petition. work
Master Classes OvervieW
All master classes are based on the individual experiences of the participants, i.e. their relations to the imaginary context (in the form of narratives and visuals of their daily or specific rituals) of their respective cultural environment especially in terms of social and religious behaviour.
The goal for the creative process of each class is to use one's own cultural experience in exchange with the cultural experience of the other participant. Only in this way, by making decisions based on the diversity of cultural conditions, will it be possible to create "objects of togetherness" which, in our view, are urgently needed to find solutions to the pressing problems of our time.
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1st Masterclass “Words”
How your bodily experience becomes a memorable perception only by becoming words (and how the words reactivate the bodily dimension of what is perceived).
We are working with parables, legends and texts from the Torah, the Bible and the Koran.
"As a basis for the joint creative process, choose an ancient text that you consider constitutive for the development of your culture.”
The result will be an individual rewriting of the texts and their visual interpretations that will be sampled in a book.
2nd Masterclass “Points and Lines”
How the traces of movement, the lines from point to point, form the map or constellation of our perception (becoming words as well as shapes).
Reactivating Designo by drawing to choreograph what unfolds coincidentally and inadvertently togetherness. Work with dots, straight lines, and the curves of constellations.
"As a basis for the creative process, choose these constellations in the sky or ancient maps that you consider constitutive for the development of your culture.”
The result will be a series of graphic prints that combine the individual elaborations into a multiple "map of artworks".
3rd Masterclass “Colors”
How the coloring of the drawn forms, taken from the lights of natural phenomena, becomes the sensual sensation of our formulated perception.
In the tension of the colors, each color strives for the relations of the bodies, by night and by day, to realize a coloring on the surface of the movement.
"As a basis for the creative process, choose all the colors you consider typical of your culture.”
The result will be a series of artistic prints that combine the individual elaborations into a multiple "map of artworks".
4th Masterclass “Vessels”
How the fragile “vessel” of our physical being forces a three-dimensional re-transformation of what we perceive (originally related to basic living conditions, i.e. seasons and weather conditions, e.g. the need to sleep in a safe place, to store or bottle something, etc.).
"As a basis for the creative process, list all the different forms of vessels (which are needed to ensure and maintain our physical existence) you consider typical of your culture.”
The result will be a series of objects (made of clay and other materials), to be seen as an artistically designed interrelation of the different cultural positions.
5th Masterclass “Textile”
How we use plants and animals (wool, cotton, linen, nettle, leather) to create forms that cover the body, hide the body, can be detached from the body as sculpture to become a figuration in itself, or used as a second human skin.
Our approach is to use the fabric to explore the forms in relation to the movements of the body.
"As a basis for the creative process, research and sketch the patterns of the garments that you consider typical of your culture.”
The result will be a “fashion collection", based on the formal and aesthetic combination of the different garment patterns.
6th Masterclass “Food”
How we deal with the fact that we have to maintain our bodies with food, which forces us to deconstruct (kill) living beings (plants as well as animals), and that it is impossible for us to simply absolve ourselves of this guilt - because we are able to reflect on what we are doing.
Here we will focus on wheat, corn and water (of life) in relation to justice: does it not mean to break your bread for the hungry, to take the homeless poor into your house, when you see a naked man, to clothe him?
“Research the recipes and the practice of food preparation in the context of the social and cultural intersections that you consider typical of your culture.”
The result will be the creation of new recipes by combining elements of the existing ones. So we cook together, eat together, and visually design the new recipes.
7th Masterclass “Masks and Faces”
How we mask and thus individualize ourselves in order to justify and glorify our collective responsibility for the deconstruction (which often enough means the destruction) of the natural or culturally given environment as a heroic act, arguing that this is the only way to guarantee our individual and social existence.
Whatever we think we are, every human being is individually masked, and behind the mask there is the mask of the mask - this is true not only for the individual, but for every society.
“Research and describe in words and pictures the archetypes and role models that you consider typical of your culture.”
The result will be a set of masks and masquerades taken from the different elements of the respective typologies and models.
8th Masterclass “Movement”
How, by withdrawing our movement from each existential execution (see: 4th to 7th class), we involuntarily score a choreography or a play on stage, in which the interaction of bodies and objects becomes nothing other than a symphony of becoming.
In doing so, we rethink the human body as part of a formation of social space: Is space an extension of the body, or is the body an experience of our limits in space? So we work with the body as raw material to shape forms and meanings of social relations in the sense of a living becoming.
“Research and describe in words and sketches the ritual movements (such as folk dances, marches etc.) that you think are typical of your culture.”
The result will be a choreography made up of the different elements of the respective sequence of movements.
9th Masterclass “Performance”
How every performance requires togetherness, which in turn forces us to transgress needs (see: 4th to 8th class), which again in turn is only possible by fulfilling needs in the mode of togetherness. This is exactly what only an author who is aware of his ability to perform can and must do. Here we are at the heart of the triad of aesthetics, ethics and socio-political action.
Following from this we ask, how words, lines, colours, materials, textiles, and foods are shaping the face of our being as being aware of the ethical need in order to work together.
“Collect elements of the creations made in the master classes (from the 1st to the 6th class) in order to define the process and the content of a performative petition.”
The result will be a score for a performance of a petition to be staged in front of an invited audience.