RECLAIMCOLLECTIVE / FESTIVAL
Practices of care in public space.
The urban, the earth, the atmosphere and the “local Heimat of Gaia”.
A four days event organized by nadaLokal and curated by Amanda Piña and Veza Maria Fernandez, created collectively upon an idea by Susana Ojeda with Lucia Elena Prusa, Denise Palmieri, Vanessa Medina and Sattva Giacosa
Artists share their practices within the Rudolfheim-Fünfhaus’ community, by presenting a series of site specific pieces around the following questions:
Is it possible to feel rooted in a place where you have not been born? Can we collectively reclaim the soil, the urban earth under our feet and the atmosphere we breath as ways of rooting and caring for the ancient life-producing and maintaining technology of earth? Is it possible to root without reproducing a nationalist lexicon and identity politics? What can be hot, exciting and potent about this act of reclaiming?
RECLAIM features mostly female and non binary artist of post-national foregrounds.
Participants: Veza Maria Fernandez (AT), Vanessa Medina (ES), Lucia Prusa ( AR/ DE), Amanda Piña (AT/CL/MX) Denise Palmieri, (BR/AT), Susana Ojeda (COL/AT), Lina Maria Venegas (COL/ PE/AT), Sattva Giacosa (VEN/AT), Daniel Hüttler (MX/AT), Ad/Oaptive ( ALL) Raoni Muzho Saleh (NL/AFG), Nina Sandino (NIC /AT), Masha Godovannaya (RUS/AT), Tomás Montangero (AR), Mzamo Nondlwana (SA /AT), Pedra Costa (BR/DE), Decolonial Performativa ( ALL)
Wednessday 7. October
11:00-13:00 CLIMATIC DANCES A decolonial dance practice led by Amanda Piña*
13:30 Tales of food & Eating together with Lina Venegas (Performance lunch)
15:00-17:00 Is your institution Racist? A working meeting with Decolonial Performativa
17:00-18:00 Queering the Angelic (El Canto del Serafín) collective singing practice with Veza *
18:00 RECLAIM Opening exhibition with works by Sattva Giacosa, Susana Ojeda, Vanessa Medina and RECLAIM COLECTIVO
Thursday 8. October
11:00-13:00 CLIMATIC CLIMATIC DANCES A decolonial dance practice led by Amanda Piña*
13:30 TALES FROM THE GARDEN, an eating together performance with Lina Venegas, (Performance lunch) *
15:00-17:00 Fi/uLL COLLECTIVE WRITING WORKSHOP by adO/Aptive with Klaus Speidel*
15:00-17:00 RHYTHM AND RHYME a HIP_HIP WORKSHOP with Montangero for latinx children and youth*
17:00-18:00 RECLAIM @stadbucherei Queering the Angelic (El Canto del Serafín) collective singing practice with Veza *
18:00 Arriving & Check Registrations
18:30 Performative lecture ‘In the dream, I am always met at the river’by Masha Godovannaya
19:00 LEAK (HUF) Workshop-performance by adO/Aptive
19:30 FLUID BRIDGES 2 (Humbling Humanity) a swimming practice led by Denise Palmieri
Friday 9. October
11:00-13:00 CLIMATIC DANCES A decolonial dance practice led by Amanda Piña*
13:30 Tales of food & Eating together with Lina Venegas (PERFORMANCE LUNCH)
15:00-17:00 Fi/uLL COLLECTIVE WRITING WORKSHOP by adO/Aptive with Klaus Speidel*
15:00-17:00 RHYTHM AND RHYME a hip-hop workshop with Montangero for latinx children and youth*
17:00-18:00 QUEERING THE ANGELIC (El Canto del Serafín) Collective singing practice with Veza *
RECLAIM @Rustensteg Brücke
18:00-19:00 ‚A Walk Along The Spine‘ AUDIO TOUR with Lucia Elena Průša (Bring phone with internet and headphones)
19:00 RECLAIM PERFORMANCE @ nadaLokal
20:00 LASHES by Raoni Muzho Saleh
21:00 VOICES OF BLOOD by Veza Maria Fernandez
Saturday 10. October
15:00-17:00 DANCE FOR THE REVOLUTION a movement practice led and shared by Mzamo Nondlwana with invited guest Pedra Costa*
RECLAIM @Auer Welsbach Park
17:00-18:00 Climatic Dances collective performance
18:00-19:00 Queering the Angelic (El Canto del Serafín) A collective singing practice with Veza *
19:00-21:00 PROCESIÓN A Collective act of love
20:00 Montangero Closing act
22:00 RECLAIM @rrrPARTY
Line up Djs, Styles: NEOPERREO, AFROBEATS, HYDROGANG, CUMBIATON, BOMBATON, HYDROTON, BAILE FUNK,TRAPOS SUCIOS, TRAPOS LIMPIOS, KUMBIA VILLERA, KLOMBIA, REAL CUMBIA, HARD DEMBOW, RETRO DISCO SUR
* Voranmeldung nötigt, registration here: firstname.lastname@example.org
@Auer Welsbach Park- Imbiss at the corner of Linke Winzeile and Wickelmannstrasse.
