The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. As part of “The White West IV: Whose Universal?,” the podcast invites participants of the conferences and other experts to discuss the overlaps between metaphysical predicates and colonial formations.

A podcast by Kader Attia, Ana Teixeira Pinto and Anselm Franke with contributions by Denise Ferreira da Silva, Barnor Hesse, Donna V. Jones, David C. Lloyd, Olivier Marboeuf, Dirk Moses, Nikhil Pal Singh, Françoise Vergès and others.

More information:
www.hkw.de/whoseuniversal
www.hkw.de/en/thewhitewest

The White West: Whose Universal?

Analyses and reflections on music, questions of social justice, solidarity and participation in the club scene: The podcast takes up the topics of the On Music series and enlarges upon them in conversations with musicians, DJs, label operators, authors, activists.

More information:
www.hkw.de/en/onmusic

On Music

„Ich gebrauche jetzt die besseren Wörter nicht mehr.“ So beginnt Ilse Aichinger ihren kurzen Essay Schlechte Wörter und die gleichnamige Textsammlung, in der sie ihre widerständige Poetik entwickelt. Eine Verweigerung gegen das Gebotene, gegen falsche Zusammenhänge und Gewissheiten. Können wir verlernen, die Gewalt in der Sprache zu reproduzieren? Sind die schwächeren Ausdrücke die Rettung?

Ausgehend von Aichingers Text, schafft die Audioserie Schlechte Wörter einen Ort für ein anderes Sprechen über Sprache und Literatur, für die Annäherung an ein neues Sprachgefühl. Aus Gesprächen, Lesungen, Sprachnachrichten, Field Recordings und Musik entsteht mit wechselnden Gästen ein begehbarer, vielstimmiger Raum. Die Verabredung lautet: Wir gehen von einem Text aus, damit ein anderer Text beginnen kann.

Eine Audioserie von Fabian Saul, in Zusammenarbeit mit Mathias Zeiske. Mit Beiträgen von Sophia Eisenhut, Merve Emre, Hanne Lippard, Tanasgol Sabbagh, Fabian Saul, Karosh Taha, Senthuran Varatharajah und Uljana Wolf

www.hkw.de/schlechtewoerter

+++

“I now no longer use the better words.” This is the beginning of Ilse Aichinger’s brief essay Bad Words and the anthology of the same name in which she develops her resistant poetics. A refusal of the imperative, of false certainties and the unassailable. Can we unlearn the reproduction of violence in language? Are the weaker expressions our salvation?

Based on Aichinger’s work, the audio series Bad Words creates a place for a different way of speaking about language and literature, for approaching a new sense of language. From conversations, readings, voice messages, field recordings and music, a polyphonic space is created with changing guests. The idea is: We start from one text so that another text can begin.

An audio series by Fabian Saul, in cooperation with Mathias Zeiske. With contributions by Sophia Eisenhut, Merve Emre, Hanne Lippard, Tanasgol Sabbagh, Fabian Saul, Karosh Taha, Senthuran Varatharajah and Uljana Wolf

www.hkw.de/badwords

Schlechte Wörter / Bad Words

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image”, curated by Erika Balsom and Hila Peleg. The exhibition is dedicated to the histories of feminist nonfiction film and video, concentrating on the period of the 1970s to 1990s, and was created through many encounters between film scholars, researchers, filmmakers, and artists from around the world.

With contributions by Isabel Seguí with Lorena Best, Mauricio Godoy, Sara Guerrero & Patricia Oliart; Laura Huertas Millán & Trinh T. Minh-ha; Deepa Dhanraj & Lakshmi Padmanabhan; Marc Siegel with Angelika Levi & Claudia Schillinger.

More about the exhibition:
www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Film

Image: Han Ok-hee, Untitled 77-A (1977), Film-Still, Courtesy of Asia Culture Center (ACC)

No Master Territories

Interplanetary rhythms, extraterrestrial sounds, sonic fiction: In three chapters, Cosmic Awakening explores the connections between science and fiction conveyed by the imaginative power of music. Is it true that no one can hear you scream in space? How loud is the sun? And what does it sound like when robots sing along to Sun Ra’s Space Jazz? Led by Sasha Perera and Sarj Lynch, an android crew searches for answers to these questions between Martian chords and ultrasonic experience.

Speakers: Sarj Lynch, Sasha Perera. Editing and production: Julia Vorkefeld. Recordings: Matthias Hartenberger. Concept and script: Arno Raffeiner.

More about Cosmic Awakening:
www.hkw.de/en/CosmicAwakening

Cosmic Awakening

Around 1989, what were the promises of techno and its fictions? How are they significant today? And to whom?

