-miller
summary:
  Zoë Claire Miller studied Philosophy, Anthropology and Romance languages at the University of Heidelberg, and Fine Arts under John Bock at the Art Academy Karlsruhe, earning her Diploma in Sculpture in 2010. She works as an artist and curator. She cofounded the Berlin Art Prize, an independent award for artists in Berlin, in 2012, and ran the project spaces Galerie Europa and Salon Mutlu 2010-2014. Since 2015 she has been a member of AG Zeit, an initiative working towards improving cultural policy in Berlin. More about Zoë and her upcoming shows can be found [here](http://www.zoemiller.eu/#section).


name: Sophie Jung
slug: sophie-jung
summary:
  Sophie Jung is a freelance author, editor, and curator. She writes for numerous newspapers and magazines (eg.  taz, Baunetz, Monopol, art) about architecture, art, and pop music. Together with other artist friends, she founded the independent art award, the Berlin Art Prize. 


name: Alicia Reuter
slug: alicia-reuter
summary:
  Alicia Reuter is a freelance art historian, writer, editorial consultant, and translator based in Berlin. She co-founded the Berlin Art Prize in 2013 and works with numerous art and cultural publications and institutions, museums and universities. She moved to Berlin in 2005 after studies in the United States (B.A. Art History) and Florence (Post Bacc. Art History) and completed her M.A. in Art History at the Freie Universität Berlin. Her writing generally covers contemporary art and culture topics, although she does enjoy the occasional foray into travel writing and copy text production. More info about her and contact [here](https://www.aliciareuter.com/). Can absolutely recommend for editing and translation. 


name: Saskia Wichert
slug: saskia-wichert
summary:
  Saskia Wichert is a writer and press specialist who has worked for several public and private ventures. She has managed press and media for Berlin Art Prize since 2016. More recently, she launched her own PR agency, Miami Beach Communications. She can be reached [here](http://www.saskiawichert.com/).


name: Parrr Geng
slug: parrr-geng
summary:
  Parrr Geng is an artist and researcher whose interest spans from interspecies communication, to synthetic biology, and to the uncanny cognitive dissonance caused by the encounter of “Metis” and “Techne” which are interpreted in James Scott’s book Seeing Like a State. 

  Parrr grew up in a small town at Yangtze River Delta where classical Chinese poetry and natural sciences laid the groundwork for her further exploration. In the past decade, she has studied and worked in China, Singapore, London, Germany, and the Netherlands. This cross-cultural experience has been deepening her awareness and understanding of discussions such as ethnic and gender studies, how human-nature relationship is perceived in different cultures, and so on. More info on her and her work [here](parrr.net). 


name: Slavs and Tatars
slug: slavs-and-tatars
summary:
  Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The art collective’s practice is based on three activities: exhibitions, books and lecture-performances. Slavs and Tatars is represented by: Tanya Bonakdar Gallery (NYC), Kraupa-Tuskany Zeidler (Berlin), Raster Gallery (Warsaw) and The Third Line (Dubai). More info on their website [here](https://slavsandtatars.com). 


name: Twelve Gates Arts
slug: twelve-gates-arts
summary:
  Twelve Gates Arts is a non-profit organization that strives to enrich and engage the Philadelphia community through the art and culture of South Asia. Through a unique and thought-provoking atmosphere, Twelve Gates Arts aims to showcase international multidisciplinary arts bound by the sensibilities of a diasporic identity and to create and promote projects in the community that cross geographic and cultural boundaries. Visit their website [here](https://www.twelvegatesarts.org/). 


name: Cantor Fitzgerald Gallery
slug: cantor-fitzgerald-gallery
summary:
  The Cantor Fitzgerald Gallery (CFG) is the principal venue for the Haverford College Exhibitions Program. Envisioning exhibition spaces as active workshops for the exploration of visual culture, the Exhibitions Program partners with faculty, students, staff, and visiting curators to design exhibitions that connect curricular interests and scholarship with contemporary artistic practice. In doing so, the Exhibitions Program encourages intellectual inquiry and artistic innovation in the Haverford community and greater Philadelphia region. See their exhibition archive [here](https://www.haverford.edu/exhibitions-program). 


name: CAIR Philadelphia
slug: cair-philadelphia
summary:
  CAIR-Philadelphia is a civil rights and advocacy organization focused on delivering key legal services and protection for Pennsylvania and Delaware Muslims, advocating for better inclusion and equity for Muslims in public life, engaging in youth empowerment, advancing a nuanced understanding of Islam and Muslim communities, and promoting innovative interfaith and cross-cultural collaboration. Visit them [here](https://pa.cair.com/). 


name: Guangtian Ha
slug: guangtian-ha
summary:
  Guangtian Ha is a professor of religion at Haverford College. He works on Islamic mysticism in Asia and beyond, sound and smell, ashes and other remains of civilization, and in general what it means to survive in a world that is no more and how we can imagine and live differently. His interest in satire and humor and their role in building community and politics fits into this general picture. His book Fragile Transcendence: Sound and Saint in Sino-Sufism will be out from Columbia University Press in 2021.


name: Witty Gritty
slug: witty-gritty
summary:
  Witty Gritty creates purpose-driven experiences,  showcasing and connecting their clients through engagement and experiences. Using creativity and connection to ignite change, Witty Gritty breaks down barriers to develop authentic and meaningful collaborations. They believe civic engagement is the key to equitable and stronger communities and neighborhoods. Reach out [here](https://www.wittygritty.com/). 


name: Carlota Mir
slug: carlota-mir
summary:
  Carlota Mir is a curator, researcher and cultural worker based between Vienna and Stockholm. She is currently a PhD Candidate at the Academy of Fine Arts in Vienna. She works at the intersection between contemporary art, feminisms and social movements, art history and architecture. In her work, she interrogates the notion of ‘curatorial care’ through researching and building new feminist institutionalities which can inspire and sustain collective action. Visit her [here](www.carlotamir.com).  


name: Claudia Stübi
slug: claudia-stuebi
summary:
  Claudia Stübi links expertise from science and technology with education and social engagement, in order to raise literacy, critical thinking and responsible acting with regard to ecology. She is currently studying ways to add to her work artists’ approaches, with the conviction, that the collaborative triangle science-art-education can find new ways of mediation, awareness-building and dialogue. See what she's up to [here](www.fhnw.ch/de/personen/claudia-stuebi). 


name: Sara Alberani
slug: sara-alberani
summary:
  Art historian, art curator, activist, she lives in Rome.

  She works on several community based art projects, conceiving of Rome as a field of research on environment, living, and migration. She believes in the de-colonization of knowledge, a renegotiation of the norms of aesthetic autonomy, and the active participation of  inhabitants in art. This “coming community” often eats and talks in a collective studio that is also an archive, public library, and place of residence for refugees and artists. More about [Climate Art Project](www.climateartproject.com). More about [Nation 25](www.nation25.com). 


name: Sofia Steinvorth
slug: sofia-steinvorth
summary:
  Sofia Steinvorth is a researcher, writer and curator based in Lisbon. She is interested in art as a means to communicate different knowledges engaging (all) the senses. Her focus is on human geography, architecture and artistic practices that reveal and (re)shape the relations of people with other people, objects and the environment, acknowledging the central role of situatedness and collaborative practices. She is involved in the production of [ELECTRA Magazine](https://www.monadebooks.com/electra).


name: Tal Gilad
slug: tal-gilad
summary:
  Tal Gilad is an independent curator based in Stockholm. Her interests lie in areas of cultural diffusion, medium in crisis, a micro generation of artists having had an analog childhood and a digital adulthood. Her practice is flexible and focuses on the curator-artist-viewer relationship in an effort to create an ever expanding community based on art discourse in relation to life. More about her [here](https://www.talgiladart.com/curatorial).    


name: Alba Folgado
slug: alba-folgado
summary:
  Alba Folgado’s practice is concerned with addressing issues of current social and political interest, as well as connecting with critical and non-hegemonic discourses. She is currently researching how the structures that rule contemporary cities affect people’s lives, and what responses artists and activists develop to challenge their physical and social boundaries. Visit her website [here](https://albafolgado.com/).   


name: Ben Thomas
slug: ben-thomas
summary:
  Ben Thomas is a curator, researcher & educator. His work is focused on how we collectively understand the world around us, imagining other possibilities. He is interested in the intersections between film & photography, social practice and the city; thinking about the stories we tell, who speaks and who is heard. Ben organizes events & exhibitions, writes and leads workshops. He is based in Bristol & London, UK. Find out more about him [here](http://www.bengjthomas.com/). 


name: Judith Wielander
slug: judith-wielander
summary:
  Judith Wielander is an independent curator based in Brussels. Her main curatorial research focuses on the intersection of Art and Social Engagement. She was the curator at Cittadellarte – Fondazione Pistoletto from 2002 to 2010, where she developed numerous exhibition projects. In 2009, in dialogue with Michelangelo Pistoletto, she initiated the Visible Project, which she has co-curated with Matteo Lucchetti since 2011. Find out more about the Visible Project [here](https://www.visibleproject.org/blog/). 


name: Matteo Lucchetti
slug: matteo-lucchetti
summary:
  Matteo Lucchetti is art historian, freelance curator, and writer. His major curatorial projects include: Don't Embarrass the Bureau (Lunds Konsthall, Lund, 2014); Enacting Populism in its mediæscape (Kadist Art Foundation, Paris, 2012); Practicing Memory (Fondazione Pistoletto, Biella, 2010). He has been curator in residence at Para Site, Hong Kong, Kadist Art Foundation, Paris, and AIR, Antwerp. He co-directs the Visible project, a research and the first European Biennial award on socially engaged artistic practices, initiated and supported by Pistoletto Foundation and Fondazione Zegna (2013, Van Abbemuseum, Eindhoven; 2015, Tate Liverpool; 2017, Queens Museum, New York). More information about the Visible Project [here](https://www.visibleproject.org/blog/). Connect with him [here](https://www.linkedin.com/in/mlucchetti/?originalSubdomain=be). 


name: Joanna Warsza
slug: joanna-warsza
summary:
  Joanna Warsza is a Program Director of CuratorLab at Konstfack University of Arts in Stockholm since 2014, and an independent curator interested in how art functions politically and socially outside the white cubes. She was the Artistic Director of Public Art Munich 2018, curator of the Georgian Pavilion at the 55th Venice Biennale and associate curator of the 7th Berlin Biennale among others. In Spring 2020 together with Övül Ö. Durmusoglu she co-iniciated [Die Balkone](http://artsoftheworkingclass.org/event/die-balkone). Life, art, pandemic and proximity in windows and balconies of Prenzlauer Berg in Berlin, where they both live. 


name: Jasmeen Patheja
slug: jasmeen-patheja
summary:
  Jasmeen Patheja is an artist in public service. Patheja builds ideas for public action committed to ending violence against women, girls and all persons. She is the the founder-facilitator of Blank Noise, a growing community of Action Sheroes, Heroes, Theyroes; people taking agency to end sexual and gender based violence.

  Patheja initiated Blank Noise in 2003, in response to the silence surrounding street harassment. Over the last 17 years, she has designed a wide range of interventions, across forms of media,  to shift public consciousness and build ownership of the issue. Her work rests on the power of collaborations and community. Patheja facilitates and intervenes, to build testimonials of sexual violence, confront fear narratives, arrest victim blame, and initiate healing, listening and empathy. More info about Blank Noise [here](http://www.blanknoise.org/). More about Jasmeen [here](https://www.jasmeenpatheja.com/). 


name: Antonia Alampi
slug: antonia-alampi
summary:
  Antonia Alampi is a curator, researcher and writer born to Southern Italy and currently based in Berlin, where she is the Director of Spore Initiative. Spore Initiative is a new institution that will focus on bringing together artists, activists, and academics to organize for a more sustainable future. It will open in late 2021. She is also in the curatorial team of the quadrennial [sonsbeek2020-2024](https://www.sonsbeek20-24.org/en/). She was previously the artistic co-director of SAVVY Contemporary. 