@Aufgang Zum Rustensteg, at the left side of the bridge
@Stadthallenbad, Meeting at the main door
CLIMATIC DANCES A decolonial eco-somatic dance practice led by Amanda Piña
Climatic Dances is the name of the fifth volume of the Endangered Human Movements*, a long-term research carried out by choreographer Amanda Piña on the current loss of planetary cultural and biological diversity. www.nadaproductions.at
TALES FROM THE GARDEN An Eating together Performance with Lina Venegas
Cultivating the soil brings people closer to their living context and at the same time to their origins. Through this relation, an important part of what life is about, is being elaborated and developed. At the same time, it allows transformation of the context beyond institutional or sociocultural parameters, and to assume partially a self-sustainability, self-determination and the right to have access to healthy food. Each season in a city garden & farm, people, plants, living beings, objects, practices, weather and soil, with their particular characteristics, come together creating an interconnected network that develop dynamic interrelations with specific qualities. I observe how the experience, the interrelations of life in & around the city garden farm, and the net of living knowledge that connects all that, develops.
Lina Venegas (COL/PE/AT) is a dancer and choreographer with engineering background, Colombian – Peruvian roots, and based in Austria.
Is your institution racist? A questionnaire for institutions facilitated by La Decolonial Performativa
A dialogue is opening that has huge difficulties reaching institutions. One of the reasons we can identify, is a sense that if the persons in charge think they are not racist, then there is no supposed to be structural racism in the institution they lead. This argumentation does not account for learned social/cultural behaviour and ingrained structural injustice but is a product of ignorance concerning coloniality. In order to allow institutions to acknowledge the need to re-educate themselves, we want to bring together a number of people who address change in their lives and practices, to create a questionnaire that helps indicate systemic racialization and exclusion in cultural institutions in Europe. A simple tool to facilitate change, as a transparent and concrete way to measure and profile institutions in relation to change.
Fi/uLL A collective writing workshop by adO/Aptive with Klaus Speidel
In adherence to their last collaboration with nadaLokal, the rA/Upture conference, the adO/Aptive collective will organize, together with Klaus Speidel, a two-days collective writing workshop in the frame of RECLAIM festival. In this, the participants will immerse in an auto-poietic system sustained by their own interactions, contributions and collective decisions.
Following the methodology of adO/Aptive, Fi/uLL contextualizes and compresses the indexical and conceptual logic of the vocal amalgam: “FiLL” and “FuLL”. This two words are the parameters the workshop will use to collectively explore, create and update own mythofictional narratives ready to be put at test.
RHYTHM & RHYMING A hip_hop Workshop For Latinx children and the youth
From rhythm to rhyming en español, con todo el flow de Tomás Montangero, for vineese latinx children and youth .
Tomas Agustin Jesus Montangero is supposed to be a composer, a musician, hip- hopper, rapper, brother, son born and raised in Villa Ballester Bs Aires
LEAK a workshop performance by adO/Aptive
We force a space of liminality, a space with the freedom of becoming in which the search for exceptional nationality is deconstructed taking huMANist, colonial-universalist illusions back underwater. – HUNGAROFUTURIST_manifesto_Refllux, 2017-2019 –
Following its contribution of the first RECLAIM festival, the adoaptive collective has expanded the workshop performance it once organized at the Stadthallenbad. We invite you to join us in reclaiming the common trans-corporeal fluidity by engaging in a Xenoaesthetic transformation ritual that will drown your fear away.
adO/Aptive foments critcal thinking, potential action, communication and Otherness by adopting techniques to situate adaptive processes. http://adoaptive.pet/
QUEERING THE ANGELIC (El Canto del Serafin) A collective singing practice led by Veza
In this collective singing practice we take as a departure the fiery six winged singing seraphim angels to unite in visceral singing. The songs emanating from this practice lack of words but not of power, since they invoke, convoke and transform the angelic force. They originate from deep listening, sensing and connecting with the resonating surfaces and potential sensory imaginaries within and around us. The angelic is the in between realms, materialities, genders so harmed by a simplified patriarchal colonial religious gaze. The angelic carries the messages of another order in a voice that can only be felt from within.