Episode 2 focuses on past, present and future of the Detroit-Berlin axis. By means of an interview collage, writer and Make Techno Black Again activist DeForrest Brown, Jr., Lerato Khathi aka Lakuti (founder of Uzuri Recordings and the Bring Down the Walls initiative), Boris Dolinski (resident DJ at Berghain) and Mark Ernestus (musician and founder of the Hard Wax record store) explore how the rapid growth of club culture in Germany after 1989 relates to techno’s origins in the Black neighbourhoods of Detroit.

Narration by Christine Kakaire, directed and produced by Julia Vorkefeld, script and concept by Arno Raffeiner

Image: © Abu Qadim Haqq (Detail)
Music credits: Techno is a Liberation Technology by DeForrest Brown Jr/Speaker Music ft. AceMo, Katak by Kode9, The Truth is Elsewhere by Nkisi, Victim by Kode9, Rhythmatic Music For Speakers (Mk.II) by DeForrest Brown Jr/Speaker Music & Rona City Blues by Kode9.

Techno at the End of the Future, Episode 2: Berlin | On Music

„Ich gebrauche jetzt die besseren Wörter nicht mehr.“ So beginnt Ilse Aichinger ihren kurzen Essay Schlechte Wörter und die gleichnamige Textsammlung, in der sie ihre widerständige Poetik entwickelt. Eine Verweigerung gegen das Gebotene, gegen falsche Zusammenhänge und Gewissheiten. Können wir verlernen, die Gewalt in der Sprache zu reproduzieren? Sind die schwächeren Ausdrücke die Rettung?
 
Ausgehend von Aichingers Text, schafft die Audioserie Schlechte Wörter einen Ort für ein anderes Sprechen über Sprache und Literatur, für die Annäherung an ein neues Sprachgefühl. Aus Gesprächen, Lesungen, Sprachnachrichten, Field Recordings und Musik entsteht mit wechselnden Gästen ein begehbarer, vielstimmiger Raum. Die Verabredung lautet: Wir gehen von einem Text aus, damit ein anderer Text beginnen kann.
 
Eine Audioserie von Fabian Saul, in Zusammenarbeit mit Mathias Zeiske. Mit Beiträgen von Merve Emre, Hanne Lippard, Tanasgol Sabbagh, Fabian Saul, Karosh Taha, Senthuran Varatharajah und Uljana Wolf
 
www.hkw.de/schlechtewoerter
 
+++
 
“I now no longer use the better words.” This is the beginning of Ilse Aichinger’s brief essay Bad Words and the anthology of the same name in which she develops her resistant poetics. A refusal of the imperative, of false certainties and the unassailable. Can we unlearn the reproduction of violence in language? Are the weaker expressions our salvation?

Based on Aichinger’s work, the audio series Bad Words creates a place for a different way of speaking about language and literature, for approaching a new sense of language. From conversations, readings, voice messages, field recordings and music, a polyphonic space is created with changing guests. The idea is: We start from one text so that another text can begin.

An audio series by Fabian Saul, in cooperation with Mathias Zeiske. With contributions by Merve Emre, Hanne Lippard, Tanasgol Sabbagh, Fabian Saul, Karosh Taha, Senthuran Varatharajah and Uljana Wolf

www.hkw.de/badwords

Schlechte Wörter / Bad Words #1

Schlechte Wörter / Bad Words #2

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. As part of The White West IV: Whose Universal?, the podcast invites participants of the conferences and other experts to discuss the overlaps between metaphysical predicates and colonial formations.

Max Jorge Hinderer Cruz in conversation with Ana Teixeira Pinto and Anselm Franke

More information:
www.hkw.de/whoseuniversal
www.hkw.de/en/thewhitewest

Episode 12: Max Jorge Hinderer Cruz | The White West: Whose Universal?

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. As part of The White West IV: Whose Universal?, the podcast invites participants of the conferences and other experts to discuss the overlaps between metaphysical predicates and colonial formations.

Ramon Amaro in conversation with Ana Teixeira Pinto and Anselm Franke

More information:
www.hkw.de/whoseuniversal
www.hkw.de/en/thewhitewest

Episode 13: Ramon Amaro | The White West: Whose Universal?

„Ich gebrauche jetzt die besseren Wörter nicht mehr.“ So beginnt Ilse Aichinger ihren kurzen Essay Schlechte Wörter und die gleichnamige Textsammlung, in der sie ihre widerständige Poetik entwickelt. Eine Verweigerung gegen das Gebotene, gegen falsche Zusammenhänge und Gewissheiten. Können wir verlernen, die Gewalt in der Sprache zu reproduzieren? Sind die schwächeren Ausdrücke die Rettung?