  Between 2017 and until mid-2019 she was curator of Extra City Kunsthal in Antwerp, with a three-years program focused on the manufacturing of the notion of European Citizenship. In 2016 she initiated together with iLiana Fokianaki the research project Future Climates, by focusing on how economic fluxes shape and determine the work of small-scale initiatives in contexts with weak public infrastructures for arts and culture. From 2012 to 2015 she was curator of Beirut in Cairo. There, she conceived and directed the educational project The Imaginary School Program (2014/2015) looking into forms of organizing and institution building in the city.


name: Jasmina Metwaly
slug: jasmina-metwaly
summary:
  Jasmina Metwaly is a visual artist and filmmaker based in Berlin. She studied painting in Poznan where she focused on time-based works with strong correlations to painting. She is a co-founder 
  of the 858.ma project. Following the revolution that ousted President Hosni Mubarak in February 2011, Metwaly was a founding member of the video and social-media collective Mosireen and collaborated with the filmmaker Philip Rizk, promoting video activism and “document unrest”. More recently, she has spent time reflecting on the tumultuous past with a renewed focus on artistic practice and its specific audience. She is interested in the points of intersection/division between single-channel image, video and documentary filmmaking. Metwaly’s work has been exhibited locally and at international art venues and festivals including Townhouse Gallery, Cairo; 7th Berlin Biennale, Berlin; Forum Expanded Berlinale Film Festival 2014, Berlin; International Film Festival Rotterdam 2012, Rotterdam; Kings Gate, London; Virtual Museum, CASZuidas, Amsterdam, BWA, Wroclaw; amongst others.


name: Jasmina al-Qaisi
slug: jasmina-al-qaisi
summary:
  Jasmina Al-Qaisi is a writer and archivist. She writes as she speaks in her own English, caught between sound and visual poetry, often stepping out of ordinary norms of form. She investigates intersections between body politics, intimacy, digitally mediated relationships, voice and memory, homes and aways, often in close communication with her grandmother. She recently inaugurated the archival methodology for performance and radio format Behind Shelves as part of the art and project space SAVVY Contemporary, Berlin and published the *poesie* *album* Archival Regrets. She transfers poetry in performative acts and sound with gastronomy into radio formats, most frequently she conducts an on-going radio and culinary research titled Bites. She often makes waves on free, independent, temporary or mobile radios. She co-authors diverse audio actions with the artist Ralf Wendt. She joined the artistic research project Research and Waves, where she writes, thinks and researches on various themes. As an art writer, she employs poetic and alternative forms to critique and conceptualization. She publishes in Revista ARTA and often develops concepts for independent art and culture initiatives. Find out more about her [here](https://jasminescu.com/jasminescu). 


name: Gwen Mitchell
slug: gwen-mitchell
summary:
  Gwen Mitchell is an art historian. She received her Masters in History of Art from The Courtauld University of Art in London, earning a Distinction for her dissertation “Examining Barbara Hammer’s treatment of archival material: a comparison of Sanctus (1990) and Nitrate Kisses (1992)." She worked at SAVVY Contemporary from 2017-2018 in various capacities, including archival work in the SAVVY.doc and research and project coordination for several exhibitions. At present, she is the Operations Manager for The Open Art Fair. 


name: Elena Quintarelli
slug: elena-quintarelli
summary:
  Elena Quintarelli holds an M.A. in Media and Visual Anthropology from FU Berlin. Her research interests include migration and migratory policies, cultural studies, colonial pasts and decolonial options. Besides her M.A. thesis documentary film “Women on the Move” that narrates the stories of four Italian women in Berlin, she collaborated to different documentary projects (“Un colpo al cuore”, “La Deutsche Vita”, “Persisting Dreams”) and coordinated the Film Festival “COMING SOON TO YOUR SCREENS. On archives, legacies and new waves of Sudanese Cinema” at Kino Arsenal and SAVVY Contemporary. She was the project manager of the festival BE.BOP-Black Europe Body Politics and was a researcher and curator at SAVVY’s documentation center.


name: Lema Sikod
slug: lema-sikod
summary:
  Lema Sikod is the glue that holds SAVVY Contemporary together. With a background in cultural studies and experience working in private companies, Lema was uniquely qualified to navigate the wild challenges of a non-profit art space. Although she knew SAVVY Contemporary founder Bonaventure Soh Bejeng Ndikung from their youth in Bamenda, Cameroon, she joined the art space a bit later, once they had reconnected in Berlin. She is now the core of the management team, taking care of applications, budgets, and other financial questions to keep the space running smoothly. She is a warm and incredibly driven presence at the heart of SAVVY Contemporary.    


name: Kamila Metwaly
slug: kamila-metwaly
summary:
  Kamila Metwaly is a music journalist, and curator based between Berlin and Cairo.

  Metwaly founded an independent arts and culture publication in Egypt, which specialized in music, arts, and cultural writings, from 2004 to 2009. Later, she worked in radio and the independent film scene, maintaining a strong presence in Cairo's cultural and activist scenes for many years. Since 2014, Metwaly has specialized in music journalism for various independent Egyptian and Arab publications.

  In 2017, Metwaly joined SAVVY Contemporary and is currently curating an ongoing sound project titled "Untraining the Ear: Listening Sessions." She has been involved with various sound-based exhibition projects in the space, including "What Has All This Got To Do With Coconuts And Rice: A Listening Exhibition on José Maceda" and "We Have Delivered Ourselves from the Tonal: Of, With, Towards, on Julius Eastman" and has co-curated a retrospective exhibition "The Dog Done Gone Deaf: Exploring The Sonic Cosmologies of Halim El-Dabh" with Bonaventure Ndikung at the Dak’Art Biennale in Senegal (2018).

  She has been appointed as a guest music researcher for the Donaueschingen New Music festival 2021 edition. 


name: Bonaventure Soh Bejeng Ndikung
slug: bonaventure-soh-bejeng-ndikung
summary:
  Bonaventure Soh Bejeng Ndikung has worked as a curator, artistic director and consultant for various international exhibition projects or festivals around the world. He is the founder and artistic director of SAVVY Contemporary in Berlin and artistic director of sonsbeek20-24, a four-year contemporary art exhibition in Arnhem, the Netherlands. Ndikung was the curator at large of Documenta 14 in Athens, Greece and Kassel, Germany in 2017; Guest curator of the Dak’Art Biennale in Dakar, Senegal, in 2018; and the Artistic Director of the 12th Bamako Encounters, the photography biennale in Bamako, Mali, last year. Together with the Miracle Workers Collective, he curated the Finland Pavilion at the Venice Biennale in 2019 and was visiting professor for curatorial studies and sound art at the Städelschule in Frankfurt. He is currently professor in the MA in Spatial Strategies at the Weißensee Art Academy in Berlin and has also received the first OCAD University International Curators Residency Fellowship in Toronto in 2020. In October 2020 Ndikung was the Order of Merit of Berlin, in "recognition of the work Savvy Contemporary has been doing over the past decade." More info about SAVVY Contemporary [here](https://savvy-contemporary.com/). More info about sonsbeek20-24 [here](https://www.sonsbeek20-24.org/en/). 


name: Bolatito Aderemi-Ibitola
slug: bolatito-aderemi-ibitola
summary:
  Bolatito Aderemi-Ibitola is a trans-disciplinary artist working primarily in time based art, interactivity and performance. Her work focuses on the intersections of race, gender, and ethnicity. Along with her artistic practice, Aderemi-Ibitola also works as a devised theater practitioner, performance studies scholar and teaching artist. Bolatito Aderemi-Ibitola earned her Masters in Performances Studies from Tisch School of the Performing Arts, New York University and holds a Bachelors in Communication Arts with a focus in Television/Film Production and a minor in Political Science. Visit her website [here](https://www.taibitola.com). 


name: Archive Books
slug: archive-books
summary:
  Archive Books's impulse to publish stems from the desire to disseminate stories for the subversive potential they can yield, creating cracks in dominant narratives, fleeing accounts of history with a capital H and turning to the power of the fragment. Through a publishing practice grounded in collective, transdisciplinary and cross-cultural collaborations, Archive is invested in un-weaving repressive narratives and reclaiming the archive itself as a tool which no longer categorizes but rather continuously un-fixes, de-archives and re-archives through non-hegemonic models.  Find out more [here](https://www.archivebooks.org/). 


name: Kelly Krugman
slug: kelly-krugman
summary:
  Kelly Krugman is a project coordinator and curator at SAVVY Contemporary. She first joined SAVVY Contemporary in 2016, when she was studying abroad in Berlin, and later returned in 2017 and has worked there ever since. Some of her projects for SAVVY include the radio station [SAVVYZAAR](https://savvy-contemporary.com/en/pillars/savvyzaar/), [Ultrasanity](https://savvy-contemporary.com/en/events/2020/ultrasanity-invocations/), and [Ecologies of Darkness](https://savvy-contemporary.com/en/projects/2019/ecologies-of-darkness/).  


name: The Institute for Endotic Research (TIER)
slug: benjamin-busch
summary:
  The Institute for Endotic Research (TIER) began in 2015 as a fictional institution understood as a habitable sculpture. It has since brought different practices together to foster a transdisciplinary approach. Its experimental program is composed of series of workshops, seminars and public events, which act as a support-structure, inviting in architects, scientists, artists, choreographers, philosophers, curators, and cooks, among others. TIER.space is a continuation of that project. It was founded in spring 2018 as a virtual site and a physical location. This endotic institution serves as a host for TIER’s program in its many different forms, continually being adapted and re-tooled for new uses. Find out more [here](http://theinstituteforendoticresearch.org/wp/about/)!


name: Lorenzo Sandoval
slug: lorenzo-sandoval
summary:
  Lorenzo Sandoval is an artist and curator living and working between Berlin and Alcantarilla. He is the co-director of [The Institute for Endotic Research](http://theinstituteforendoticresearch.org/). Represented by [Lehman + Silva Gallery](https://www.lehmannsilva.com/en/artist/lorenzo-sandoval/). Find out more about him [here](http://www.lorenzosandoval.net).  


name: Elena Agudio
slug: elena-agudio
summary:
  Elena Agudio is a Berlin based art historian and curator. Her research is focused on the sharing and exchange of knowledge and skills across disciplines and cultures. She studied Art History at the University of Venice – Ca’ Foscari and received her PhD in Contemporary Art and Design in 2010. 

  In 2013, she was appointed artistic co-director of [SAVVY Contemporary](https://savvy-contemporary.com/), a non-profit art space in Berlin founded by Bonaventure Soh Bejeng Ndikung.