BARE OKA RODÓ A film by Susana Ojeda / estudio el gozo
At night in a park in the Oberlaa Vienna, a ruined tower from a distant future is suddenly illuminated. An abandoned first laboratory for vertical farming. The current dreams of a future where cities can self-supply. The linear extractivist logic of exploitation and greed without limits. The movements of resistance to colonialism, capitalism and patriarchy, led by women from the global south and ecofeminism. The paradigmatic change in a future that stands on the ruins of capitalism, and that has recovered the sacredness of food and ancestral fertility rituals. In times of climate change, this tower is a window with multiple and plural views on food and the utopian or dystopian possibilities.
Susana Ojeda is an anthropologist and visual artist based in Vienna. Since 2011, she has been making independent documentaries about social and cultural projects with her co-owned production company: estudio elgozo. estudioelgozo.com
WESTERN UNION by Sattva Giacosa.
Western union is an ongoing project dealing with the reality of immigrants who, once outside their home Country, become their families financial support. Sattva Giacosa‘s work is inspired by her own experiences and interactions she has had during her life as an immigrant in Europe. Western Union finds a common ground within each unique experience, going beyond merely documentary work. In it, Giacosa intensively deals with photography and storytelling, focusing on the inadequacies and incalculable effects of analog techniques. Using photography as a means of communication to revisualize the intricate way society is built, Western Union aims to interconnect these experiences, demystifying the stories told in and by the West about immigrants, employing visibility as self-determination and as an empowering strategy.
Sattva Giacosa, was born in Las Tapias-Venezuela and currently lives in Vienna.
HUMBLING HUMANITY, Hydroperformance practice
This artistic practice will be an invitation for all to participate inside a pool. Together we are going to share stories and stimulate our senses in the water. This will be an attempt to visit sensorially past and present for a better understanding of who we are and why we are so important.
Denise Palmieri is a performance artist with visual arts as background. Born in São Paulo, Brazil. She lives and works in Austria since 2012. The unfoldment of the body, the voice and the ritualistic aspect of them is what mostly permeates her work. She uses art as a communication tool to find and hfound different languages. With focus in Performance she also works with Installation, Photography, Video and Mixed media. Non-normative art and Decolonial narratives are constant statements.
LASHES a piece by Raoni Saleh
LASHES is a professional mourner who’s in love with moaning and wailing. Like other professional mourners it is his responsibility to choreograph people’s grief so that the grief has a public dimension and therefore doesn’t consume people in its chaos. In this performance I call upon LASHES to perform a moaning/mourning song in the memory of my late grandmother’s loss. My grandmother, who went by the names of Kokogul or Bibi-jan, lost her youngest son during the civil war in Afghanistan. He was shot in the back and they found him bleeding in the streets. This performance is an ode to all mothers who have lost their youngest son in some kind of senseless warfare.
Raoni Muzho Saleh (1991 NL/AFG) is a choreographer/performer based in Amsterdam. He graduated from University of Amsterdam in 2015 – Beachelor in Literary and Cultural Analysis. In 2019 he graduated from SNDO – Bachelor in Choreography. Born in Afghanistan and raised in Pakistan, his thinking and work is shaped by multiple cultural, social and political displacements. Through his personal gender transitioning he has been generating a movement practice of becoming other, becoming a body and spirit unknown to ourselves. His movement practice is also rooted in social dance of Vogue, and he is still rooted in these scenes. His recent works are materializations of the seduction of the backspace, which is a concept, a relationality and a spatiality that provokes transformational multiplicity and aims for a sense of being freed from deeply ingrained algorithmic oppressions of binary thinking. In his works he approaches the voice and materiality such as textile, fabrics and dough, as technologies born from the intimacy with the body in the aim to leave the audience trembling with affect. In the recent years he has performed for Indira Allegra (US), Benjamin Kamino (CA), Joy Mariama Smith (US/NL), Keyon Gaskin (US), Eoghan Ryan (IR), Carly Rose Bedford (AUS/NL), Ghita Skali (MOR) and caner teker (TUR/DE).