Ausgehend von Aichingers Text, schafft die Audioserie Schlechte Wörter einen Ort für ein anderes Sprechen über Sprache und Literatur, für die Annäherung an ein neues Sprachgefühl. Aus Gesprächen, Lesungen, Sprachnachrichten, Field Recordings und Musik entsteht mit wechselnden Gästen ein begehbarer, vielstimmiger Raum. Die Verabredung lautet: Wir gehen von einem Text aus, damit ein anderer Text beginnen kann.

Eine Audioserie von Fabian Saul, in Zusammenarbeit mit Mathias Zeiske. Schlechte Wörter #3 mit Beiträgen von Don Mee Choi, Sophia Eisenhut, Tanasgol Sabbagh, Fabian Saul, Karosh Taha, Senthuran Varatharajah und Uljana Wolf

www.hkw.de/schlechtewoerter

+++

“I now no longer use the better words.” This is the beginning of Ilse Aichinger’s brief essay Bad Words and the anthology of the same name in which she develops her resistant poetics. A refusal of the imperative, of false certainties and the unassailable. Can we unlearn the reproduction of violence in language? Are the weaker expressions our salvation?

Based on Aichinger’s work, the audio series Bad Words creates a place for a different way of speaking about language and literature, for approaching a new sense of language. From conversations, readings, voice messages, field recordings and music, a polyphonic space is created with changing guests. The idea is: We start from one text so that another text can begin.

An audio series by Fabian Saul, in cooperation with Mathias Zeiske. Bad Words #3 with contributions by Don Mee Choi, Sophia Eisenhut, Merve Emre, Hanne Lippard, Tanasgol Sabbagh, Fabian Saul, Karosh Taha, Senthuran Varatharajah and Uljana Wolf

Schlechte Wörter / Bad Words #3

In the final years of the Soviet Union, how did the subculture win over conceptual and real freedoms? Did a trail lead from occupied houses in Moscow and St. Petersburg to the Afrofuturism of Sun Ra and Missy Elliott? Musicologists Giada Dalla Bontà and Holger Schulze trace the developmental lines of sonic fiction. They follow the mythical language around the term coined by Kodwo Eshun and explore the potential of sounds and their narratives as a liberating force.

Directed and produced by Julia Vorkefeld, commentary by Sarj Lynch, script and concept by Arno Raffeiner

Music credits: Arca “Knot”, Missy Elliott “The Rain (Supa Dupa Fly)”, Moor Mother "Temporal Control Of Light Echoes”, New Composers “Sputnik of Life (Mix 1)”, Bicapo “Untitled”

How To Do Things With Sound | On Music

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. As part of The White West IV: Whose Universal?, the podcast invites participants of the conferences and other experts to discuss the overlaps between metaphysical predicates and colonial formations.

Paola Bacchetta in conversation with Kader Attia

More information:
www.hkw.de/whoseuniversal
www.hkw.de/en/thewhitewest

Episode 14: Paola Bacchetta | The White West: Whose Universal?

Architecture can be described as frozen music. For some musicians, it’s not enough to just thaw it; they want to make conventions flow. Ethnomusicologist Michael E. Veal  finds new opportunities for comprehension in collapse and distortion, which he talks about in the On Music podcast episode on Living Space. Veal approaches the free jazz of John Coltrane and Miles Davis via visual metaphors, showing the way to free musical forms via digital architecture and experimental photography. 

Directed and produced by Julia Vorkefeld, commentary by Sarj Lynch, script and concept by Arno Raffeiner

Songs:
John Coltrane: Number One
George Lewis: Rainbow Family
Miles Davis' Lost Quintet: It's about that time
John Coltrane: Living Space
Iannis Xenakis: Persepolis 9 
Iannis Xenakis: Persepolis 3
Nala Sinephro: Space 3

Living Space | On Music

Music doesn’t only belong to humans. Whales and songbirds also hand down their songs from generation to generation. Musician David Rothenberg improvises with nightingales, biologist Tina Roeske studies their social behavior; both want to understand: Can nightingales and humans communicate with each other via sound? Can they learn from each other in doing so? In “Chirp Along! The Joys of Making Music with Nightingales,” they talk about the nightingale as a symbol, how it compares to techno and about the inter-species joy of music. 