  Since 2012, she is also the artistic director of the Berlin non profit association [Association of Neuroesthetics](https://association-of-neuroesthetics.org/) (AoN), a project in collaboration with the Medical University of Charité and the Berlin School of Mind and Brain of the Humboldt University, for which she has curated projects at the Deutsche Guggenheim (Berlin), at the Library of the Peggy Guggenheim Collection (Venice), at the Deutsches Studienzentrum (Venice), HALLE 14 (Leipzig), OHBM. Among the artists she invited to collaborate with the AoN: Clemens von Wedemeyer, Tino Sehgal, Ivana Franke, and Florian Hecker.


name: Berlin Art Prize
slug: berlin-art-prize
summary:
  The Berlin Art Prize is an independent award for contemporary art from Berlin. Since 2013, it has been awarded six times. You can read more about past iterations [here](http://berlinartprize.com/en/start/).


name: MIT Press
slug: mit-press
summary:
  Established in 1962, the MIT Press is one of the largest and most distinguished university presses in the world and a leading publisher of books and journals at the intersection of science, technology, art, social science, and design. MIT Press books and journals are known for their intellectual daring, scholarly standards, interdisciplinary focus, and distinctive design. Read more and visit their catalogue [here](https://mitpress.mit.edu/about).


name: Hurford Center for the Arts and Humanities
slug: hurford-center-for-the-arts-and-humanities
summary:
  The John B. Hurford ’60 Center for the Arts and Humanities provides a place for inclusive and interdisciplinary programming by promoting collaborative engagement with the intellectual and artistic ambitions of Haverford College and broader communities. More information about past and present initiatives [here](https://www.haverford.edu/hcah). 


name: Temporary Art Review
slug: temporary-art-review
relationship: Commissioned
summary:
  Temporary Art Review is a platform for contemporary art criticism that focuses on alternative spaces and critical exchange among disparate art communities. Since its founding in 2011, Temporary Art Review has published over 600 profiles, reviews, interviews and essays that focus on self-organized and artist-centered spaces and critical exchange across the United States and beyond. Read more [here](https://temporaryartreview.com/about/).


name: Ocula Magazine
slug: ocula-magazine
relationship: Commissioned
summary:
  Ocula presents contemporary art exhibited by the world's leading artists and galleries, and reports on the people, ideas and events shaping art now. Ocula Magazine is the publishing arm of Ocula, releasing conversations and reviews online and in print. Dive in [here](https://ocula.com/magazine/)!


name: Haverford College
slug: haverford-college
summary:
  Haverford College is a leading liberal arts undergraduate college, located outside of Philadelphia. It is known for its academic rigor, Honor Code, and beautiful arboretum campus. More information about my alma mater [here](https://www.haverford.edu).


name: E-Flux Conversations
slug: e-flux-conversations
relationship: Commissioned
summary:
  E-Flux Conversations is a forum for discussion and debate around contemporary art, philosophy, and politics. It includes commissioned work (Frontpage) and an open forum. Explore [here](https://conversations.e-flux.com/). 


name: Kundura Sinema
slug: kundura-sinema
summary:
  Kundura Sinema is located in Beykoz Kundura in Istanbul. Beykoz Kundura is a former factory that now serves as a set for television and film as well as a cultural center. The cinema opened its doors following the restoration of the furnace section of the boiler room, which was regarded as the heart of the factory. The place where the furnace was installed now serves as the foyer and refreshments area of the cinema. Kundura Sinema hosts a diverse program of Hollywood and local classics, art house and experimental contemporary film, and documentary.  Find out more about Kundura Sinema [here](https://www.beykozkundura.com/cinema). 


name: Berlin Bienniale for Contemporary Art 11
slug: berlin-bienniale-for-contemporary-art-11
summary:
  The 11th Berlin Biennial unfolded as a process through a series of lived experiences titled exp. 1, exp. 2, and exp. 3. In a fourth step, conceived as an epilogue, the 11th Berlin Biennale brought these experiences together, with artistic participation from around the world under the title *the crack begins within*. The final exhibition unfolded across four venues: KW Institute for Contemporary Art, Gropius Bau, daadgalerie, and Ex-Rota Print. The 11th Berlin Biennial was curated by María Berríos, Renata Cervetto, Lisette Lagnado, and Agustín Pérez Rubio. More information can be found [here](https://11.berlinbiennale.de/).    


name: Konstfack University
slug: konstfack-university
relationship: Attended Post-Graduate Course
summary:
  Konstfack, or University of Arts, Crafts and Design, is a university college for higher education in the area of art, crafts and design. It is located in Stockholm and is the largest university of its kind in Sweden. Find out more about the institution [here](https://www.konstfack.se/en/). 


name: Berlinale Forum Expanded
slug: berlinale-forum-expanded
summary:
  The Berlinale Forum and Forum Expanded stand for reflections on the medium of film, socio-artistic discourse and a particular sense for the aesthetic. The programmes of the Forum and Forum Expanded aim to expand the understanding of what film is, to test the boundaries of convention and open up fresh perspectives to help grasp cinema and how it relates to the world in new ways. The programmes can include anything that serves these ends: contemporary and historical, analogue and digital film, installation art, performance and music. Read more [here](https://www.berlinale.de/en/festival/sections/forum-and-forum-expanded.html). 


name: Fondazione Prada
slug: fondazione-prada
summary:
  Fondazione Prada is an institution dedicated to contemporary art and culture. For the last two decades, Fondazione Prada’s activities have analyzed contemporary art and life through wide-ranging projects. These have included ‘Utopian’ monographic artist commissions, contemporary philosophy conferences, research exhibitions and initiatives related to the field of cinema. More [here](https://www.fondazioneprada.org/?lang=en).


name: Esther Schipper
slug: esther-schipper
summary:
  Specializing in contemporary art and representing over 48 artists and estates, Esther Schipper has locations in Berlin, Paris and Seoul. The gallery is committed to presenting groundbreaking exhibitions by leading international artists. Mainly active in the primary market, the gallery represents its artists at all major international art fairs.

  Throughout its more than three decades of exhibition practice, Esther Schipper has provided a platform for artists to present projects that mark novel territories, initiate important conceptual departures, and bring forth new bodies of works. Building on an early pioneering program the gallery initially specialized in fostering institutional support and finding markets for radically experimental and time-based works. Today Esther Schipper represents international artists across several generations working in all media, its program spanning established artists to newly discovered talents. More info [here](https://www.estherschipper.com/).


# projects

title: Kundura Sinema
slug: kundura-sinema
StartDate: 2018-10-01
EndDate: 2022-03-10
Relationship: Curatorial advisor to
summary:
  Here is a short description of a project. This project was about this and that. It happened here. It is dormant for now but research is going. Here is a short description of a project. This project was about this and that. It happened here. It is dormant for now but research is going

body:
  ![kundara-sinema-2.jpg](/uploads/kundara_sinema_2_935efde108.jpg)

  Since its opening in September 2018, Kundura Sinema has fostered the development of film culture in Istanbul and in Turkey, more broadly.

  Beykoz Kundura (the property on which Kundura Sinema is located) has been a shooting location for Turkish films and television series for many years. The new cinema and theater expands the network of cultural workers that have been involved with this location and offers the wider public an opportunity to engage with the history of the ex-factory and the memories of its workers.

  More information about the cinema can be found on its website, [here](https://kundurasinema.com/).

role:
  My role within the cinema is as a curatorial advisor and member of the curatorial board. Within this capacity, I work closely with the Managing Artistic Director, Buse Yilidrim, to develop the direction of the cinema. I am primarily responsible for evaluating and selecting independent and experimental films for the program, including negotiating with distributors and producers for screening rights.

  Due to Covid19 and the financial strain on the cinema, my work has been paused for the moment.


title: United Screens Invocation Series
slug: united-screens-invocation-series
StartDate: 2018-07-22
EndDate: 2018-07-22
Relationship: Public program at
summary:
  Here is a short description of a project. This project was aboout this and that. It happened here. It is dormant for now but research is going. Here is a short description of a project. This project was aboout this and that. It happened here.

body:
  ![united-screens-1.jpg](/uploads/united_screens_1_7e66525e7e.jpg)
  *United Screens Invocations Series, second session with Amelia Umuhire (right), Oliver Hardt, and Verena von Stackelberg.*

  As part of the United Screens project, Savvy Contemporary hosted two days of invocations featuring screenings and moderated talks, which mapped global film cultures and challenged dominant (German) film culture, respectively. The first night of the invocations was part of [Coming Soon to Your Screens: On Archives, Legacies, and New Waves of Sudanese Cinema](https://savvy-contemporary.com/en/events/2018/coming-soon-to-your-screens-vol2/), which was co-hosted by [Arsenal Institute for Film and Media Art](https://www.arsenal-berlin.de/home.html). It featured Talal Afifi of the Sudan Film Factory and the filmmaker, curator, and film scholar Dr. Viola Shafik. On this evening, we discussed building film cultures in Sudan and Egypt as well as finding alternative means of distribution that do not follow the conventional South to North one-sided pipeline. 

  For the second conversation, on infiltrating German film culture, we invited Amelia Umuhire, Oliver Hardt, and Verena von Stackelberg, three film professionals from shooting, directing, producing, and cinema-programming backgrounds who work in Germany. With them, we discussed where they see themselves within German film culture and what different perspectives this gives them.

  More information about the exhibition and the invocations can be found [here](https://savvy-contemporary.com/en/projects/2018/united-screens/).

  United Screens Curator: Abhishek Nilamber
  United Screens Associate Curator: Kamila Metwaly
  Artistic Direction: Antonia Alampi and Bonaventure Soh Bejeng Ndikung
  Invocations Curation: Pia Chakraverti-Wuerthwein, Elena Quintarelli and Laura Klöckner

  Communications: Anna Jäger
  Graphic Design: Elsa Westreicher
  Management: Lema Sikod 
  Live Stream: [Boiling Head Media](https://www.boiling-head.com/)

role:
  I was responsible for coordinating and moderating the conversations, including choosing the panelists together with Abhishek, Kamila, Elena, and Laura. The conversation with Talal Afifi and Viola Shafik went on to be featured in the *how does the world breathe now?* [publication](/projects/how-does-the-world-breathe-now-publication). After meeting Amelia on this occasion, I recommended her as an invitee for the film series *[Residing in the Borderlands](/projects/residing-in-the-borderlands)*. 


title: Residing in the Borderlands
slug: residing-in-the-borderlands
StartDate: 2019-04-27
EndDate: 2020-07-01
Relationship: Film series at
body:
  ![Vaginal.jpg](/uploads/Vaginal_9e531d76fc.jpg)
  *Take VIII with Vaginal Davis (left). She screened Todd Haynes's Velvet Goldmine. Photo by Patrik Bablo.*

  Following [how does the world breathe now?](/projects/how-does-the-world-breath-now), I co-curated a new twelve-session film series with Eirini Fountedaki. We hoped to create a new cartography of Berlin through diasporic perspectives. Through the course of the series, we explored different film-worlds, considering both image and sound. The invited speakers came from different diasporic communities and occupations within and beyond the cultural sector, sharing films that represent their experiences moving through the city. They were chosen by co-curator Eirini Fountedaki, project coordinator Jörg-Peter Schulze, and me. Before each session we met with each invitee, often multiple times, to hear their stories and select a film together. With each session, we hosted a different audience, reflecting the diversity of the guests, although with several repeat visitors. It was also important for us to cook for each session and thus create a warmer and more convivial atmosphere. 

  The films did not need to be about Berlin or even set in the city, but had to capture some element, or essential question, that has shaped our guests' perspectives. In addition to bringing new meaning to the films shown, the series became a means to adjust our understanding of key events in Berlin history, including the fall of the wall. This was particularly important as it allowed personal memory and family stories to be shared and for us, as diasporic subjects, to build a collective narrative that challenges and complicates official accounts of the past.   

  ![SAVVY_ResidingInTheBorderlands_09.jpg](/uploads/SAVVY_Residing_In_The_Borderlands_09_fa89b09760.jpg)
  *Take VII with Angelika Nguyen. She screened Mala Reinhardt's Der Zweite Anschlag. Photo by Patrik Bablo.*

  More information and the full curatorial concept can be found [here](https://savvy-contemporary.com/en/projects/2020/residing-in-the-borderlands/). 

  Contributors: Ali Moraly, Amelia Umuhire, Niusha Ramzani, Liz Rosenfeld, Malve Lippmann and Can Sungu (bi'bak), Rita Sonal Panjatan, Angelika Nguyen, Vaginal Davis, Baly Nguyen, Eli Cortiñas, Candice Nembhard, and Esra Karakaya & Nilgün Akinci.            

