Next Events

Launch Gathering

awhām Issue #3

Awhām is launching their new issue at Sinema Transtopia on 28th of October! 

awhām is a Berlin-based annual print magazine invested in culture, aiming to increase the visibility of artists and talents with migrant biographies. 
Issue #3 theme is “Artists’ Critique.” Art and culture have always been powerful tools mobilized by oppressive regimes to whitewash its crimes and to enforce their agendas. The commodification of art and the value created around it promotes self-censorship and adaptation for the sake of selling, being granted funding, or receiving prizes. In capitalist realism, is there a space left for artists’ critique? If yes, in what form? And how does it survive? 

Our 3rd issue features Anadol, Akdar, Aude Nasr, Deniz Örs, Firas Shahdeh, Iskandar Ahmad Abdalla, Lexi Sun, Janset Genel, Ozan Tekin,Rami Shalati, Shahd Abusalama, Thoom, Yehudit Yinhar,Yelta Köm, Zeynep Yesim Ozkanca

Music by
Ozan Tekin 

A reading by 
Iskandar Ahmad Abdalla

The new issue of awhām is now available to pre-order on and will be available for purchase at the event. 

A gentle reminder that it is compulsory to wear a mouth-nose covering due to SARS-CoV-2-Infektionsschutz Verordnung.

Please bring a face mask, keep a safe distance and stay at home if you feel ill.

Director Sohrab Shahid Saless BRD 1975

111 Min., OV

Followed by a talk with Vivien Buchhorn


Introduction by Vivien Buchhorn

Nine-year-old Michael eats breakfast, goes to school, hangs around and runs errands for the neighbour. Together with his single mother, who works as a prostitute, he lives in a small apartment in Wedding. The different rhythms of their everyday life pass each other by and are only held together by the ticking of the clock on the wall. In sober shots, director Sohrab Shahid Saless, who emigrated Iran in 1974, shows the boy's routine, which repeats itself daily, until one day he notices his mother receiving a client.

Book tickets

Vivien Kristin Buchhorn is a film scholar and art historian. Her research interest is in transnational cinematographies and works of art and their archiving. In addition to her academic work, she works as a curator, accompanies film projects and regularly publishes film and exhibition reviews. Sohrab Shahid Saless' films have interested her since the conception of retrospectives in Berlin and Tehran.

Online Event

Followed by a talk with Oded Erez

Aris San

When Aris San (born Aristeídis Seïsanás in Kalamata, Greece, 1940) arrived in Israel in 1957, he was just an anonymous Greek teenager with a guitar. When he left in 1969, he was the top-selling recording artist in the country. During his twelve years in Israel, he managed to become not only an icon of celebrity, European chic, and musical fashionability but a brand name associated with “wedding music”, working-class audiences, and Mizrahiyut (“Eastern-ness”, or, the culture of Middle Eastern Jews in Israel). San was a key agent in transporting Greek music – or, to be more precise, the conglomerate of styles, sounds and stereotypes loosely held together by this title – from the smoky confines of an immigrant café in Jaffa to Israel’s most prestigious music venues, official Independence Day celebrations, national television, and the homes of leading generals and politicians. In an era when the bouzouki was being established globally as the national instrument of Greece, San wielded an electric guitar as his solo instrument. Employing bouzouki techniques and melodic formulas, he created a unique, signature sound, evocative of both bouzouki and rock-guitar virtuosity. In this and other ways, his musical persona was able to traverse the twin fictions of Western modernity and Oriental backwardness.

The goal of this lecture is to look at San’s career as a window into the negotiation of cultural identities that took place in 1960s Israel/Palestine (and, indeed, the East mediterranean at large) between Eurocentric national elites and marginalized groups often associated with Oriental taste cultures. It will present San’s career as a performer, recording artist, club manager, and public figure not merely for the sake of telling an individual's story: In all these capacities San facilitated the emergence of Mediterranean “Audiotopias”: physical or virtual sonic spaces of identification, where musical stereotypes of East and West were both mobilized and overcome, and where an ideal Mediterranean was outlined, which encompass everything from Umm Kulthum to Mexican Ballads.