Commentary by Sarj Lynch, directed and produced by Julia Vorkefeld, written and conceived by Arno Raffeiner

Songs:
David Rothenberg: The Boori Sound (feat. Lembe Lokk & Sanna Salmenkallio);
Brood X Band: Arvo’s Brood;
Olivier Messiaen: Quatuor pour la fin du temps: III. Abîme des oiseaux;
Native Instrument: Live @ Mash 17;
David Rothenberg: Addicted to Birds;
David Rothenberg: Sharawaji Blues;

More about the On Music series:
www.hkw.de/en/onmusic

Nightingala | On Music

„Ich bitte euch, heute Nacht nicht zu schlafen.“ Nachdem die erste Staffel von Ilse Aichingers titelgebenden Essay Schlechte Wörter und ihrer widerständigen Poetik ausging, führt Etel Adnans Bei Nacht leben in die Dunkelheit. Zwischen dem revolutionären Potential des Wachbleibens und den umhüllenden Qualitäten der Nacht, verhandelt die zweite Staffel Sprache als Mittel des Schweigens und die Nacht als einen Ort der lebenden Toten. 

Ausgehend von verschiedenen Texten, schafft die Audioserie Schlechte Wörter einen Ort für ein anderes Sprechen über Sprache und Literatur, für die Annäherung an ein neues Sprachgefühl. Aus Gesprächen, Lesungen, Sprachnachrichten, Field Recordings und Musik entsteht ein begehbarer, vielstimmiger Raum mit wechselnden Gästen. Die Verabredung lautet: Wir gehen von einem Text aus, damit ein anderer Text beginnen kann.

Eine Audioserie von Fabian Saul, in Zusammenarbeit mit Mathias Zeiske. Schlechte Wörter #4 mit Beiträgen von Lama El Khatib, Haytham El Wardany, Joshua Groß, Enis Maci, Nalan, Thuy-Han Nguyen-Chi, Tanasgol Sabbagh und Miriam Stoney

www.hkw.de/schlechtewoerter

+++

“I am inviting you to not sleep tonight.” After the first season took Ilse Aichinger’s titular essay Bad Words and its resistant poetics as its point of departure, Etel Adnan’s Night takes us into the darkness. Between the revolutionary potential of staying awake and the shrouding qualities of night, the second season negotiates language as a means of silence and the night as a place of the living dead. 

Based on various works, the audio series Bad Words creates a place for a different way of speaking about language and literature, for approaching a new sense of language. From talks, readings, voice messages, field recordings and music, a walk-in space of multiple voices is created with changing guests. The agreement is: We start from one written work so that another can begin. 

An audio series by Fabian Saul, in cooperation with Mathias Zeiske. Bad Words #4 with contributions by Lama El Khatib, Haytham El Wardany, Joshua Groß, Enis Maci, Nalan, Thuy-Han Nguyen-Chi, Tanasgol Sabbagh and Miriam Stoney

www.hkw.de/badwords

Schlechte Wörter / Bad Words #4

„Ich bitte euch, heute Nacht nicht zu schlafen.“ Nachdem die erste Staffel von Ilse Aichingers titelgebenden Essay Schlechte Wörter und ihrer widerständigen Poetik ausging, führt Etel Adnans Bei Nacht leben in die Dunkelheit. Zwischen dem revolutionären Potential des Wachbleibens und den umhüllenden Qualitäten der Nacht, verhandelt die zweite Staffel Sprache als Mittel des Schweigens und die Nacht als einen Ort der lebenden Toten.

Ausgehend von verschiedenen Texten, schafft die Audioserie Schlechte Wörter einen Ort für ein anderes Sprechen über Sprache und Literatur, für die Annäherung an ein neues Sprachgefühl. Aus Gesprächen, Lesungen, Sprachnachrichten, Field Recordings und Musik entsteht ein begehbarer, vielstimmiger Raum mit wechselnden Gästen. Die Verabredung lautet: Wir gehen von einem Text aus, damit ein anderer Text beginnen kann.

Eine Audioserie von Fabian Saul, in Zusammenarbeit mit Mathias Zeiske. Schlechte Wörter #5 mit Beiträgen von Lama El Khatib, Haytham El Wardany, Joshua Groß, Enis Maci, Nalan, Thuy-Han Nguyen-Chi, Tanasgol Sabbagh und Miriam Stoney

www.hkw.de/schlechtewoerter

+++

“I am inviting you to not sleep tonight.” After the first season took Ilse Aichinger’s titular essay Bad Words and its resistant poetics as its point of departure, Etel Adnan’s Night takes us into the darkness. Between the revolutionary potential of staying awake and the shrouding qualities of night, the second season negotiates language as a means of silence and the night as a place of the living dead.

Based on various works, the audio series Bad Words creates a place for a different way of speaking about language and literature, for approaching a new sense of language. From talks, readings, voice messages, field recordings and music, a walk-in space of multiple voices is created with changing guests. The agreement is: We start from one written work so that another can begin.