  Curators: Pia Chakraverti-Wuerthwein, Eirini Fountedaki
  Coordination: Jörg-Peter Schulze
  Communication: Anna Jäger
  Graphic Design: Ola Zielińska
  Finances: Lema Sikod
  Documentation: Patrik Bablo, Raisa Galofre, and Bona Bell
  Streaming: [Boiling Head Media](https://www.boiling-head.com/)


  The film series was funded by the Federal Agency for Civic Education. Can Candan's invitation was supported by the Rosa Luxemburg Foundation. 


title: Studio Assistant for Wu Tsang
slug: studio-assistant-for-wu-tsang
StartDate: 2018-05-01
EndDate: 2018-08-31
body:
  Over the summer of 2018, I was the research/studio assistant for Wu Tsang during her residency at the Martin Gropius Bau. In this time, I assisted with the preparation of the “Untitled Lipsync (for Ana Mendieta)” and in research for future projects, including organizing a reading session. I also managed internal documents for Ms. Tsang, such as her KSK application and other German bureaucratic communications.


title: Research Assistant for Eli Cortiñas
slug: research-assistant-for-eli-cortinas
StartDate: 2019-03-01
EndDate: 2019-05-31
Relationship: Working with
body:
  Assisted with preparation of the work “The Excitement of Ownership” for *Mask – The Art of Transformation* at the Kunstmuseum Bonn (May 30 - August 25, 2019). Research work included both image-based film research and text-based research relating to specific themes and in intimate collaboration with Cortiñas. More information about the exhibition [here](https://www.kunstmuseum-bonn.de/nocache/en/exhibitions/preview/info/mask-3815/). 


title: Berlin Art Prize 2019
slug: berlin-art-prize-2019
StartDate: 2019-03-01
EndDate: 2019-09-30
Relationship: Independent Visual Arts Award
body:
  ![AdavH.jpg](/uploads/Adav_H_49e3826615.jpg)
  *Berlin Art Prize 2019 Winner Ada Van Hoorebeke receives her trophy from Sol Calero of Kinderhook & Caracas, which hosted her work.*

  The Berlin Art Prize is a non-institutional prize awarded by a selected jury of art professionals. The nominees are chosen out of an open call, which receives around 700 submissions annually. Berlin Art Prize winners are honored with a group exhibition, an accompanying catalog, residency, prize money, and a trophy. The award has had six iterations, from 2013 to 2019. In 2019, the Berlin Art Prize collaborated with project spaces for the first time, presenting the work of the nine nominees at [Ashley Berlin](https://ashleyberlin.de/), [Display](http://www.display-berlin.com/), [gr_und](http://www.gr-und.de/), [Horse & Pony](http://horseandpony.online/), [Kinderhook & Caracas](http://www.kinderhook-caracas.com), [Kreuzberg Pavillon](https://kreuzbergpavillon.tumblr.com/), [SMAC](http://smac-berlin.de/), [The Institute for Endotic Research (TIER)](http://theinstituteforendoticresearch.org/), and [Very](https://de-de.facebook.com/very.badstr66/?ref=page_internal). The award ceremony was hosted at [Flutgraben e.V. ](http://flutgraben.org/) 

  The three winners of the 2019 award were Agnes Scherer, Esteban Rivera Ariza, and Ada van Hoorebeke, with an honorable mention given to Wieland Schönfelder. The remaining six nominees were Musquiqui Chihying,  Marianna Christofides, Larissa Fassler, Joshua Schwebel, and Min-Wei Ting. The 2019 jury consisted of artist and writer Julieta Aranda, curator and director of Kunstwerke Krist Gruijthuijsen, artists Käthe Kruse and Henrike Naumann, and art critic Laurie Rojas. 

  Founder, Co-Director: Alicia Reuter
  Founder, Co-Director: Sophie Jung
  Founder, Co-Director: Zoë Claire Miller 
  Media and Press: Saskia Wichert
  Communications Assistant: Parr Geng
  Accounting: Ulrike Dommain
  Public Relations: María Inés Plaza Lazo 
  Curatorial Assistant: Pia Chakraverti-Wuerthwein

role:
  I was involved in the 2019 edition from the start—joining meetings about design identity and possible programming—to the deliberations and award ceremony at the end. I was responsible for various tasks behind the scenes, including downloading the submitted portfolios, answering questions, and confirming with artists that their applications had been received. I also had the task of coordinating the studio visits and then informing the artists of whether or not they had been chosen as one of the final nine nominees. Overall, it was a valuable experience to see how an alternative award like this works, and I was particularly grateful for the spirit of collaboration and horizontality within the team. 


title: The Contest of the Fruits
slug: the-contest-of-the-fruits
StartDate: 2020-01-01
EndDate: 2021-12-31
body:
  ![comp_PERSIMMON_CONFORM_16X9_v080 (07261).jpg](/uploads/comp_PERSIMMON_CONFORM_16_X9_v080_07261_d73bf96dc9.jpg)
  *Still from Slavs and Tatars, The Contest of the Fruits, 2021, film animation, color with sound, 07:18 min.*

  ***The Contest of the Fruits* publication is now available for purchase from The MIT Press [here](https://mitpress.mit.edu/books/contest-fruits).**

  “The Contest of the Fruits” is a 19th century allegorical text written in Uyghur that features thirteen individual fruits—such as the mulberry, pomegranate, quince, and pear—engaging in ribald rivalry. With its oral flourishes and highly performative nature, “The Contest of the Fruits” is perhaps the first Turkic rap battle, and the result of the syncretic linguistic and ethnographic heritage that makes up Uighur identity and culture. 

  In September 2021, Slavs and Tatars will debut an animated film, based on the original text, in partnership with Haverford College’s Hurford Center for the Arts and Humanities (HCAH), the Philadelphia chapter of the Council for American-Islamic Relations (CAIR), and Twelve Gates Arts. The animated film is part of an extended project including an exhibition, public program, and residency based at Haverford College’s Cantor Fitzgerald Gallery. In November 2021 *The Contest of the Fruits* publication will be launched at Twelve Gates Arts. It will be published by MIT Press and Haverford College. 

  While the original plan, pre-Covid19, was to have community building in Philadelphia at the center of the project, with dinners and other informal gatherings, this work has been moved online with public and private sessions over Zoom. For the public sessions, we have invited both Uyghur community members and those of other communities who face similar challenges, such as a Kashmiri poet for a virtual session in September 2020. The exhibition will open on September 10, 2021 at Haverford College.  

  More information about the project and additional collaborators can be found on the official page [here](https://exhibits.haverford.edu/thecontestofthefruits/). You can join the newsletter [here](https://haverford.us1.list-manage.com/subscribe?u=e244922b14f22621a871eaccf&id=27048506f0).

role:
  My role in this project is administrative, curatorial, and editorial. I manage the timeline, administrative details, and facilitate communications between Slavs and Tatars, Haverford College, and the other partners, including animators, translators, and talent. Curatorial responsibilities include writing and editing texts, giving feedback on the progress of the film, and working on public programming. I also worked closely with the editors of the publication, Guangtian Ha and Slavs and Tatars, discussing the content and choosing other small additions to the book (such as poetry, images, and short essays).


title: CuratorLab 2019/2020
slug: curator-lab-2019-2020
StartDate: 2019-09-01
EndDate: 2020-12-30
Relationship: Post-Graduate Curatorial Course and Publication
body:
  ![ARM191116-042-1024x683.jpg](/uploads/ARM_191116_042_1024x683_6499a96aed.jpg)
  *CuratorLab 2019/2020 advocating at the 2019 Visible Temporary Parliament, Hôtel de Ville, Paris. Photo by Benoit Laurent.*

  CuratorLab is a one-year international curatorial course at Konstfack University of Arts, Stockholm, under the program direction of Joanna Warsza. [CuratorLab 2019/2020](https://curatorlab.se/#2020-2019) had the subtitle "Socially Engaged Curating in Post-Democratic Times" and the additional guest lecturers Judith Wielander and Matteo Lucchetti from the [Visible Project](https://www.visibleproject.org). In Fall 2019, CuratorLab participants acted as advocates for socially engaged practices shortlisted for the [2019 Visible Award](https://www.visibleproject.org/blog/award/award-2019/). We tested advocacy as a form of curating the the projects of the ten Visible Award 2019 shortlisted artists. This experience made us raise the question: How can art institutions and practices be reformatted beyond display towards agency and engagement?

  For our final project, we decided to pool our resources and skills together for a publication: *Propositions on Translocal Solidarity*. It  is divided into three chapters: letters, interdisciplinary conversations, and scores, which together form a protocol for curating, archiving and sustaining socially engaged practices. It also includes a foreword and annotations, which link the history of curating socially engaged art with the propositions of this publication and make connections between the artistic practices. We understand this book as an accessible medium through which to build solidarity from art outwards, turning our attention to urgent issues of our time, making alliances and disseminating artistic practices, discourse, and strategies across boundaries that bodies cannot otherwise cross.

  ![Visible-Award-2019-TEMPORARY-PARLIAMENT_print_72-768x512.jpg](/uploads/Visible_Award_2019_TEMPORARY_PARLIAMENT_print_72_768x512_b23388e1ab.jpg)
  *2019 Visible Temporary Parliament, Hôtel de Ville, Paris, photo by Benoit Laurent*

  Contributors:  Richard Bell and Gary Foley, Cooking Sections and Elizabeth Hoover, Luke Ching, Forensic Architecture, Daniel Godínez-Nivón, Morten Goll and Tone Olaf (Trampoline House) and Shahram Khosravi, Emily Jacir, Marisa Morán Jahn and Natalícia Tracy, Otobong Nkanga, Jasmeen Patheja, Matteo Lucchetti and Judith Wielander, Andrea Phillips, and CuratorLab 2019/2020 participants: Alba Martinez Folgado, Benjamin Thomas, Carlota Mir, Carolina Lio, Claudia Stübi, Pia Sri Chakraverti-Würthwein, Sara Alberani, Sofia Steinvorth, and Tal Gilad. 

  The book will be published by Archive Books in 2021.

role:
  I advocated as the primary representative for two of the short listed artists: Marisa Morán Jahn and Jasmeen Patheja, who won the award. I am an author in the *Translocal Solidarity* publication, participating in a letter exchange with Jasmeen Patheja and participating in a conversation with Marísa Morán Jahn, Natalícia Tracy, and Carlota Mir. 


title: Moving Still. How Do We Go From Here?
slug: moving-still-how-do-we-go-from-here
StartDate: 2016-09-01
EndDate: 2016-10-31
Relationship: Devised theater piece hosted by
body:
  ![this-image-was-broken.jpg](/uploads/this_image_was_broken_1e1eaf85df.jpg)
  *Performing in "Moving Still. How Do We Go From Here?"*  

  *Moving Still. How Do Go From Here?* was the culmination of a 6-week devised theater intervention into the [Colonial Neighbours archive of SAVVY Contemporary](https://savvy-contemporary.com/en/pillars/colonial-neighbours/) facilitated by artist in residence Bolatito Aderemi-Ibitola. The workshop used physical movement exercises, experimental play, text examination, and community excursions as means of delving deeper into Germany’s colonial history. The items of the archive served as an impetus for consideration and play. Overlaying video, music, and movement, this theatrical presentation allowed for multiple points of entry into the archive and cleared space for new forms of thinking about Germany’s colonial past.

  Players: Tito Aderemi-Ibitola, Marleen Schröder, Lynhan Balatbat-Helbock, Pia Chakravarti-Würthwein, Dyaa Naim, Nyambu Fifs Murage, Tito Fagbenle, and Marlon van Rooyen 

  Curation: Lynhan Balatbat-Helbock, Marleen Schröder, Marlon van Rooyen and Jorinde Splettstößer


title: Conceptual Bookworks Lab
slug: conceptual-bookworks-lab
body:
  *A SPACE FOR RADICAL PLAY: CONCEPTUAL BOOKMAKING AGAINST THE GLOBAL RISE OF THE EXTREME RIGHT.*

  ![conceptual-bookworks-1.png](/uploads/conceptual_bookworks_1_21c21500fe.png)

  Inspired by the research I did for my History of Art thesis, I am developing a Conceptual Bookworks lab, which would bring together a small group of artists, activists, journalists, poets, academics, and bookmakers from different communities to challenge one another in order to better understand the global shift to the right, and to create work that can help reverse it.