Oded Erez (Dept. of Music, Bar-Ilan University) is a scholar of popular music and film music, working in the intersection of historical musicology, ethnomusicology and cultural studies. His work focuses on the relationship between politics and aesthetics, with an emphasis  on music in Israel and the Mediterranean. He is currently completing a book manuscript on Greek music and ethno-class politics in Israel. 

Followed by a talk with Didem Pekün, Galit Eilat and Erden Kosova

United Nothing: The ‘inarticulacy’ of Images in Representing Atrocities

In her film Araf (2018), Pekün looked at the ways in which the Bosnian society acts out its rituals of mourning and commemoration as a protest to the genocide committed 25 years ago. She is currently working on Disturbed Earth, a film project that will examine the international inaction through a choreography of bureaucratic incompetence in the case of Srebrenica despite clear evidence hinting at the coming atrocity . In her presentation, Pekün will discuss the meaning and the im/possibilities of representing visually traumatic experiences that are denied or obliterated by revisionist policies operating at present in different parts of the world, including her homeland, Turkey.

In her work Didem Pekün combines research and artistic practice. In her essay films, she addresses how violence and displacement define and destroy life. Her documentaries and video installations have been shown internationally and have received various awards. She is a founding member of the Center for Spatial Justice (MAD). She is currently a fellow at Graduate School / Berlin Center for the Advanced Studies in Arts and Sciences at Universität der Künste Berlin.

Galit Eilat is an interdependent curator and writer based in Amsterdam. She developed her practice through a variety of platforms and roles as an institute director and editor of books and a magazine. Her current research trajectories are dealing with the Syndrome of the Present and Art under authoritarianism. Eilat is the recipient of Keith Haring Fellowship in Art and Activism, Bard College, 2017-18 and she is the director of Meduza Foundation since 2018.

Erden Kosova is an art critic in Berlin and Istanbul. In 2017 he curated the exhibition "Contemporary Syndromes", which was shown in Thessaloniki, Izmir, Amsterdam and Berlin. In 2019, he was a co-organizer of the Young Curators Academy, which took place at the Maxim Gorki Theater as part of the 4th Berlin Herbst Salon. In 2019 he was also involved in the exhibition of the SIS collective "In the blink of an eye" at the nGbK. Kosova is the editor of the Istanbul online magazine

Director Michel K. Zongo Burkina Faso/Germany 2019

90 Min., OV with English subs

Followed by a talk with Malve Lippmann and Michel K. Zongo

No Gold for Kalsaka

When the government of Burkina Faso started to issue mining permits in 2000, gold fever struck. The people of Kalsaka were promised mountains of gold: jobs for the villagers, scholarships for their children, money for the government coffers, and development aid for the next 10 years. But six years later, these promises rang hollow as the mountains of gold were simply taken away, leaving them with nothing but polluted land. Through the interweaving of fictional and documentary elements, No Gold for Kalsaka reinterprets the tale of good and evil so familiarly depicted in the Western. References to West African griot traditions, cowboys and Ennio Morricone's film music create a Wild-West-like world caught up in the gold rush.

Book tickets

Michel K. Zongo, born in 1974 in Koudougou, Burkina Faso, is a director, cameraman and scriptwriter. From 2003 to 2008, he was responsible for the Interactive Debate-Cinema at Cinomade, an association based in Burkina Faso whose objective is to create and distribute tools to increase awareness, notably through the cinema.