An audio series by Fabian Saul, in cooperation with Mathias Zeiske. Bad Words #5 with contributions by Lama El Khatib, Haytham El Wardany, Joshua Groß, Enis Maci, Nalan, Thuy-Han Nguyen-Chi, Tanasgol Sabbagh and Miriam Stoney

www.hkw.de/badwords

Schlechte Wörter / Bad Words #5

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image,” curated by Erika Balsom and Hila Peleg. 

In the 1980s and 1990s in Lima, white middle-class women made nonfiction films and videos with and about marginalized people, many of them Indigenous, who were living in slums around the city. This podcast looks back at this moment, diagnosing the questions of power, representation and positionality raised by this body of work.

Isabel Seguí with Lorena Best, Mauricio Godoy, Sara Guerrero & Patricia Oliart

More about the exhibition:
www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Films

Women’s Nonfiction in Peru | No Master Territories

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. As part of The White West IV: Whose Universal?, the podcast invites participants of the conferences and other experts to discuss the overlaps between metaphysical predicates and colonial formations.

Utsa Patnaik and Prabhat Patnaik in conversation with Ana Teixeira Pinto

More information:
www.hkw.de/whoseuniversal
www.hkw.de/en/thewhitewest

Episode 15: Utsa Patnaik, Prabhat Patnaik | The White West: Whose Universal?

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image,” curated by Erika Balsom and Hila Peleg.

Sexually explicit imagery has long been a feminist battleground. Film scholar Marc Siegel talks with two filmmakers, Angelika Levi and Claudia Schillinger, who made works in West Germany in the late 1980s committed to picturing female pleasure and fantasy.

More about the exhibition:
www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Films

The Pornographic Imaginary | No Master Territories

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image,” curated by Erika Balsom and Hila Peleg.

How can film serve as a catalyst of social change? Film scholar Lakshmi Padmanabhan speaks with Deepa Dhanraj, focusing on Dhanraj’s participation in the Yugantar Collective and her 1991 film Something Like a War, which examines India’s family planning program and calls for reproductive justice.

More about the exhibition:
www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Films

Documentary Film and Feminist Activism in India | No Master Territories

What forms of resistance can cinema offer? What relations exist between documentary film and activism? How does feminist film deal with sexually explicit images? These questions and more are addressed in a podcast series accompanying the exhibition “No Master Territories: Feminist Worldmaking and the Moving Image,” curated by Erika Balsom and Hila Peleg.

In her 1982 film “Reassemblage,” Trinh T. Minh-ha influentially reformulated the terms of the ethnographic encounter: she would not “speak about,” but “speak nearby.” In this conversation with artist-filmmaker Laura Huertas Millán, the two discuss this concept and others pertaining to both their practices. 

More about the exhibition:
www.hkw.de/en/NoMaster

Sound excerpts from Trinh T. Minh-ha, What About China? (2022), copyright Moongift Films

Cinema and Everyday Resistance | No Master Territories

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. As part of The White West IV: Whose Universal?, the podcast invites participants of the conferences and other experts to discuss the overlaps between metaphysical predicates and colonial formations.

Rajkamal Kahlon in conversation with Ana Teixeira Pinto

More information:
www.hkw.de/whoseuniversal
www.hkw.de/en/thewhitewest

Episode 16: Rajkamal Kahlon | The White West: Whose Universal?

Club culture is a global phenomenon, but usually only a few centers are in the focus of general perceptions. What challenges do protagonists face away from the big cities? What conditions shape dance floors and their social contexts there? In “Shaping Dance Floors, Locally,” organizers and club activists from small German towns talk about how they create space for dance and dialogue in their specific contexts and thus continue to work on the large, common project of a politics of dance floors. 

With Sedef Adasi, Gîn Bali, Ra-min, Ulrike Schell
Commentary: Sarj Lynch, production and editing: Julia Vorkefeld, interviews and script: Arno Raffeiner

In collaboration with Refuge Worldwide
Curated by Transmission (Sarah Farina and Kerstin Meißner)

Music:
Little Dragon – Hold On (Sarah Farina Remix), 
Nas – The Don,
Octo Octa – Deep Connections, 
Hird feat. Yukimi Nagano – Keep You Kimi, 
Amy Winehouse – In My Bed (Bugz in the Attic Vocal Mix),
Sedef Adasi – Gel Gidelim, 
Naty Seres – Sometimes I Feel,
AG Geige – Maximale Gier (Credit 00 Remake), 
Zombie Nation – Kernkraft 400.