  ![conceptual-bookworks-3.png](/uploads/conceptual_bookworks_3_dadb9e8fe1.png)

  I am the concept writer and am currently seeking collaborators both with political and artistic/literary backgrounds. If you are interested in hearing more about this project, please do not hesitate to contact me via email.


title: We Are Not Worried in the Least
slug: we-are-not-worried-in-the-least
StartDate: 2017-11-01
EndDate: 2018-03-11
Relationship: Berlinale Forum Expanded exhibition at
body:
  ![we-are-not-1.jpg](/uploads/we_are_not_1_105d31ce63.jpg)
  *We are not Worried in the Least. Photo © Raisa Galofre.*

  In 2016, SAVVY Contemporary inaugurated a series of solo exhibitions by filmmakers within the framework of the Berlinale – starting with *Welcome to Applied Fiction* by Jean Pierre Bekolo and followed by *The Law of the Pursuer* by Amos Gitai. Filmmakers are invited to work with the medium of the exhibition and present re-search materials from their archives: extra footage, objects, texts, and notes collected in the process of film-making. For its third year, SAVVY Contemporary conceived of a project with Egyptian-Polish filmmaker, artist and activist, Jasmina Metwaly, who was invited to work with material she has produced since 2011.

  *We are not Worried in the Least* نحن لسنا قلقين على الإطلاق is the outcome of this invitation.

  ![we-are-not-2.jpg](/uploads/we_are_not_2_b60a127780.jpg)
  ![we-are-not-3.jpg](/uploads/we_are_not_3_1fb5283a14.jpg)
  *We are not Worried in the Least. Photos © Raisa Galofre.*

  The historical background is the turbulent political and social landscape of Egypt in this time-frame: the uprisings of 2011, the constitution of new civil formations (such as unions), and the strengthening of grassroots initiatives. It was a time of hope and imagination for new political groups that led to disappointing elections followed by a military coup that has repressed citizens’ rights. The new regime forbade public gatherings and protests in public spaces through the violent enforcement of laws and the production of a continuous state of fear, effectively eliminating any opposition.

  ![we-are-not-4.jpg](/uploads/we_are_not_4_dd1d3cd2a0.jpg)
  *We are not Worried in the Least. Photo © Raisa Galofre.*

  The title of the exhibition is a direct reference to the permanent state of paranoia in the country, a political limbo that can only be described as a state of mundane and monotonous violence. Waiting in police stations and in courtrooms or on the phone for news from loved ones, the struggle has dramatically changed the lives of those involved. In the face of this existential and physical exhaustion, growing bored with or tired of it all may be the only way to overcome the current state of affairs. 

  More information about the exhibition [here](http://savvy-contemporary.com/en/projects/2018/we-are-not-worried-in-the-least/#1518378927-899-1).


  Curator: Antonia Alampi
  Associate Curator: Pia Chakraverti-Wuerthwein
  Curatorial Assistant: Jasmina al-Qaisi
  Communication: Anna Jäger and Johanna Gehring
  Artist's Research Assistance: Olani Ewunnet and Gwen Mitchell
  Editing: Federica Bueti
  Translations (Arabic–English): Salma El Tarzi 
  Installation: Bert Günther

role:
  I worked as the associate curator of the exhibition. My role in the exhibition was to assist the artist, Jasmina Metwaly, and curator, Antonia Alampi in developing the concept of the exhibition and in assisting with production, together with Jasmina al-Qaisi. This included being part of the conversations leading up to the exhibition, which were eventually documented in the exhibition brochure, and helping translate the concept to the physical space.


title: how does the world breathe now?
slug: how-does-the-world-breath-now
StartDate: 2016-09-07
EndDate: 2018-03-31
Relationship: Film series at
body:
  ![how-does-1.jpg](/uploads/how_does_1_a63d9d2894.jpg)
  *Elske Rosenfeld (right) introduces Wolfgang Scholz (left), director of *Bodybuilding*, a short that Elske screened for the 36th session of the series.* 

  Out of frustration and exasperation with the state of the world in 1960, Indonesian poet Willibrordus Surendra Broto Rendra asked himself: “How does the world breathe now?”

  In 2016, Bonaventure Soh Bejeng Ndikung was similarly dismayed when thinking about the deaths of migrants crossing the Mediterranean Sea and Eric Garner's last words "I can't breathe." Over several months of solitary writing and conversations with friends and colleagues, he developed the concept for a year-long weekly film series. The idea was to have a different invitee chose a film each week that somehow answered or asked more questions of the titular question: *how does the world breathe now?* The films didn't have to be from a specific location or era, but they had to somehow capture their Zeitgeist and still resonate today. 

  ![Al-Massir.jpg](/uploads/Al_Massir_1eb67f05b6.jpg)
  *Still from Youssef Chahine's film Al-Massir (1997). It was screened by Mahmoud Hassino for the 47th session of the series.*

  The films ranged from rare documentaries and art films like David Koff's *Occupied Palestine* and Nilita Vachani's *Eyes of Stone* to independent classics like Sarah Maldoror's *Sambizanga* and even a couple of blockbusters like Alex Garland's *Ex-Machina*. Although the 1960s and 1970s were two of the most commonly represented decades, we also showed contemporary films, including the SPOTS, short films that had just been released as part of the citizens' tribunal [Unraveling the NSU Complex](https://www.nsu-tribunal.de/en/). 

  More than just a series of screenings, the film series became a kind of ciné-club where we also ate, drank, and danced together, and out of which new concepts, collaborations, and polemics emerged. More information and a full concept can be found [here](https://savvy-contemporary.com/en/projects/2016/how-does-the-world-breathe-now/). A follow up [publication](/projects/how-does-the-world-breathe-now-publication) will be released by Archive Books in 2021.             
         
  Concept: Bonaventure Soh Bejeng Ndikung
  Curators: Elena Agudio, Antonia Alampi, Pia Chakraverti-Wuerthwein
  Project Coordinators: Kelly Krugman, Gwen Mitchell
  Communications: Anna Jäger
  Additional Support: Abhishek Nilamber

role:
  I began my involvement with the series as the project coordinator and later became one of the curators, remaining the main organizer throughout. My responsibilities included choosing participants, advising them in their choice of film, communicating with filmmakers and distributors to secure the rights, preparing the space, and moderating the discussions. I also had the pleasure of working with two great project coordinators for the second half of the series. I was present at nearly every session and the whole experience was both hugely challenging and enriching. 


title: Reading as Resistance: Works of conceptual art against the Chilean dictatorship
slug: undergraduate-thesis
StartDate: 2015-09-01
EndDate: 2016-05-31
Relationship: Undergraduate Theses in Spanish and History of Art
body:
  ![Reading_as_Resistance.png](/uploads/Reading_as_Resistance_5f26866fb7.png)
  *La Nueva Novela by Juan Luis Martínez (left) and Contraproyecto by Carla Grandi (right)*

  After my year abroad at the University of Chile in Santiago, I decided to write my senior theses about one scarcely studied work that I had encountered there, *Contraproyecto* by Carla Grandi, and another fairly well known work, *La Nueva Novela* by Juan Luis Martínez. Given that I double majored in History of Art and Spanish, I wrote two theses. I was advised by Roberto Castillo Sandoval and Lisa Saltzman. 

  “**El contraproyecto en Contraproyecto: La obra de Carla Grandi dentro del contexto político y poético de la dictadura en Chile**” is an analysis of *Contraproyecto* by the Chilean poet Carla Grandi as a *contraproyecto* (counterproject) against the masculine literary canon and the dictatorship of Augusto Pinochet.

  It considers the four distinct sections of Grandi’s work as different instances of *contraproyecto* that allow the reader to resist the regime. Additionally, it places Grandi within a historical moment in which women were advocating for democracy both in private and public spheres, considering how female poets and artists expressed their positions as women within a city under dictatorship.

  “**Reading as Resistance: Contraproyecto by Carla Grandi and La Nueva Novela by Juan Luis Martínez as works of conceptual art against the Chilean dictatorship**” is an examination of Grandi and Martínez’s uses of mental exercises and reflexive montage to give readers a means through which to make sense of and resist their daily reality. It connects the works to one another, their political and historical context, and to poetic and artistic traditions of resistance in Chile and Latin America.

  Please contact me directly if you would like to have access to either thesis.


title: Film
slug: film
body:
  ![composite-couch-1.png](/uploads/composite_couch_1_ce18f48886.png)

  I first developed an interest in film through conceptual art theory and practice classes while at Haverford College.

  Most of the films I have created thus far have been experimental shorts, with the exception of two documentary shorts. I have worked with 16mm film, digital stills, iPhone footage, and camcorders.

  ![meditations-1.png](/uploads/meditations_1_abea55b3c5.png)

  Past thematic interests have included communication and alienation (both personal and societal) as well as aesthetic and physical violence.

  I am currently working on a final cut of unsteady waters, a film examining the dual nature of water to support and threaten human and non-human life.


title: how does the world breathe now?
slug: how-does-the-world-breathe-now-publication
StartDate: 2018-04-01
EndDate: 2021-01-31
Relationship: Book on film published by
body:
  ![01_72dpi_How_does_the World_Breath_Now_AB_SAVVY.jpg](/uploads/01_72dpi_How_does_the_World_Breath_Now_AB_SAVVY_05004ab50a.jpg)
  *Photo © Raisa Galofre* 

  **Book out now. Available [here](https://www.archivebooks.org/how-does-the-world-breath-now/).**

  Out of frustration and exasperation with the state of the world in 1960, Indonesian poet Willibrordus Surendra Broto Rendra asked himself: “How does the world breathe now?”

  The [film series](/projects/how-does-the-world-breath-now) was a response to our own dismay at the continued injustices that the world faces. Each week SAVVY invited a different speaker who would choose a film that she or he felt answered, or asked more questions of, the question, “how does the world breathe now?” More than just a series of screenings, the film series became a kind of ciné-club where we also ate, drank, and danced together, and out of which new concepts, collaborations, and polemics emerged. With the resulting publication, *How does the world breathe now? : Film as witness, archive, and political tool* we hope to offer readers another mode of thinking about films, and to pick up on some loose threads or unfinished conversations of the film series.

  Over the course of the publication’s three sections: Bearing Witness: old & new filmic practices with political clout; Archiving, Preserving, and Accessing Film; and New Relationships, New Practices: Towards sustainable & ethical filmmaking, SAVVY brings together the voices of contributors such as Sarah Maldoror, Filippos Koutsaftis, the Spotters of the TRIBUNAL “Unraveling the NSU Complex,” Stefanie Schulte Strathaus, Talal Afifi and Viola Shafik, the *foundationClass, and Olivier Marboeuf, among others. Together, we explore how film may be a constructive tool to examine the state of the world and its cruelties, and we ponder how to form a more stable and supportive culture of film production and distribution.

  Now [available](https://www.archivebooks.org/how-does-the-world-breath-now/) from [Archive Books](https://www.archivebooks.org) and [SAVVY Contemporary](https://savvy-contemporary.com/). 