Current Series

By Sebastian Reier aka Booty Carrell, Pamela Owusu-Brenyah aka DJ Pam Bam, Florian Sievers, Oded Erez, Kornelia Binicewicz, Mountains of Tongues, Rahman Məmmədli, Ekaterina Borisova, Yuriy Gurzhy and Can Sungu

OUTERNATIONALE: Stars from Outer Space

The new bi’bakaudio series OUTERNATIONALE: Stars from Outer Space is devoted to the concept of Outernational Music, a counterposition to so-called “World music”. While “World music” tends to exoticize or tame music produced outside of the Western world, Outernational Music sees the distinction between Western music and World music as an extension of the colonial perspective. In contrast, the emphasis is on sound productions that are received and celebrated in cross-border geographies far away from the Western music market - neither mainstream nor underground, but multilingual and influenced by diverse musical traditions and cultures. The music talk series OUTERNATIONALE presents selected artists, along with their artistic creations and biographies, in conversation with experts. Venturing beyond cultural or linguistic barriers, we begin a project of collective musicological research.

Funded by Berliner Senat für Kultur und Europa

Ekaterina Borisova is a music journalist from Saint Petersburg, Russia. Since the mid-80s she has been writing articles on rock music for Russian magazines and newspapers, whilst remaining a major fan and developing a deep knowledge about the Russian underground rock scene. She’s also the author of several books – two books about Yanka Dyagileva among them, issued and reissued in 1998 - 2005.

Florian Sievers is a journalist, author, and curator who loves to tell alternative stories from African urban spaces where at present a rising middle class is producing hip cultural expressions, from fashion and art to especially music. Originally a trained journalist for politics and economics, Florian researches his forward-looking stories from the mother continent on at least yearly trips to continuously new African metropolises. On a sideline during these trips Florian has also become a hobby collector of old vinyl records from Africa.

Kornelia Binicewicz is a Polish record collector, curator, DJ, and founder of Ladies on Records, a multifaceted endeavour focused on the musical legacy of women all over the world, presenting female music from the past decades.Her passion for female music brought her to Turkey where she started to explore the undiscovered world of Turkish female music scene. She curated “Turkish Ladies. Female Singers from Turkey 1973 - 1988” (Epic Istanbul) compilation and “Uzelli Psychedelic Anadolu” compilation (Uzelli), both released on vinyl. Kornelia is currently working on a special project dedicated to female singers from Turkey from one of the Turkish label’s back catalogues.

Mountains of Tongues, founded by Ben Wheeler and Stefan Williamson-Fa, have spent the last seven years traveling across the Caucasus region making recordings and collecting examples of lesser known musical traditions. Through selected samples from their hours of field recordings, coupled with carefully curated tracks from a personal archive of collected LPs, tapes, CDs, and home VHS recordings from across the region, their live shows present a unique and vibrant take on the soundscapes and cultures of the Caucasus, highlighting the music’s diverse forms and settings and the local musicians that make all of it possible. Whether it’s lo-fi bootlegs of Azeri guitarists, the vocal gymnastics of Gurian polyphony, blaring Yezidi woodwinds at an engagement party, auto-tuned Dagestani techno, circling Chechen Sufi rituals, or vintage Yamaha synthesizers accompany songs in isolate languages, Mountains of Tongues presents music at the intersection of the modern/traditional, the participatory/presentational, and the sacred/secular.

Oded Erez (Dept. of Music, Bar-Ilan University) is a scholar of popular music and film music, working in the intersection of historical musicology, ethnomusicology and cultural studies. His work focuses on the relationship between politics and aesthetics, with an emphasis  on music in Israel and the Mediterranean. He is currently completing a book manuscript on Greek music and ethno-class politics in Israel. 

Pamela Owusu-Brenyah is a music consultant, festival organiser, and DJ, working on an enhanced visibility of contemporary African Pop culture in Germany. With her community platform AFRO x POP she regularly offers a music festival stage for rising artists of the Afro-German scene. Pamela, a studied political scientist, is based in Berlin and has family roots in Ghana. She has worked in Ghana’s capital Accra as a DJ for three years and since then has been commuting back and forth between both musical worlds.