Shaping Dance Floors, Locally | On Music

„Ich bitte euch, heute Nacht nicht zu schlafen.“ Nachdem die erste Staffel von Ilse Aichingers titelgebenden Essay Schlechte Wörter und ihrer widerständigen Poetik ausging, führt Etel Adnans Bei Nacht leben in die Dunkelheit. Zwischen dem revolutionären Potential des Wachbleibens und den umhüllenden Qualitäten der Nacht, verhandelt die zweite Staffel Sprache als Mittel des Schweigens und die Nacht als einen Ort der lebenden Toten.

Ausgehend von verschiedenen Texten, schafft die Audioserie Schlechte Wörter einen Ort für ein anderes Sprechen über Sprache und Literatur, für die Annäherung an ein neues Sprachgefühl. Aus Gesprächen, Lesungen, Sprachnachrichten, Field Recordings und Musik entsteht ein begehbarer, vielstimmiger Raum mit wechselnden Gästen. Die Verabredung lautet: Wir gehen von einem Text aus, damit ein anderer Text beginnen kann.

Eine Audioserie von Fabian Saul, in Zusammenarbeit mit Mathias Zeiske. Schlechte Wörter #6 mit Beiträgen von Marica Bodrožić, Athena Farrokhzad, Lama El Khatib, Enis Maci, Tanasgol Sabbagh and Haytham El Wardany

www.hkw.de/schlechtewoerter

+++

“I am inviting you to not sleep tonight.” After the first season took Ilse Aichinger’s titular essay Bad Words and its resistant poetics as its point of departure, Etel Adnan’s Night takes us into the darkness. Between the revolutionary potential of staying awake and the shrouding qualities of night, the second season negotiates language as a means of silence and the night as a place of the living dead.

Based on various works, the audio series Bad Words creates a place for a different way of speaking about language and literature, for approaching a new sense of language. From talks, readings, voice messages, field recordings and music, a walk-in space of multiple voices is created with changing guests. The agreement is: We start from one written work so that another can begin.

An audio series by Fabian Saul, in cooperation with Mathias Zeiske. Bad Words #6 with contributions by Marica Bodrožić, Athena Farrokhzad, Lama El Khatib, Enis Maci, Tanasgol Sabbagh, Haytham El Wardany

www.hkw.de/badwords

Schlechte Wörter / Bad Words #6

The slogan used to advertise Ridley Scott’s science fiction film “Alien” is nothing more than a statement of fact: In space, no one can hear you scream. But isn’t the idea of sound everywhere in space, which is permeated to the last corner by cosmic background radiation, like an echo of the Big Bang?

Speakers: Sarj Lynch, Sasha Perera. Editing and production: Julia Vorkefeld. Recordings: Matthias Hartenberger. Concept and script: Arno Raffeiner.

With quotes from works by Isaac Asimov, Jimmy Carter, Samuel R. Delany, Donna Haraway, N.K. Jemisin, Ursula K. Le Guin, Stanisław Lem, Sun Ra, Arkadi and Boris Strugazki.

Music: 
Elysia Crampton – Morning Star-Red Glare-Sequoia Bridge; 
Hama – Terroir; 
Ornette Coleman – Science Fiction; 
Debit – 3rd Night; 
Bebe and Louis Barron – Ancient Krell Music (Forbidden Planet;); 
Muhal Richard Abrams – Conversations With The Three Of Me; 
HHY & The Macumbas – Gysin Version (feat. Adrian Sherwood); 
Chuck Berry – Johnny B. Goode; 
Mahi Musicians of Benin – Cengunmé; 
Sun Ra & His Arkestra – Space is the Place

Chapter 1: In Space No One Can Hear You Scream | Cosmic Awakening

In the approach to Jupiter, the sun can be heard singing. But apart from the soundscapes on neighboring planets or in black holes, according to probability theory there is also extraterrestrial music. Science fiction literature has made it possible to understand how it might sound: a cacophony of smells or a symphony of free energy flows. 

Speakers: Sarj Lynch, Sasha Perera. Editing and production: Julia Vorkefeld. Recordings: Matthias Hartenberger. Concept and script: Arno Raffeiner.
With quotes from works by Isaac Asimov, Octavia E. Butler, Becky Chambers, Edward George, Stanislav Lem, Andi Petculescu, Sun Ra.

Music: 
Elysia Crampton – Morning Star-Red Glare-Sequoia Bridge; 
Ursula K. Le Guin & Todd Barton – Heron Dance; 
Ursula Bogner – Sun = Blackbox; 
Janelle Monáe – Neon Gumbo; 
Earth, Wind & Fire – Star; 
Rashad Becker – Themes II; 
Klein – ray; 
Flying Lotus – Camel; 
Sun Ra & His Arkestra – Rocket Number Nine; 
Ursula K. Le Guin & Todd Barton – A Teaching Poem

Chapter 2: How Loud is the Sun | Cosmic Awakening

If truth is stranger than fiction, why shouldn’t music be stranger than science fiction? Sounds manipulate space and time, unlock new dimensions and open wormholes in parallel universes. In this respect, sonic fiction does the same as fantasy literature: It distorts the present and creates space for alternative worlds. 