VOICES OF BLOOD
Tears are transparent currents of blood nourishing the voice of the blood and those who she* encounters by touch, commemorating the defeated as winners. Being loosely inspired by the monophonic songs that Hildegard von Bingen wrote for the Martyr Saint Ursula, “Voices of Blood” invokes the power of radical embodiments of the flesh and its carriers. In “Voices of Blood” the voice hosts a convocation of organic, chemical and mystic sanguine fluids nourishing a carnal body of a song that has to come out longing to be felt with from within.
Dance for the revolution. Rooted in radical queer feminist movement, this movement workshop imagines an alternative future. The aim is to tap into collective consciousness, sharing experiences of being lonely together during this covid19 pandemic while reinforcing the power of community as a form of healing through movement. Its an interactive workshop. Dance for the revolution aims to speak to anyone who imagines a future for coming together and heal. It is a ceremonial event for our future collective.
‘In the dream, I am always met at the river’1.”
In this short performative lecture, I would like to engage critically and interactively with the concept of hydrofeminism. Meeting one another at the edge of a swimming pool, what could we imagine, recollect, evoke? I would like to conjure a few diverse contexts and her*stories of being in relation with water, its surfaces, matter, essence, its generosity and violence, its mighty power despite human’s devastating efforts to control it. We may close our eyes, extend our hands, do a few swimming moves while being at the shore, and dream of those fugitive narratives which may escape a gaze of a conquer, the knowing Self. The swimming pool is transformed in the river, and there we will meet each other.
1Moraga, Cherríe. „Preface. This Bridge Called My Back: Writings by Radical Women of Color.“ (1983).
Masha Godovannaya is a visual artist, experimental film maker, and queer-feminist researcher. Approaching art production as artistic research and collective action, Masha’s artistic practice draws on combinations of approaches and spheres such as moving image theory, experimental cinema and DIY video tradition, social science, queer theory, decolonial methodologies, and contemporary art.
DANCE FOR THE REVOLUTION
This practice is about the collective It has been done before What you see is real This practice is about reclaiming our body This practice is about the emancipation of those who have been forgotten It’s about emancipation from patriarchal rule This practice is about healing
Dance for the revolution is a practice which is led by Mzamo Nondlwana with invited guest Pedra Costa, centers around embodied and/ invisible knowledge by focusing on elements of empowerment and self-expression, utopian notions and the power of imagination.
The aim of this workshop/working practice: *notion of collective movement as a healing mechanism *invisible knowledge *revolutionary dance
Duration of the workshop
1 day workshop of 1 hour 30 min. Participants are invited to bring their warrior outfit, and make up ( please be mindful about what outfit you will bring, as we are trying to create a safer space for healing we will not tolerate any cultural appropriation). I would also suggest to have scent but this is optional. You can prepare a meal as an offering to yourself and the collective. This dance is to honor you and the collective.
Please notes!!! We are trying to create a safer space to move as a collective. We need to acknowledge the multiplicity of the bodies participate in this working practiced . There we will not tolerate any racism, anti-blackness, exotification, fat/femme phobia, ableism, trans*/inter* antagonism or any form of oppressive behavior.
With support of nadalokal, Raw matters
Mzamo Nondlwana a queer non-binary performing artist originally from Johannesburg, South Africa. Their work focuses on marginalized bodies and an attempt to subvert colonial fantasy. In 2006 they completed their dance education at MID (South Africa) and in 2014 SEAD (Austria). They worked with Michikazu Matsume, Doris Uhlich, Magdalena Chowaniec, Needcompany and Michael Turinsky. They are also one half of a dj collective Bicha Boo which is an audio-visual performative collective since 2017.
Pêdra Costa is a ground breaking, formative Brazilian, urban anthropologist and performer based in Berlin that utilizes intimacy to connect with collectivity. They work with their body to create fragmented epistemologies of queer communities within ongoing colonial legacies. Their work aims to decode violence and transform failure whilst tapping into the powers of resilient knowledge from a plethora of subversive ancestralities that have been integral anti-colonial and necropolitical survival.