Un_learning Violence is the name of a reading and research group interested in the psycho-social effects of political violence. We assume that in order to overcome violence, one has to understand how its histories and enabling conditions constitute subjectivities and embodiments. What does it mean to un_learn violence?Continue reading
publication on 10 years of Institute for Queer TheoryContinue reading
Photos and more. Embracing the Ridiculous. 10 years Institute for Queer Theory.
June 24, 2016 Ballhaus Berlin
Bossing Images 7
Thu July 14, 2016, Agora Collective
guests: Werner Hirsch, Ismael Ogando and an art work by Susan Silton,
plus a screening of “N.O.Body” with an introduction by Renate Lorenz
International Symposium, Berlin, June 25/26, 2016
What is the current state, and what are future aims of queer politics? How does queer politics relate to and engage with wider societal questions? Do we need to think queer politics also as a question of cultural form and modes of political agency?
the Institute for Queer Theory celebrates its 10th anniversary!
June 24, 2016 at the Ballhaus Berlin
art auction and contributions by Nana Adusei-Poku, Anna Daučíková, Naomi Rincón Gallardo, Giegold & Weiß, Judith Jack Halberstam, Werner Hirsch, Renate Lorenz, Mindj Panther, Nic Kay, Redecker-Sissies, TAKA TAKA from the House of Hopelezz, concert and reunion of Rhythm King and her Friends. And DJ*s shushu, SchwarzRund, Kan Chi
10 years Institute for Queer Theory
June 24 Ballhaus Berlin, , 6:30- 8:30pm
18:00 – 20:30, Wednesday, 15 June 2016, ICI Berlin
Followed by a discussion with Antke Engel and Ana Hoffner, in English
Friday, July 15, 2016
Werkstatt, Adalbertstr. 71, 10997 Berlin
As aesthetic descriptions vapor, fog and gloss range between corporeality and abstraction,
reification and recognition, depth and surface. They be-come as figures only gradually, they
are graded and echoloned figures und therefore less recognizable than perceivable, sensible.
event series began in 2012
The relationship between images and their audiences is often a little bit bossy. Subjects boss images around to serve their ideological goals. Images boss subjects around, for instance by suggesting they conform to heteronormative ideals. The same can be said about the production process: In cultural practices and art making, producers co-opt images, but images may also capture the producer and make them subject themselves. Through mutual desire, images and subjects engage in illicit transgressions of their hierarchized relationships.