Rahman Məmmədli was born in 1961 in the Füzüli district of Qarabağ and grew up surrounded by and immersed in the music of that region. In his childhood he had already mastered the garmon before coming across the guitar. Being deeply connected to traditional music, both muğam and aşıq music, he has managed to transpose these genres onto the electric guitar through his creation of new and distinct playing techniques. His ability to emulate the voice of classic muğam xanənde singers led to him being known as the man with ‘oxuyan barmaqlar’, (singing fingers). Along with his many solo releases on cassette, VHS, and CD he has performed with many of the greatest artists of Azerbaijan. He has performed at concerts throughout Azerbaijan, Turkey, Iran and Russia. As a master musician Məmmədli continues to inspire new generations of guitarists who continue to develop a unique guitar subculture and style in Azerbaijan.

Booty Carrell is the DJ alias of Vinyl archaeologist, Golden Pudel resident and outernational deejay Sebastian Reier. Carrell does his research in the deep spaces of the vinyl universe. He likes to dig into the second wave of musical globalization.

Yuriy Gurzhy was born in the Ukraine and lives in Berlin. He is a musician, songwriter, DJ and producer and is known for his work with RotFront, Shtetl Superstars and The Disorientalists as well as his party series Russendisko, Born in UA and Disko Kosmopolit.

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Things, people and images in motion

From optical toys to animated film

By Tuna Arkun and Charlotte Kendrick

Things, people and images in motion

How the pictures learned to run. 

What makes a film a film? What experiments had to be made with moving images before the medium of film conquered the world?  These are the questions we investigate in a playful way when we look at various optical toys such as the thaumatrope, the zoetrope and the praxinoscope, or when we deal with the pioneers of film in a film presentation.  Attentive observation and plenty of creativity are required, as, under guidance, the participants can create their own optical toys and finally also a short animated film - and thus bring the pictures to life.

A bi’bakwerk project in cooperation with the MiK Youth Art School Berlin Mitte, the Erika Mann Grundschule and the DFF - Deutsches Filminstitut & Filmmuseum
Funded by Berliner Projektfonds Kulturelle Bildung

Tuna Arkun, born in Istanbul, is a visual artist. Since 2007 he works in different projects as a concept developer and instructor of creative activities for children, youth and adults.

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Curated by Galit Eilat and Erden Kosova


The current pandemic paralysis of world societies has changed the definition of the term of ‘‘crisis’’ irreversibly, reinforcing the sense of deepening tectonic changes in relation with the inner structuring of our contemporary societies and the destruction of nature under capitalism. Yet, the appeal to the term of ‘‘crisis’’ decade has already escalated along with successive complications within the political sphere: the turbulence of state sovereignty, the unravelling of basic premises of secularisation by the hands of new and traditional ideological movements, the rise of historical revisionism erasing past crimes to open up for new ones, increasing appeal to misogyny, majoritarian politics and authoritarianism, catastrophic consequences of hyper-consumption and conversely, undeclared resurgence of human slavery. The series of talks framed as ART IN DARK TIMES will try to trace the ways in which artistic and cultural practices (curatorial projects, academic texts, activist campaigns, video and films) have been responding to these antagonising complications. Relating to the specific conflicts of their own burdened geographies, the invited guests will examine the interconnected and global character of these shifting grounds. The program of the series was conceived last autumn and adapted recently to the current pandemic circumstances.

Funded by the Bezirkskulturfonds  Bezirksamt Mitte in Berlin

Erden Kosova is an art critic in Berlin and Istanbul. In 2017 he curated the exhibition "Contemporary Syndromes", which was shown in Thessaloniki, Izmir, Amsterdam and Berlin. In 2019, he was a co-organizer of the Young Curators Academy, which took place at the Maxim Gorki Theater as part of the 4th Berlin Herbst Salon. In 2019 he was also involved in the exhibition of the SIS collective "In the blink of an eye" at the nGbK. Kosova is the editor of the Istanbul online magazine

Galit Eilat is an interdependent curator and writer based in Amsterdam. She developed her practice through a variety of platforms and roles as an institute director and editor of books and a magazine. Her current research trajectories are dealing with the Syndrome of the Present and Art under authoritarianism. Eilat is the recipient of Keith Haring Fellowship in Art and Activism, Bard College, 2017-18 and she is the director of Meduza Foundation since 2018.