Speakers: Sarj Lynch, Sasha Perera. Editing and production: Julia Vorkefeld. Recordings: Matthias Hartenberger. Concept and script: Arno Raffeiner. 
With quotes from works by J. G. Ballard, Jimmy Carter, Becky Chambers, Kodwo Eshun, Ursula K. Le Guin, Daniel Oberhaus, Sun Ra, Holger Schulze, David Tudor, Whitney Wei.

Music: 
Elysia Crampton – Morning Star-Red Glare-Sequoia Bridge; 
Fatima Al Qadiri – Aftermath; 
Earth, Wind & Fire – Jupiter; 
Caterina Barbieri – Closest Approach to Your Orbit; 
John Williams – Close Encounters of the Third Kind; 
Parliament – Mothership Connection (Star Child); 
Janelle Monáe – BaBopByeYa; 
Drexciya – Intro: Temple Of Dos De Agua; 
Drexciya – Andreaen Sand Dunes; 
Lonnie Holley – In It Too Deep; 
June Tyson – Satellites Are Spinning

Chapter 3: Sound is a Matter of the Imagination | Cosmic Awakening

Philosophy of the Essay Film 
with Christa Blümlinger, Gertrud Koch, Esther Leslie; Moderation: Stewart Martin

What is an essay film or an installation essay? Though their formal elements have existed since the early years of film, it is only recently that these terms have come to function as generic labels with certain aesthetic and conceptual stances: poetically wrought language, self-reflexion, a sustained rumination on one issue, and movement across disciplinary confines. What can essay films and installation essays communicate to, and about, philosophy?

54321… Radical Philosophy Conference 2015 - Philosophy of the Essay Film

Jane Alexander: Council with emblem (2025) consisting of: Monitor (2023), Representative in law enforcement jacket (2006–14), Bird in Step Out Tunic (2024), Beast (2003), Emblem (2025)

Global Fascisms
Exhibition
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms

Jane Alexander

Shu Lea Cheang: Red Pill (2021), Virus Becoming (2022)

Deutschsprachige Version:
https://soundcloud.com/hkw/global-fascisms_shu-lea-cheang_de

Global Fascisms
Exhibition
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms

Shu Lea Cheang

Global Fascisms
Exhibition
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms

Introduction

Josh Kline: Wrapping Things Up (Tom Administrator) (2016), Starting Over (2016), Contagious Unemployment (Many Thanks) (2016), Desperation Dilation (2016), Unemployed Journalist (Dave) (2018), Universal Early Retirement (spots #1 & #2) (2016), Dreams with Expiration Dates (2016)

Global Fascisms
Exhibition
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms

Josh Kline

Daniel Hernández-Salazar: The Traveler (2013)

Global Fascisms
Exhibition
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms

Daniel Hernández-Salazar

Sliman Mansour: Camel of Hardship (1973), Land Day (2020), Untitled (1984), The Village Awakens (1987), Olive Picking (2021), Salma (1980), Memory of Places (2009)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Sliman Mansour (de)

Shu Lea Cheang: Red Pill (2021), Virus Becoming (2022)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Shu Lea Cheang (de)

Jane Alexander: Council with emblem (2025) bestehend aus: Monitor (2023), Representative in law enforcement jacket (2006–14), Bird in Step Out Tunic (2024), Beast (2003), Emblem (2025)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Jane Alexander (de)

Sunwoo Hoon: Flat Is the New Deep (2018), The Flat Is Political (2017)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Sunwoo Hoon (de)

Ciprian Mureșan: Dog Luv (2009),  Rhinocèros (2006)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Ciprian Mureșan (de)

Sana Shahmuradova Tanska: Danse Macabre (2024), Water Search (2024), Failed mental map (2024), Inevitable Path (2025), Negotiations (2025)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Sana Shahmuradova Tanska (de)

Hannah Höch: Wilder Aufbruch (1933), 1945 (1945)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Hannah Höch (de)

Andrew Esiebo: Expression of Faith: Pentecostalism’s Energy and Resilience Across Borders (2006–17), Eat, Pray, Live: Lagos’s Spiritual Megalopolis (2006–17)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Andrew Esiebo (de)

Maria Lassnig: Schafott der Eliten / Die Elite ist immer in Gefahr (1995)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Maria Lassnig (de)