  Film series initiated by: Bonaventure Soh Bejeng Ndikung

  Chief Editor: Pia Chakraverti-Würthwein
  Co-Editor: Eirini Fountedaki

  Assisted by: Kelly Krugman and Gwen Mitchell

  Contributors: Talal Afifi, Elena Agudio, Antonia Alampi, Ana Alenso, Alexander Apóstol, Iván Candeo, Pia Chakraverti-Würthwein, Haris Epaminonda, Eirini Fountedaki , *foundationClass, Filippos Koutsaftis, Lal Laleş, Nikola Madzirov, Sarah Maldoror, Olivier Marboeuf, Marco Montiel-Soto, Bonaventure Soh Bejeng Ndikung, Erika Ordosgoitti, Rolando Peña, Franziska Pierwoss & Siska, Carlos Rebolledo, Stefanie Schulte Strathaus, Viola Shafik, and Spotters

  Translations: Eirini Fountedaki, Charlotte Sere, Gwen Mitchell, Anna Jäger, Autonomous Space Agency, Alexander Sitzmann, Peggy and Graham Reid, and Liz Young

  Transcriptions: Pia Chakraverti-Würthwein, Kelly Krugman, Gwen Mitchell, and Kamila Metwaly

  Proofreading: Julia Sittman, Pia Chakraverti-Würthwein, Eirini Fountedaki, Corinne Butta, and Jasmina Metwaly

  Savvy Books art direction: Elsa Westreicher

  Graphic design: Lilia Di Bella, Archive Appendix

  Funded by [Arsenal Institute for Film and Video Art](https://www.arsenal-berlin.de/home.html) within the framework of *Archive außer sich*.

role:
  At the end of the film series *how does the world breathe now?*, Bonaventure Soh Bejeng Ndikung encouraged me to produce a publication, leaving me to propose the contributors and content. It was difficult because of the very limited funding, but things really sped up once Eirini Fountedaki came on board, and we were able to work on it together. Bonaventure acted as an advisor throughout the process, giving detailed feedback at key stages, but ultimately trusting us to make our own decisions.   


StartDate: 2017-03-01
EndDate: 2017-05-31
Relationship: Review commissioned by
title:
  Future Climates/The School of Redistribution: Ethics, Economics, and Precarity in the Contemporary Art World

slug:
  future-climates-the-school-of-redistribution-ethics-economics-and-precarity-in-the-contemporary-art-world

body:
  ![Parthenon_Marbles.JPG](/uploads/Parthenon_Marbles_de8bf3553b.JPG)
  *Alexandra Pirici. Parthenon Marbles, ongoing action 2017. Commissioned by Future Climates and Kadist.*

  My introduction to the programming of Future Climates’ *The School of Redistribution* at State of Concept Athens was a fitting one; my travelling companions and I had hurriedly trudged up the Acropolis to see Alexandra Piricci’s introductory performance Parthenon Marbles, dodging groups of tourists as we took in the beauty of the overgrowth that is given relatively free reign to insert itself within and around the structure. The scene was messy – buzzing with life. A woman, distinguished by her ‘Official Tour Guide’ button and proficiency in several languages, hawked her tour to various restless visitors who were unwilling to stand in line for 15 minutes. Effervescent groups of students floated down the paths alternately listening listlessly to their teachers and excitedly taking photos of one another. Contracted men with dust masks picked their way through the relic as a group of preservationists argued loudly in Greek from within the Parthenon, barely visible through scaffolding surrounding the monument. 

  Given that the performance was an unauthorized action, the organizers had stressed to all attendees that they be punctual lest the authorities stop the performance only minutes after it had begun. In this sense we were very lucky. The performance’s total running time is roughly half an hour and it was not cut off until around twenty-five minutes in. At that point, one of the aforementioned workingmen in dust masks strode aggressively through the scene and demanded that a permit be presented. He was succeeded by a short squat woman (the perfect image of an imperious bureaucrat) who yelled ‘No Pause!’ further confusing the audience due to the ambiguity of whether she was demanding that the show go on, that the performers not pose, or that in her anger she had simply left behind a comma. 

  Read more [here](https://temporaryartreview.com/future-climatesthe-school-of-redistribution-ethics-economics-and-precarity-in-the-contemporary-art-world/)...

role:
  The first commissioned piece I ever wrote. I pitched this story to Temporary Art Review editor Sarrita Hunn, and was given near complete artistic control over its content, with Hunn editing the final draft.  


title: Conversations and Reviews
slug: writing-for-ocula
StartDate: 2019-01-01
EndDate: 2019-09-03
Relationship: Commissioned by
body:
  ![Conversations_Aaron Cezar_FlorencePeakeandEveStaintonApparitionApparition2019PerformancepartofMeetingsonArt58thVeniceBiennale2019.jpg](/uploads/Conversations_Aaron_Cezar_Florence_Peakeand_Eve_Stainton_Apparition_Apparition2019_Performancepartof_Meetingson_Art58th_Venice_Biennale2019_8d118cd8d6.jpg)
  *Florence Peake and Eve Stainton, Apparition Apparition (2019). Performance part of Meetings on Art, May You Live In Interesting Times, The 58th International Art Exhibition – la Biennale di Venezia (11 May–24 November 2019). Courtesy Delfina Foundation and Arts Council England. Photo: Riccardo Banfi.*

  **Delfina's Aaron Cezar on Performance at the Venice Biennale**
  With first degrees in Economics and Dance from Princeton University and a postgraduate degree in Creative Industries from King's College London, Aaron Cezar exists between various art worlds—a productive space for his work as the founding director of Delfina Foundation, which was established in 2007. Funded by the founder and chair of the board of trustees, Delfina Entrecanales, as well as other private donors and public grants, Delfina Foundation positions itself primarily as a space for the development of artists, curators, writers, and collectors through its residency programmes, approaching its mission from a place of intimacy and hospitality that encourages like-minded cultural workers to develop together and share their practices with the public. Read more [here](https://ocula.com/magazine/conversations/aaron-cezar-moving-art-at-the-58th-venice-bie/)...

  **Beatriz González at KW Institute for Contemporary Art: In Focus**
  *Retrospective 1965–2017*, Beatriz González's exhibition at KW Institute for Contemporary Art in Berlin (13 October 2018–6 January 2019), presents a selection of 120 works that bear witness to Colombia's political and social upheavals of the last 50 years. Throughout, the link between González's practice and the sociopolitical context it references is made explicit with the inclusion of newspaper clippings displayed in vitrines shown alongside the drawings, prints, and paintings they inspired. Indeed, while the exhibition does honour the way González's work is often read within the global context of Pop Art, with brightly coloured paintings of British royals and Jackie Kennedy Onassis shown alongside entertainment news clippings, it mainly presents González within a tradition of political art. Read more [here](https://ocula.com/magazine/features/rage-and-strength-beatriz-gonzlez-at-kw-insti/)...

  **Xi Bei of Times Art Center Berlin in Conversation**
  Times Art Center Berlin is a non-profit art institution located in the Potsdamer Strasse Art District of Berlin. It was founded in July 2018 by the Guangdong Times Museum, a non-profit private art museum in the Pearl River Delta (PRD) region of China, making this the first parallel institution founded overseas by an Asia-based art museum. Its inaugural exhibition, *The D-Tale, Video Art from the Pearl River Delta*, curated by Hou Hanru and Xi Bei, opened on 30 November 2018, and runs to 13 April 2019. The exhibition includes 56 artists and nearly 90 artworks that have been organised into three consecutive episodes: "Urban Explosion" (1 December 2018–12 January 2019), "Towards Autonomy" (18 January 2019–23 February 2019), and "The Politics of the Self" (1 March 2019–13 April 2019). Read more [here](https://ocula.com/magazine/conversations/xi-bei/)...

role:
  I started writing for Ocula in 2019. Due to a busy schedule, I couldn't write more for them, but would enjoy to do so in the future. All three contributions were edited by Stephanie Bailey and Tessa Moldan. 


title: The Endotic Reader No.1
slug: the-endotic-reader-no-1
StartDate: 2019-06-01
EndDate: 2019-06-21
Relationship: Text commissioned by
body:
  ![_MG_7608.jpg](/uploads/MG_7608_a4776abeab.jpg)
  *Reciting Nebenjob for the event "Everyday, Everyday." Photo by Lorenzo Sandoval.* 


  [The Institute for Endotic Research (TIER)](http://theinstituteforendoticresearch.org) began as a series of informal transdisciplinary gatherings hosted by artist and curator Lorenzo Sandoval. In 2018, he opened TIER.space together with Benjamin Busch. The institute is dedicated to the *endotic,* a word that they adopted from French writer George Perec. TIER defines the endotic as ["the antonym of the exotic"](http://theinstituteforendoticresearch.org/wp/about/). It comprises the vast territory of the everyday, banal, and familiar. To celebrate the endotic is to find fascination and stimulation in the routines and overlooked details of our lives, rather than looking to the unknown and the strange for titillation.

  Since arriving to Berlin, I have had a side job. Although I have often done freelance editing and translating, I always had a stable day job. The work wasn't always easy and it took up a big chunk of my time, but I appreciated the opportunity to turn off my analytical brain and exist on another register. In my contribution to The Endotic Reader No.1, I wanted to express both the boredom of working in retail and to celebrate this boredom—stretching it into a place for creativity outside of dominant systems of production (including cultural production.) I recited "Nebenjob" at the ["Everyday Everyday" event in Venice](http://theinstituteforendoticresearch.org/wp/may-9-venice-everyday-everyday-organized-by-arts-of-the-working-class-the-institute-for-endotic-research-and-broken-dimanche-press/), organized by Arts of the Working Class, TIER, and Broken Dimanche Press, and at the book's launch within the [2019 Project Space Festival in Berlin](https://2019.projectspacefestival-berlin.com/en/tier/).   

  ![10-11-TIER-clarken-web.jpg](/uploads/10_11_TIER_clarken_web_565a472da9.jpg)
  *Reciting Nebenjob for the launch of The Endotic Reader No.1 in Berlin. Photo by Billie Sara Clarken.*

  *The Endotic Reader No.1* can be found [here](http://theinstituteforendoticresearch.org/wp/wp-content/uploads/2019/07/The_Endotic_Reader_N_1.pdf) as a pdf.  

  Editors: Benjamin Busch and Lorenzo Sandoval 

  Contributors: Linda Zhang, Nelly Y. Pinkrah, Vanessa Gravenor, Bonaventure Soh Bejeng Ndikung, Repec Segroeg, Lorenzo Sandoval, Biko Mandela Gray, John Holten, Louis Henderson, Pia Chakraverti-Wuerthwein, Benjamin Busch, and Ayami Awazuhara


title: Building Solidarity in Our Bodies and Our Institutions: The Finissage as Discursive Platform
slug: building-solidarity-in-our-bodies-and-our-institutions-the-finissage-as-discursive-platform
StartDate: 2020-01-24
EndDate: 2020-01-25
Relationship: Comissioned by
body:
  ![Screen Shot 2020-12-13 at 2.24.55 AM.png](/uploads/Screen_Shot_2020_12_13_at_2_24_55_AM_f9bf730bd6.png)
  *collective conscience (2015–ongoing). Activated in the context of “In Search of Maintained Solidarity: A Frame for the No Longer Visible,” Kunstverein in Hamburg, 2020. Photo: Fred Dott.*

  Entering the vast hall that forms the first-floor exhibition space of the Kunstverein in Hamburg, one was immediately confronted by Oscar Murrillo’s installation “The Institute of Reconciliation” (2014–ongoing). Massive dark waterfalls extending downwards from the ceiling and black pools huddled on the floor, the fabrics had a physical and olfactory presence of pigment and fire. Murillo’s flight# series—drawings created in the liminal airspace between grounded locations—hung delicately from thin wires while his large-scale “manifestation” paintings and carved windows seemed to watch over visitors. In the center of the room stood collective conscience (2015–ongoing), an installation comprising an agora of wooden bleachers as well as two sitting areas with lawn chairs and stuffed-doll effigies observing Murillo’s other artworks. The effigies are inspired by a particular ritual that Murillo is familiar with from growing up in Colombia. In this ritual, effigies are burned as a way to release the energy of the last year as one moves into the next. However, Murillo has sculpted them in diverse uniforms and with distinct personalities. They thus symbolize the working body in a global context, and stand in for the invisible laborer who is otherwise overlooked or erased in institutional settings, but without whom they would not exist.