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Curated by Kaspar Aebi

Accounting the Household!

From the 1900s, Berlin was the largest industrial location in Germany. Yet behind the visible work in the factories lay the invisible work at home. Cooking, caring, cleaning, educating, sex - or as Silvia Federici and Nicole Cox wrote in 1975: “Housework, in fact, is much more than house cleaning. It is servicing the wage earner physically, emotionally, sexually, getting him ready to work day after day for the wage.” Accounting the Household! takes a look at homes, bedrooms and kitchens in the industrial northwest of Berlin. The films show care work and reproductive work between economic coercion and refusal, domestic community and abandonment, children and childlessness, marriage, divorce and social retreat, entangled in dependencies, resistance and social expectations. A special focus is on the years of change from the early sixties to the eighties. After industrial work had dominated everyday life in the north of West Berlin for almost a century, the region's largest employers closed their plants within just twenty years following the construction of the Berlin Wall. What happens to the “servicing of the wage earner” in a time of great uncertainty, between mass layoffs and the construction of the Wall, against the backdrop of the emerging Second Wave Feminism?

Funded by Aktionsfonds QM Soldinerstr

Kaspar Aebi is a film and media studies scholar, curator and author. His main interests are pop culture, architecture, documentary and experimental filmmaking.

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Curated by Popo Fan

How Can We See (each other)?

Historically, the main routes of the Silk Road connected China with Central and West Asia, up to North Africa. These cross-borders exchanges went beyond the economic transfer of goods, transporting and thus influencing the cultures along with it too.

The film series How Can We See (each other)? searches beyond eurocentrism for (pop)cultural, social and political connections of an “East-East referencing” and takes a look at transcultural relations among these regions. By pairing filmmakers from different areas, we hope to create a form of transnational dialogue between artists and filmmakers. From Hong Kong to Cairo, Urumchi to Kobanê, and Beijing to a small village in Morocco, the films performatively cross gender boundaries and national affiliations. Through "cultural drag", reenactments and other transgressive strategies, the films open up a space in which cultural identity can be conceptualised in new ways, beyond questions of potential differences and commonalities. The programme contributes to an understanding of a political resistance that equally reflects the power of cultural, national, ethnic and gender categories and imagines their dissolution.

Funded by Hauptstadt Kulturfonds

Community Partners:
Wir für Hongkong

Special Thanks:
Kurdish Film Festival Berlin
Times Art Center
Videoart at Midnight
Michael Dreyer

Popo Fan, born 1985, is a Berlin-based Chinese diaspora filmmaker, curator and writer. Hisfilms include queer activism documentaries and scripted, sex-positive shorts. For more than a decade, he has organized the Beijing Queer Film Festival and founded the Queer University Video Training Camp in China. In 2019 he curated film series “More Than A Midnight Rainbow” about Chinese-made and Chinese-speaking queer films at bi’bak.

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Narratives and Memories of Transnational Families

By Malve Lippmann and Can Sungu


From 23 October 2020 to 04 December 2020, BITTER THINGS - Narratives and Memories of Transnational Families is presented in Timisoara, Romania, as part of the Timisoara - European Capital of Culture 2021 project STATIONARY FIREPLACES organized by Prin Banat Association.

BITTER THINGS – Narratives and Memories of Transnational Families is a research-based exhibition project by bi’bak that explores the impact of labor migration on the notion of motherhood and family from the perspectives of women migrant workers and children left behind. The installation takes experiences of transnational families from both past and present as a point of departure and brings narratives together with objects, which play a central role within the families.

