Programme series: Life Choreographies – infrastructures for a livable life #3

21 August, KL 16:00 - 19:00 Open arrangement

While the social sphere is under rapid changes, the livable life alters within. This is the third part of a programme series that explores what life choreographies that emerge within today’s infrastructures of the social.

Time: August 21, 16.00–19.00
Place: Reaktorhallen R1, Campus KTH, Stockholm
Language: English

16:00–16:15: Introduction by Public Art Agency Sweden and Frida Sandström
16:20–16:50: Ayesha Hameed, lecture performance: And Evil Earth maybe it’s time for a rumble
16:55–17:15: Heba Y. Amin, screening: OPERATION SUNKEN SEA
17:25–17:45: PAUSE
17:50–18:40: Maria w Horn, live set
19:00 END

While the social sphere undergoes rapid changes, the livable life alters within. This programme series explores what life choreographies that emerge within today’s infrastructures of the social. It is part of Choreographies of the Social on three occasions and includes performance, film screenings and conversations that further develop the questions from which this project departs. Intertwining theory and practice, each contribution provides an interdisciplinary use of the concepts of life and the social. For this session, artist Ayesha Hameed presents a new lecture performance titled And Evil Earth maybe it’s time for a rumble (2019) followed by a screening of Heba Y. Amin’s OPERATION SUNKEN SEA (2018–ongoing). The evening closes with a live set by composer Maria w Horn.

Production: Life Choreographies – infrastructures for a livable life is developed by Frida Sandström in collaboration with Annika Enqvist, Elena Jarl, Andria Nyberg Forshage and Edi Muka/Public Art Council Sweden and is part of the public program of the project Choreographies of the Social. In memoriam of Alina Popa.
The programme series took place on June 4 and August 15, 2019. This is the closing session of the series.

1. Contributions:
Ayesha Hameed: And Evil Earth maybe it’s time for a rumble
Lecture performance, 30 min.
We sound out vibrations and disturbances in the room through narratives of loss, islands, and geological time. Mental disturbances are plotted vertically as seismic shifts and vibrations dropping into the earth in slow time. We follow slave workers on sugar plantations, underground caves in Cappadocia, and an island off the southern coast of Finland – once the site of a leper colony and then, later, a mental asylum for women considered incorrigibly ill.

Heba Y. Amin: OPERATION SUNKEN SEA
Mixed media: Performance, installation, video, 2018–ongoing
Video, 20 min.
Invested in the power of technology to generate a new future for humankind, OPERATION SUNKEN SEA initiates a large-scale infrastructural intervention unparalleled in scale. A new era of human progress will be initiated through the draining and rerouting of the Mediterranean Sea to converge Africa and Europe into one supercontinent. The operation promises to bring an end to terrorism and the migration crisis, provide employment and energy alternatives and confront the rise of fascism, all of which pose profound existential threats to our future. The project instills a fervent movement towards technocracy which takes a proactive stance towards the reparation of Africa and the Middle East by relocating the Mediterranean Sea within the African continent.
Referencing and expanding upon early twentieth century techno-utopian visions, OPERATION SUNKEN SEA is an ongoing research project and intervention by Heba Y. Amin that investigates significant transformations in territorial constructs and their impact on new geopolitical alliances and global politics. By shifting the paradigm in a time of neo-fascist necropolitics, the project responds to the contemporary moment of political uncertainty in Europe, the unrest and collapse of nation-states in the Middle East and the neo-liberal failure of globalization in Africa. The operation – mimicking languages (political, architectural and cultural) of fascist regimes – instigates a new vision for Africa and the Middle East by pinpointing what could be attained by and for those most affected by the wars waged for oil, resources and power in the last century.

Maria w Horn
Live set, 40 min.
Manipulating time and space through sonic extremes, Maria w Horn oscillates between minimalist structures and piercing power electronics. Applying both digital and analog synthesis, as well as acoustic instruments and audiovisual components, Horn’s work examines aspects of human perception. Conspiring audiovisuality, overload and loss of perceptual stimuli, her work transcends everyday life and invokes alternate mental states. For Life Choreographies, Horn performs a live set that interweaves the acoustic site of R1 with her own personal and historical investigation into her home region Ångermanland in the North of Sweden. The region was the site of the Ådalen shootings in 1931, the only time in Swedish history when the military has shot demonstrating workers to death. It is also where Sweden’s largest documented execution of women accused of witchcraft took place in 1674.

2. Bios
Ayesha Hameed’s moving image, performance and written work explores contemporary borders, migration, and visual cultures of the Black Atlantic. Her projects Black Atlantis and A Rough History (of the destruction of fingerprints) have been performed and exhibited internationally. Hameed is the co-editor of Futures and Fictions (Repeater 2017) and is currently the Programme Leader for the MA in Contemporary Art Theory in the Department of Visual Cultures at Goldsmiths University of London.

Egyptian artist Heba Y. Amin grounds her work in extensive research looking at the convergence of politics, technology, and architecture. Techno-utopian ideas, as manifested in the characteristic machines of colonial soft power, are at the heart of Amin’s work. Starting from the idea that the landscape is an expression of dominant political power, Heba Y. Amin looks for tactics of subversion and other techniques for undermining consolidated systems and flipping historical narratives through critical spatial practice. Amin teaches at Bard College Berlin, is a doctorate fellow in art history at Freie Universität, and a current Field of Vision fellow in NYC. She is the co-founder of the Black Athena Collective, the curator of visual art for the MIZNA journal (US), and co-curator for the biennial residency program DEFAULT with Ramdom Association (IT). She has had recent exhibitions at the 9th and 10th Berlin Biennale, 15th Istanbul Biennale, Künstlerhaus Bethanien Berlin, Kalmar Art Museum Sweden, La Villette Paris, FACT Liverpool, Kunsthalle Wien, the Museum of Modern Art in Warsaw, Kunstverein in Hamburg, Camera Austria, and the IV Moscow International Biennale for Young Art. Amin lives and works in Berlin.

Maria w Horn is a composer hailing from the north of Sweden based in Stockholm since 2011. She is a part of Sthlm Drone Society, an association working to promote slow and gradually evolving timbral music, and co-operates the label XKatedral. Previous commissions include an audiovisual piece for Swedish Radio, a sound and light environment for the Swedish Museum of Performing Arts, a string quartet with electronics for Malvakvartetten and multichannel electronic music for Audiorama. Formal studies include electroacoustic composition at the Royal College of Music in Stockholm and Universität der Künste in Berlin. Horn has presented music in spaces such as Issue Project Room, Norbergfestival, Moderna Museet in Stockholm, Fylkingen, Artists’ Television Access in San Francisco, Fascinoma and the Spanish Embassy in Mexico City, Tresor Berlin, ACUD, and Flussi Festival.

The second part of the programme series takes place on August 15. 
The third part was on June 4.