Josh Kline: Wrapping Things Up (Tom Administrator) (2016), Starting Over (2016), Contagious Unemployment (Many Thanks) (2016), Desperation Dilation (2016), Unemployed Journalist (Dave) (2018), Universal Early Retirement (spots #1 & #2) (2016), Dreams with Expiration Dates (2016)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Josh Kline (de)

Daniel Hernández-Salazar: The Traveler (2013)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Daniel Hernández-Salazar (de)

Mona Vătămanu und Florin Tudor: Mona Vătămanu und Florin Tudor in Zusammenarbeit mit Ilinca Manolache, Ornament is Crime (2025), Mona Vătămanu und Florin Tudor in Zusammenarbeit mit Dinu Bodiciu, We hope this message finds you well (2025)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Mona Vătămanu und Florin Tudor (de)

Raking Leaves: Raking Leaves (Hg.), The A to Z of Conflict (2019)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Raking Leaves (de)

Gülsün Karamustafa: Painting for poster – 1977 First of May (in that bloody celebration 36 People Lost their Lives with Gun Fire from the Police) (1977), Soldier (1976), Window (1980),  Reminder (2025), Stage (1998)

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Gülsün Karamustafa (de)

Alle 15 Werke:
https://www.hkw.de/programme/global-fascisms/audioguide

Global Fascisms
Ausstellung
13.9.–7.12.2025
Haus der Kulturen der Welt
https://hkw.de/globalfascisms/de

Einführung

Wem gehört Deutschland? Podcast Folge 6: Max Czollek, mit Jean Peters

Wem gehört Deutschland? Podcast Episode 7: Max Czollek, Anna Yeboah und Tahir Della

Das Panel, dass am 16.11.2025 als Teil der Ausstellung Global Fascisms im Haus der Kulturen der Welt stattfand,  bringt Autor*innen, Journalist*innen und Aktivist*innen zusammen, die sich an der Schnittstelle von digitaler Kultur, Bildungsarbeit und politischem Diskurs bewegen: Hendrik Bolz, Veronika Kracher, Fikri Anıl Altıntaş,Shila Behjat und Tarik Tesfu diskutieren über rechte Symbolik, toxische Männlichkeit und blinde Flecken – und fragen, wie Bildungsinstitutionen sich diesen Dynamiken wirksamer entgegenstellen können.

Global Fascisms | Männlichkeitsbilder und autoritäre Verheißungen (Panel)

In diesem Panel, dass als Teil der Ausstellung Global Fascisms am 28.9.2025 stattfand, diskutieren NNOC, PIMF, Gianni Suave, Sookee und Miriam Davoudvandi über Ambivalenzen im Deutschrap, über die Attraktivität reaktionärer Männlichkeitsbilder – und darüber, warum bestimmte Haltungen nicht nur in Raptexten, sondern auch im Mainstream anschlussfähig geworden sind. Dabei stellt sich auch die Frage, welche Rolle Bildung spielen kann: Wie können Pädagog*innen,Jugendarbeiter*innen und schulische Einrichtungen lernen, die popkulturellen Codes ihrer Schüler*innen zu verstehen – und ihnen mit Haltung begegnen?

Global Fascisms | „Härte zeigen“ – Männlichkeit im Deutschrap (Panel)

Wem gehört Deutschland? Episode 8: Max Czollek und Linus Westheuser

Hörstück / Audio Piece

Zur Shortlist 2013 
Internationaler Literaturpreis – Haus der Kulturen der Welt 

Produziert und komponiert von 
Cordula Dickmeiß und Susanne Franzmeyer

Das Hörstück zum Internationalen Literaturpreis 2013 ist eine poetische Audio-Komposition, produziert und konzeptioniert von  den Audiokünsterlinnen Cordula Dickmeiß und Susanne Franzmeyer. Ihre Montage bringt die nominierten Shortlist-Titel in Lesungen aus Original und deutscher Übertragung zum Klingen und fängt diese mit den  Lektüreeindrücken der Juroren in einem vielstimmigen Resonanzraum ein. 


SprecherInnen: 

Barbara Becker (deutsch)
Gerald Michel (deutsch)

Matthew Beavers (englisch)
Adriana Collande (spanisch)
Wesley Mathews (englisch)
Aurélie Maurin (französisch)
Julia Reim (russisch)
Oleg Zinkovskiy (russisch)
Jurystimmen 

Ton & Regie:

Cordula Dickmeiß
Susanne Franzmeyer

Audiocollage Shortlist 2013

A pluri-disciplinary institution in Berlin of visual and performative arts, music, architecture, literature and scientific discursive formats 🌊

HKW

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