Labor migration is worldwide creating new models of the transnational family, which despite geographical distances strives to maintain contact between the separated family members. In the time of the recruitment agreements in the 1960s, many parents were forced to leave their children behind since working hours were too demanding to make childcare on the side possible. Today it is predominantly migrant workers from Eastern Europe, who have to leave their families to earn a living in wealthier countries. Turkey, as a former country of emigration, has in turn become a destination for many workers, especially in the care sector, from Eastern Europe, the Caucasus or the Central Asian region.

But, how is the relationship between parents and children to be redefined whenever gifts and material support take the place of shared experience? When physical closeness has to take second place to communication programs like Skype and WhatsApp? How does this changing family landscape impact children and their parents? BITTER THINGS retraces positions on this topic from the 1960s right up to present day perspectives.

Besides the exhibitions a publication with academic and literary contributions, interviews, songs and photos examining the topic from interdisciplinary perspectives has been released. Order your copy . A booklet with selected texts in German and photographs of the exhibition can be downloaded here.

The exhibition is accompanied by a side program including film screenings, discussions and lectures.

Funded by Institut für Auslandsbeziehungen

In ccoperation with TM2021, Prin Banat Association, Faber 

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Analogue Film Workshop

Workshop Leaders Svenja Schulte and Dennis Vetter


Cinema, whether analogue or digital, historical or brand new, is undeniably part of social reality. Yet, it is only as political, as conservative, as progressive as those who shape the films, the venues, and ultimately the film industry itself. To approach cinema critically, we therefore need to look at its films and images that already exist. This can mean altering the images, placing them in a new context or even sabotaging them.

In the "Experiment: Film" workshop, we therefore invite you to join us in questioning internationally popular images of US cinema in a practical way. We want to take a closer look at blockbuster films of the past decades by looking at their trailers on analogue film reels, by playing with them, editing them, and changing their form. With scratching tools, paint,  and adhesive tape we want to probe and poke, to scrutinize and dissect. Using this found film material, completely new short films will ultimately be created. "Experiment: Film" is aimed at all those who perceive images as political. No previous knowledge of analogue film is required.

Workshop times: Friday: 20:00 - 23:00, Saturday & Sunday 11:00 - 18:00.

Register by 25.10.2020 through the form here. 
The number of participants is limited to 15. 

Ein Projekt from bi’bakwerk in cooperation with MiK Jugendkunstschule Berlin Mitte.
Funded by the Berliner Projektfonds Kulturelle Bildung.

More Event times:

  • 30.10.2020 (20:00) - 30.10.2020 (23:00)
  • 31.10.2020 (11:00) - 31.10.2020 (18:00)
  • 01.11.2020 (11:00) - 01.11.2020 (18:00)


Critical Conditions

Fields of action in the environmental crisis

Curated by Sarnt Utamachote, Malve Lippmann, Rosalia Namsai Engchuan and Pia Chakraverti-Würthwein & Eirini Fountedaki

Critical Conditions

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. The collectively-curated programme aims to bring together diverse perspectives from within the environmental crisis, by examining the socioeconomic shifts and continuations of power relations between the Global North and South. The film series draws attention to the neo-colonial structures embedded in the climate crisis, the global consumption of resources, and the role of extractive neoliberal capitalism.   

Funded by Berliner Landeszenrale Politische Bildung

Malve Lippmann studied at the State Academy of Fine Arts Stuttgart and at the Institute for Art in Context at the Berlin University of the Arts (MA). She worked as a freelance artist and designer. Since 2010 she has also been active as a cultural manager in various cultural and community projects. She is co-founder and artistic director of bi'bak and Sinema Transtopia.