  Being in such close proximity to individual artworks, which were also in conversation with one another, gave one the sense of being within the artworks themselves, rather than within an exhibition. This feeling was compounded by the fact that movement was central to the program—with different contributions taking place in different corners of the exhibition hall.

  The decision to activate various parts of the space came from the desire, as Antonia Alampi told me, to give “the audience an active role (of) moving together with the contributors,” and to allow different presentations/performances to establish different levels of proximity and intimacy between audience members themselves and in relation to the contributors. It is also a decision that emerges from the acknowledgement that very few people can stay for a seven-hour program, whether due to parental duties, personal stamina, or overall interests, and these shifts within the space allowed members of the audience to come and go without interrupting the proceedings. In addition to thinking about our bodies in terms of movement and freedom to come and go, complimentary food and drink was provided as a gesture of care and hospitality to encourage audience members to stay longer and to draw a broader public who would not have come had it been a dry, academic setting. The food was all prepared by long-term staff at the Kunstverein, including dishes cooked by director Bettina Steinbrügge herself, a particularly relevant gesture vis-á-vis the subject of the program.

  Read more [here](https://conversations.e-flux.com/t/building-solidarity-in-our-bodies-and-our-institutions-the-finissage-as-discursive-platform/9659)...
   

role:
  I was invited to document the two day program, which Antonia Alampi curated in response to Oscar Murillo’s exhibition *Horizontal Darkness in Search of Solidarity*. It was an intense and ultimately rewarding experience, including many discussions with Antonia, Murillo, and other contributors. The essay was published on the Frontpage of E-Flux Conversations. 

  The question of maintained solidarity and the term translocal are both central to the publication I've been working on with the [CuratorLab 2019/2020](/projects/curator-lab-2019-2020) group.


title: Critical Conditions: Fields of action in the environmental crisis
slug: critical-conditions
StartDate: 2021-08-20
EndDate: 2021-08-20
Relationship: Film series at
body:
  ![DM_CA_GRP_0846_corr.jpg](/uploads/DM_CA_GRP_0846_corr_67e59c9e40.jpg)
  *Factory workers with the components they produce, in MAQUILÁPOLIS. Photo credit: David Maung.*

  The causes of the man-made environmental crisis and the social disruptions it triggers are closely linked to questions of global justice. Despite contributing comparatively little to greenhouse gas emissions and the production of waste, the countries of the Global South are generally hit first by the repercussions. Yet, those responsible are predominantly global corporations, who are able to continuously cause tremendous harm within the framework of neoliberal policies. This collectively-curated program brings together diverse perspectives from within the environmental crisis, examining the socioeconomic shifts and continuations of power relations between the Global North and South. The film series draws attention to the neocolonial structures embedded in the climate crisis, the global consumption of resources, and the role of extractive neoliberal capitalism.

  Together with frequent collaborator Eirini Fountedaki, I will be presenting *Maquilápolis* (d. Vicky Funari and Sergio de la Torre, 2006) and *Wild Relatives* (d. Jumana Manna, 2018) at Sinema Transtopia in Berlin. Due to Covid19, it is unclear when the event will take place. However, we plan to have both Vicky Funari and Lourdes Luján (co-founder of the Chilpancingo Collective for Environmental Justice) present (via Zoom) for the *Maquilápolis* screening and Jumana Manna in person for the *Wild Relatives* screening. 

  *Maquilápolis* follows the story of women factory workers on the Mexican border, fighting against environmental degradation and the exploitation of their labour at the hands of U.S. and multinational companies. Carmen Durán and Lourdes Luján chronicle their struggles in video diaries, documenting their work as *promotoras*: community advocates for social justice. The process behind the film is especially valuable, as it actively involved the *promotoras* in planning, filming, and distribution, as well as the fact that it directly led to the cleanup of an abandoned factory in Chilpancingo. More info about the film [here](http://www.maquilapolis.com). 

  The starting point of *Wild Relatives* is an event that sparked worldwide media interest: in 2012 an international agricultural research center was forced to relocate from Aleppo to Lebanon due to the Syrian Revolution turned war, and began a laborious process of replanting their seed collection from the Global Seed Svalbard back-ups. Following the path of the seeds from the Arctic to Lebanon, a series of encounters unfold a matrix of human and non-human lives caught between these two distant spots of the earth. More info about the film [here](https://www.jumanamanna.com/Wild-Relatives). 

  The Critical Conditions series is curated by: Malve Lippmann, Pia Chakraverti-Wuerthwein & Eirini Fountedaki, Rosalia Namsai Engchuan, and Sarnt Utamachote. More information about the series and about Sinema Transtopia [here](https://bi-bak.de/en/bi-bakino/critical-conditions-at).

role:
  Eirini and I were invited by Can and Malve in recognition of the great work we do as a curatorial duo. Previously, we had invited them to contribute to the [Residing in the Borderlands](/projects/residing-in-the-borderlands) film series. For Critical Conditions, we were invited to curate and facilitate two evenings as well, which took place in July 2021. 


title: How now to gather
slug: how-now-to-gather-berlin-biennial-11-curatorial-workshop
StartDate: 2020-10-01
EndDate: 2020-10-31
Relationship: Curatorial Workshop
body:
  In recognition of our work as a curatorial duo, Eirini Fountedaki and I were selected to participate in the Berlin Biennial 11 curatorial workshop *how now to gather*, which brought together fourteen Berlin-based, early-career curators, educators, and other practitioners. The workshop group resulted from an open call and consisted of eight gatherings. We are all first-generation or second-generation newcomers to Berlin with varying ties to the city and to Germany, itself. 

  While the initial aim of the workshop was to form a working group and develop protocols for new forms of gathering in times of Covid and rampant right-wing extremism, it failed in a way and became something else. Partially due to moving the sessions online and partially due to the inherent heterogeneity of the group, fissures appeared and needed to be addressed. It was a reminder that diversity also means difference and can lead to conflict. Through the course of the workshop, we were pushed to more carefully define our positions and to consider our own blind spots as well as to acknowledge fundamental differences in our politics and practices. Although ultimately very valuable, it was a difficult process.  

  Participants: Asya Yaghmurian, Ayasha Guerin, Bengisu Çağlayan, Jumoke Adeyanju, Luise Leon Elbern, Maithu Bùi, Moshtari Hilal, Nuno de Brito Rocha, Pia Chakraverti-Würthwein + Eirini Fountedaki, Raphael Daibert, Sarnt Utamachote, Sophya Kallista Frohberg, and Viviane Tabach.

  Faciliatators: Ana Teixeira Pinto, Duygu Örs, FCNN – Feminist Collective With No Name (Dina El Kaisy Friemuth/Anita Beikpour) with Neda Sanai, Övül Durmusoglu, siddhartha lokanandi, Sinthujan Varatharajah, and the curatorial team of the 11th Berlin Biennale: Agustín Pérez Rubio, Lisette Lagnado, María Berríos, Renata Cervetto. 

  Directed by Pip Day. The workshop Project Manager was Sara Smet. Mayra Rodríguez Castro documented the experience.

role:
  Unrelated to my involvement in the workshop, I was also commissioned to write wall text and a biography for the artist Małgorzata Mirga-Tas. The short text is published in the 11th Berlin Biennial catalogue and [online](https://11.berlinbiennale.de/participants/malgorzata-mirga-tas). 


title: HDWBN index
slug: hdwbn-index
summary:
  Below you find a list of the invitees and films shown. Several screenings also included a Q&A with the director(s) or a special guest. 

  [01](https://savvy-contemporary.com/en/events/2016/theyve-never-had-it-so-good/)  **Dani Gal**: *Occupied Palestine* (d. David Koff, 1981)  & *Mau Mau* (d. David Koff, 1973) 

  [02](https://savvy-contemporary.com/en/events/2016/wake-up-wake-up-up-you-wake/)  **Candice Breitz**: *Do the Right Thing* (d. Spike Lee, 1989) 

  [03](https://savvy-contemporary.com/en/events/2016/the-hero-cant-dead-till-the-last-reel/)  **Maria Thereza Alves**: *The Harder They Come* (d. Perry Henzell, 1972) 

  [04](https://savvy-contemporary.com/en/events/2016/quelques-evenements-sans-significations/)  **Mohamed Fariji**: *Quelques Évènements Sans Significations* (d. Mosta Derkaoui, 1974)

  [05](https://savvy-contemporary.com/en/events/2016/passolini-meets-ossama-mohammed/)  **Khaled Kurbeh**: *Le Mura di Sana'a* (d. Pier Paolo Pasolini, 1972)  & *Khutwa Khutwa* (d. Ossama Mohammed, 1978) 

  [06](https://savvy-contemporary.com/en/events/2016/zur-situation-der-frau/)  **Stefanie Schulte Strathaus**: *The Woman's Film* (d. Judy Smith/San Francisco Newsreel) 

  [07](https://savvy-contemporary.com/en/events/2016/walter-defends-sarajevo/)  **Braco Dimitrijevic**: *Valter brani Sarajevo* (d. Hajrudin Šiba Krvavac, 1972) 

  [08](https://savvy-contemporary.com/en/events/2016/mercedes/)  **Malak Helmy**: *Mercedes* (d. Yousry Nasrallah, 1993) 

  [09](https://savvy-contemporary.com/en/events/2016/a-collective-memory/)  **Azin Feizabadi**: *An shab ke barun amad* (d. Kamran Shirdel, 1967) & *Ghazieh shekl-e aval, Ghazieh shekl-e davom* (d. Abbas Kiarostami, 1979) 

  [10](https://savvy-contemporary.com/en/events/2016/andrei-rublev/)  **Nadia Kaabi-Linke**: *Andrei Rublev* (d. Andrei Tarkovsky, 1966)  

  [11](https://savvy-contemporary.com/en/events/2016/the-mecca-clock-tower-leaves-fall-in-all-seasons/)  **Köken Ergun**: *Mecca Clock Tower* (d. Taner Karaarslan/Bensalem Bouabdallah, 2013) & *Leaves Fall in All Seasons* (Ahmed Mater, 2013) 

  [12](https://savvy-contemporary.com/en/events/2016/touki-bouki/)  **Antje Majewski**: *Touki Bouki* (d. Djibril Diop Mambéty, 1973)  

  [13](https://savvy-contemporary.com/en/events/2017/vittorio-gallese-meets-menschmaschinen/)  **Vittorio Gallese**: *Ex Machina* (d. Alex Garland, 2014) 
          
  [14](https://savvy-contemporary.com/en/events/2017/punishment-park/)  **Jasmina Metwaly**: *Punishment Park* (d. Peter Watkins, 1971)  

  [15](https://savvy-contemporary.com/en/events/2017/with-assaf-gruber/)  **Assaf Gruber**: *Queimada* (d. Gilo Pontecorvo, 1969)
    
  [16](https://savvy-contemporary.com/en/events/2017/of-dogs-and-sheeps/)  **Julieta Aranda**: *Killer of Sheep* (d. Charles Burnett, 1978) & *When the Dogs Talked* (d. Karrabing Film Collective, 2014)
   
  [17](https://savvy-contemporary.com/en/events/2017/no-burqas-behind-bars/)  **Juan-Pedro Fabra** -> *No Burqas Behind Bars* (d. Nima Sarvestani & Maryam Ebrahimi, 2013) 

  [18](https://savvy-contemporary.com/en/events/2017/comrade-lovers-fuck-freely/)  **Boris Buden**: *W.R.: Misterije organizma* (Dušan Makavejev, 1971)  
   