Pia Chakraverti-Würthwein & Eirini Fountedaki form a curatorial duo interested in embodied knowledge and slowing down processes of production. They co-curated the film series Residing in the Borderlands at SAVVY Contemporary, and are now part of the Berlin Biennial 11 curatorial workshop how now to gather.

Rosalia Namsai Engchuan is a social anthropologist and filmmaker based between Berlin and Southeast Asia. She is currently working on a collaborative project with artists and cultural producers in Southeast Asia on artistic investigations and interventions into problem clusters of modernity that pivot around notions of climate change.

Sarnt Utamachote is a filmmaker, photographer and curator. He is a co-founder of un.thai.tled, a collective of Thai-diasporic creatives in Germany, through which he curated un.thai.tled Film Festival Berlin as well as Beyond the kitchen: Stories of Thai Park. His video installation I Am Not Your Mother (2020) was officially exhibited at the International Film Festival Rotterdam.

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TRICKMISCH POETRY WORKSHOP for children and adults

Workshop Leaders Julia Kapelle

Caravan trade, cargo train, car

Please register here.

More than ever before, our world is determined by mobility: whether for professional reasons, tourism or forced by war and conflict, people around the world are on the move. However, who is allowed to travel and who is not is unequally regulated. Depending on the term "expat", "tourist" or "migrant", these concepts are used to differentiate who has a right to mobility and who does not. A closer look reveals even more that mobility is not a right accessible for all, but depends on income, one’s residence status and physical ability. And in times of Corona everything is different again.  Completely different rules apply to the world of things and goods than to human travelers, as the former are often allowed to freely move around in global trade networks without any problems. In contrast to the laborious and risky beginnings of world trade of the caravans traders, today millions of goods and commodities are on the move around the globe.

We invite you to join us in describing, illustrating and animating different forms of travel, people and things. Based on various routes, means of transport and travel destinations, we investigate all forms of mobility that transport people as well as goods and commodities from one place to another. 

First we will begin with a poetry workshop by Christiane Keppler, where three stations will help you to find the text for your animated films. We will stamp snake poems á la Meret Oppenheim, form absurd word combinations like the surrealists or invent poems for which only one rule applies: they must consist of eleven words. Detailed instructions are available at each writing station. The resulting texts will then be placed on a light table and brought to life as animations.

Poetry workshop times: 14:00- 17:00 on Saturday 14. November and Sunday 15. November. On Saturday there will be an additional film screening at 18:00!

Open invitation to join the workshop for children and adults with Trickmisch (Julia Kapelle). 

Julia Kapelle studied film and photography (visual communication) at the Hochschule für bildende Künste in Hamburg and the UdK at the Institut für Kunst im Kontext. In her artistic work she deals with media image production and processes of collective authorship. 

Trickmisch has been cutting and animating all sorts of stories since 2014 together with refugee students using animation tables, film-editing equipment, a mini-recording studio and a suitcase full of cut out silhouette figures.

More Event times:

  • 14.11.2020 (14:00) - 14.11.2020 (17:00)
  • 15.11.2020 (14:00) - 15.11.2020 (17:00)


Curated by Özge Calafato


While the corona pandemic kept the privileged part of the world population in quarantine, precarious living conditions meant that many could not afford to stay at home. But the global economic inequalities that became more visible through this polarization point to a longer history of authority, confinement and unequal distribution of labour and wealth, all entangled within neoliberal power relations. With films that leave room for nuances, A Dream for Each deals with the colonial residues of globalised trade, technology and tourism, whose reverberations are still felt today.

Funded by Stiftung Nord-Süd Brücken aus Mitteln der LEZ

Özge Calafato is a curator, editor and writer. She has worked for numerous film festivals and institutions, including Cinema Akil, the Abu Dhabi Film Festival (ADFF), SANAD Development and Post-Production Fund, Documentarist, DOK Leipzig, DokuFest, The Arab Fund for Arts and the Imagine Science Film Festival. She is co-founder of the National Film Library of the United Arab Emirates.

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