  [19](https://savvy-contemporary.com/en/events/2017/eyes-of-stone/)  **Chus Martínez**: *Eyes of Stone* (d. Nilita Vachani, 1990)  
   
  [20](https://savvy-contemporary.com/en/events/2017/parallelstrasse/)  **Sebastian Lütgert**: *Die Parllelstrasse* (d. Ferdinand Khittl, 1990)   
   
  [21](https://savvy-contemporary.com/en/events/2017/sewol/)  **Jin-Heon Jung**: *Sewol* (d. Ok-Hee Jeong, 2015)  
   
  [22](https://savvy-contemporary.com/en/events/2017/before-the-rain/)  **Nikola Madzirov**: *Pred dozhdot* (d. Milcho Manchevski, 1994)  
   
  [23](https://savvy-contemporary.com/en/events/2017/spots/)  **Tribunal NSU-Komplex Auflösen**: *SPOTS* (Various, 2017) 

  [24](https://savvy-contemporary.com/en/events/2017/yesilcam/)  **Zeynep Tuna & Nino Klingler**: *Savulun Battal Gazi Geliyor* (d. Natuk Baytan, 1973)
     
  [25](https://savvy-contemporary.com/en/events/2017/voice-of-things/)  **Haris Epaminonda & Daniel Gustav Cramer**: *Méditeranée* (d. Jean-Daniel Pollet & Volker Schlöndorff, 1963) & *Césarée* (d. Marguerite Duras, 1978) & *Agelastos Petra* [Mourning Rock] (d. Filippos Koutsaftis, 2000)

  [26](https://savvy-contemporary.com/en/events/2017/rocio/)  **Libia Castro & Ólafur Olaffson**: *Rocío* (d. Fernando Ruiz Vergara, 1980)
          
  [27](https://savvy-contemporary.com/en/events/2017/silvered-water-santiago/)  **Diana el Jeiroudi**: *Ma'a al-Fidda* [Silvered Water, Syria Self-Portrait] (d. Ossama Mohammed, Wiam Bedirxan, 2014)  
    
  [28](https://savvy-contemporary.com/en/events/2017/compliance/)  **Winta Yohannes**: *Compliance* (d. Craig Zobel, 2012)

  [29](https://savvy-contemporary.com/en/events/2017/n-29-fiftyminutes/)  **Sinziana Paltineanu**: *50 Minutes* (Moyra Davey, 2006) 

  [30](https://savvy-contemporary.com/en/events/2017/n-30-loveinindiaetc/)  **Abhishek Nilamber**: *Televisnu* (Prithi Gowda, 2010) & *Love in India* (Qaushiq Mukherjee, 2009)

  [31](https://savvy-contemporary.com/en/events/2017/n-31-traceevidence/)  **Lawrence Abu Hamdan**: *Trace Evidence* (Susan Schuppli, 2016)

  [32](https://savvy-contemporary.com/en/events/2017/n-32-and-your-eyes-oh-lord/)  **Mo Salemy**: *Khaneh siah ast* (Forough Farrokhzad, 1963) & *Gaav* (d. Dariush Mehrjui, 1969)

  [33](https://savvy-contemporary.com/en/events/2017/n-33-40qm-deutschland/)  **Nasan Tur**: *40 Quadratmeter Deutschland* (d. Tevfik Baser, 1986) 

  [34](https://savvy-contemporary.com/en/events/2017/oil-files/)  **Ana Alenso**: *Pozo Muerto* (Carlos Rebolledo, 1968) & *Black Gold Fire* (Rolando Peña, 2015) & *Tropical curse* (Ana Alenso, 2015) & *Prototipo de vivienda en país petrolero* (Alexander Apóstol, 2004) & *Panorama Miraflores* (Iván Candeo, 2014) & *Los perros siguen ladrando* (Érika Ordosgoitti, 2016) & *Reconversión* (Marco Montiel-Soto, 2008) 

  [35](https://savvy-contemporary.com/en/events/2017/bicycles-of-nhanderu-and-the-spirit-of-the-navajo/)  **Filipa César**: *Bicicletas de Nhanderú* (d. Ariel Duarte Ortega & Patrícia Ferreira, 2011) & *The Spirit of the Navajo* (Maxine & Mary J. Tosie, 1966)

  [36](https://savvy-contemporary.com/en/events/2017/how-bodies-appear-experimental-and-documentary-film-from-the-late-1980s-gdr/)  **Elske Rosenfeld**: *Material* (d. Thomas Heise, 2009) & *Body Building* (Wolfgang Scholz, 1988) & *Veitstanz/Feixtanz* (Gabriele Stötzer, 1988) 

  [37](https://savvy-contemporary.com/en/events/2017/on-storms/)  **Lynhan Balatbat-Helbok**: *Mga anak ng unos* (d. Lav Díaz, 2014) 

  [38](https://savvy-contemporary.com/en/events/2017/lying-truths/)  **Ulf Aminde**: *The Truth Lies in Rostock* (d. Mark Saunders and S. Cleary, 1993) 

  [39](https://savvy-contemporary.com/en/events/2017/moscows-cine-internationalism-in-berlin/)  **Doreen Mende**: *Die Taube Auf Dem Dach* (d. Iris Gusner, 1973/1990) & *City, Träume* and *Albatross* (Jürgen Steinheisser, 1979) 

  [40](https://savvy-contemporary.com/en/events/2017/cemetery-of-splendor-with-natascha-sadr-haghighian/)  **Natascha Sadr Haghighian**: *Rak Ti Khon Kaen* (d. Apichatpong Weeasethakul, 2015)

  [41](https://savvy-contemporary.com/en/events/2017/aboriginality-art-and-anarchy/)  **Rachel O'Reilly & Roxley Foley**: *Ningla A-Na* (d. Alessandro Cavadini, 1972) & *Our Generation* (d. Sinem Saban & Damien Curtis, 2010) 

  [42](https://savvy-contemporary.com/en/events/2017/on-the-how-of-why-the-lion-roars-with-anri-sala/)  **Anri Sala**: *The Swimmer* (d. Frank Perry & Sydney Pollack, 1968) & *Blisfully Yours* (d. Apichatpong Weerasethakul, 2002) 

  [43](https://savvy-contemporary.com/en/events/2017/the-city-as-flesh/)  **Natasha Ginwala**: *A Fire in My Belly, A Work in Progress* (David Wojnarowicz, 1986-87) & *My Rio, My Tokio* (Ruchir Joshi, 2010) 

  [44](https://savvy-contemporary.com/en/events/2017/funeral-parade-of-roses-with-dusty-whistles/)  **Dusty Whistles**: *Funeral Parade of Roses* (d. Toshio Matsumoto, 1969) 

  [45](https://savvy-contemporary.com/en/events/2018/in-this-way/)  **Autonomous Space Agency**: *Sîxûr*, *Rê*, *Malîno* and *Roj* (Rojda Tugrul, 2014-15) & *Women Jumping Rope* (Sener Özmen, 2016) & *Evin's Story* and *Meanwhile* (Savas Boyraz, 2014) & *Extra Space Craft* (Hito Steyerl, 2016)

  [46](https://savvy-contemporary.com/en/events/2018/sambizanga/)  **Barbara Gronau and Maja Figge**: *Sambizanga* (d. Sarah Maldoror, 1972) 

  [47](https://savvy-contemporary.com/en/events/2018/al-massir-destiny/)  **Mahmoud Hassino**: *Al-Massir* (d. Youssef Chahine, 1997) 

  [48](https://savvy-contemporary.com/en/events/2018/the-neighbor-before-the-house/)  **Raphaël Grisey**: *Al Jaar Qabla Al Daar* (CAMP, 2009) 

  [49](https://savvy-contemporary.com/en/events/2018/al-kabus/)  **Franziska Pierwoss & Siska**: *Al Kabus* (d. Ahmed Yachfine, 1984) 

  [50](https://savvy-contemporary.com/en/events/2018/goodbye-gauley-mountain/)  **Angela Anderson**: *Goodbye Gauley Mountain: An Ecosexual Love Story* (d. Beth Stephen & Annie Sprinkle, 2013) 

  [51](https://savvy-contemporary.com/en/events/2018/measure-for-measure/)  **Ahmet Ögüt**: *Bedtime Stories: Railway, Ships, and Bridges* (Harun Farocki, 1976-77) & *Brave Palestinian girl Ahed Tamimi vs Soldier: Where is my brother?* (Newsreel footage, 2012) & *Two Solutions for One Problem* (Abbas Kiarostami, 1975), *Koropa* (Laura Henno, 2016), *Girl Chess Prodigy: Juta Hempel* (Newsreel footage, 1967) & *Blame it on Fidel!* (Julie Gavras, 2006) & *Duvar* (Yilmaz Güney, 1983) 

  [52](https://savvy-contemporary.com/en/events/2018/gummo/)  **Nina Wetzel**: *Gummo* (Harmony Korine, 1997)                 


title: Human Brains
slug: human-brains
StartDate: 2021-04-01
EndDate: 2022-05-31
Relationship: Assistant Curator of exhibition at
body:
  ![HumanBrains-a.jpg](/uploads/Human_Brains_a_42f356b2f6.jpg)

  “Human Brains” is a multidisciplinary project dedicated to brain studies and organized by Fondazione Prada. A program of exhibitions, debates and publishing activities will take place from November 2020 to November 2022.

  The “Human Brains” initiative is centered on the brain, a unique organ for the complexity of its functions, which are fundamental to  human beings as a species. The scope of the investigation will survey different fields: from neurobiology to philosophy, from psychology to neurochemistry, from linguistics to artificial intelligence and robots. The brain will be analyzed from an anatomical-functional point of view, while also focusing on the brain aging processes and on neurodegenerative diseases. The project is the result of a complex research conducted in collaboration with a scientific board chaired by Giancarlo Comi and composed of researchers, physicians, psychologists, linguists, philosophers, popularizers and curators, such as Jubin Abutalebi, Massimo Cacciari, Viviana Kasam, Udo Kittelmann, Letizia Leocani, Andrea Moro, and Daniela Perani.

  The first phase of “Human Brains” is represented by the online conference “Culture and Consciousness” that took place online from 9 to 13 November 2020. The event is structured in five daily discussions focused on the study of consciousness in neurosciences. Each panel included a debate between two scholars coordinated by one or more moderators. 

  The second phase will be an exhibition at the Fondazione Prada's Venice location, coinciding with the 2022 Venice Biennial. 

  More information about the project can be found [here](https://humanbrains.fondazioneprada.org/en/). 

role:
  As Assistant Curator to the exhibition portion of Human Brains, my role is to work closely with Udo Kittelmann including advising on potential collaborators, conducting research, and providing feedback on the exhibition's development. 


title: Sounding Womanhood
slug: sounding-womanhood
StartDate: 2021-10-01
EndDate: 2022-02-05
Relationship: Co-curator of film series at
body:
  ![unnamed.png](/uploads/unnamed_6fdf4e8672.png)

  Sounding Womanhood explores the layers of selves that women must wear, adding and shedding them in a daily “dance of the seven veils”. This selection of films subverts archetypal femininity and established gender roles, favoring a broader performance of womanhood. Through a transnational feminist lens, the films bring to the fore personal stories of women on the dance floor, in transition, at the workplace, on the streets, and in their homes. Sounding Womanhood offers us the chance to re-think the uses of cinematic elements as narrative tools. From soundtracks that make music an additional protagonist to films that emphasize on screen audio, sound is a crucial thread for reversing cinematic stereotypes on womanhood.

  Funded by Berliner Senatsverwaltung für Kultur und Europa

role:
  Co-curated the nine-session series with Eirini Fountedaki, including working together on the concept, film traffic, and selection of guests. Each session features a different film or pairing of films and a different guest, who will join us for a Q&A after the film. More info [here](https://bi-bak.de/en/bi-bakino/sounding-womanhood). 


