Video

A Taqwacore Call to Prayer

A couple of years ago, I was at a conference in Berlin, Xenofeminism: A Politics for Alienation. The last speaker was this trans woman punk from Italy, whose proposal for some kind of anarchist feminist utopia included slamming Islam and conflating it with terrorism.

This was followed by question time, which was kinda awkward ’cos everyone heard what she said and I was sitting there cursing and fucking under my breath. So I got up and returned the slamming. To which she replied with, “Oh, I was talking about ISIS, not all Muslims.” More muttering from me to those I was sitting with, “Nah, you said Islam, we all heard you, we know what you mean, and I’m not touching that reply of yours.”

After the conference, a friend of Ms. V.’s came up to me, he said, “Have you seen The Taqwacores?”

It’s the last Friday of Ramadan. A month ago I had no intention of doing this. The Friday evening before Ramadan started, I had a chat with myself, something like, “Just do the first day, you don’t have to do the whole month, just the first day.” “Awww but Sahūr, Frances, it’s at 230am, and Iftar’s at 930pm.” “Ok, so just have breakfast when you usually do, and then go till İftar.” “But that’s not Ramadan.” Can you hear me whining? I was whining. “You do what you can, that’s all. If that’s what you can do, even if only for one day, that’s what you do for that one day.” “But—” “Just one day, babe, just the first day, just for your Gran, that’s all.”

One day turned into another, into a week, into two, into a month. And here I am at the last Friday of Ramadan. Still here, still doing what I can.

This isn’t a post about why I do Ramadan, or how I do or don’t justify not doing it strictly — which for some is the same as not doing it at all. I know why I do it, just as we all have our personal reasons for doing it. I know who I am and where I come from.

Islam is a fucking surrender.
That’s it.
Knowing that you don’t run the show, staying mindful of it in everything you do.
Take your hands off the wheel. See how it feels.
Islam isn’t about ayats and hadiths, and niches, and lamps.
It’s about us. All of us.
Allah’s too big and too open for my Islam to be small and closed.
I’m so Muslim. I am so Muslim.
I can say fuck Islam.
You know Imam Husain said,
“He has no religion, let him at least be free in his present life.”
Let’s pray.

Video

Schwebebahn is the Best Bahn

No one told me they sway! Side to side. And lean into corners like they’re racing. Wuppertal’s Schwebebahn is the best 13km of public transport in the world. So good, Gala and I made a song about it. It’s the title of this post, repeated until you’re bored. You won’t be though, because Schwebebahn is the Best Bahn. The only thing that could make the best better would be Schwebebahn racing. Not especially fast, but especially awesome.

Video

BANDEN! Festival Bike Caravan

In Oldenburg for the première of Das Helmi’s collaboration with Oldenburgisches Staatstheater, the “progessive feminist science-fiction soft-porno project” Gullivera’s Reise (and repeatedly realising I should have gone: London, train to Brussels, night in Brussels, train to Oldenburg, and not London, fly to Berlin, arrive at midnight, get a morning lift to Bremen, train to Oldenburg, arrive half an hour before the show). It was most excellent seeing the Helmi mob (including Dasniya Sommer and Solene Garnier) once again — the company I’ve seen more than any other.

Friday night was the second and last of this season, in the BANDEN! Festival, and after we joined the throng in the parking lot of Exerzierhalle for food and beer. And there was this bicycle caravan thing, delivering people from one party to the next. This thing was riding around Oldenburg at night like a deranged dragon pirate ship. I saw some mad good bikes in Oldenburg.

Video

Field Series 1

Me messing around with mediæval art, Photoshopping it until it’s far from the 3/4 of a millennium ago of its origin. It started as a visit to the Gemäldegalerie when I decided to do closeups of some of my favourite works. This is part of the Altarretabel in drei Abteilung mit dem Gnadenstuhl, from after 1250. Last night, feeling unexpectedly inspired around midnight, I realised I could mash another few score of layers into an image I was working on six months ago, and increase the density in ways that somehow appeal to my brain and eyes and emotions. I always zoom in on these images, like there’s myriad possible paintings in each. This time I took screenshots of those, and wanting to know what they might look like animated, threw them into Final Cut X and spat out 48 seconds of video.

I was asking myself if this is art. I know art and make art, but still. Maybe they’re sketches of possibilities. I like the artefacts generated from the process. I have no control over this. I have some control in which direction to push an image, but a lot of the detail is only minimally editable. Things happen, I make decisions, other things happen, possibilities open and close, I try and steer it towards a particular satisfaction, but each individual line and gradient and tone, no, that’s the software making its own decisions based on what I ask it to do. And as always, the further I get from using software as it was intended, the more interesting it becomes to me.

Deutsches Historisches Museum: Deutscher Kolonialismus

One of the big exhibitions I’ve been waiting months for: Deutsches Historisches Museum’s Deutscher Kolonialismus: Fragmente seine Geschichte und Gegenwart. An especially pertinent exhibition as Germany only earlier this year resolved to officially describe the occupation of German South-West Africa (now Namibia) as genocide. It’s a big statement for Germany, and perhaps an indication that the country is becoming more nuanced in thinking of itself. Perhaps.

Sadly the exhibition was one of those “No Cameras Allowed”. I did sneak one of Edoardo Di Muro’s Freiheit für Namibia. Solidarität mit der SWAPO (from the Antiimperialistisches Solidaritätskomitee für Afrika, Asien und Lateinamerika, Frankfurt am Main, 1976) because SWAPO. I don’t know they were something my father mentioned, or just because he was South African I would see them mentioned in the news and pay attention, but SWAPO is definitely a name I remember from Apartheid.

Both this and the companion exhibition Kamerun und Kongo: Eine Spurensuche und Phantom Geographie von Andréas Lang are very worth seeing, probably an afternoon’s worth if you use the audio guide — and best not on the weekend, it was packed.

There’s a couple of other special exhibitions on right now that are likely Kameras verboten! so now’s a good time for me to start pestering the museums for special privileges, which might mean a future proper blogging of both these exhibitions.

Deutsches Historisches Museum: Deutscher Kolonialismus. Banner with Deutsche-Reichs-Colonial-Uhr. Um 1905
Deutsches Historisches Museum: Deutscher Kolonialismus. Banner with Deutsche-Reichs-Colonial-Uhr. Um 1905
Deutsches Historisches Museum: Deutscher Kolonialismus. Freiheit für Namibia. Solidarität mit der SWAPO Edoardo Di Muro. 1976
Deutsches Historisches Museum: Deutscher Kolonialismus. Freiheit für Namibia. Solidarität mit der SWAPO Edoardo Di Muro. 1976

Dasniya Sommer at Helsinki Shibari Festival

These days, Dasniya calls me mid-week:
“Hey, D! Where are you?”
“Berlin! I just got back from [place]”
“Excellent! You here this weekend?”
“Nah, I’m off tomorrow morning to [other place].”
And repeat next week.

Last week she was in Mainz, this week Helsinki. Right now, yes! For the Helsinki Shibari Festival, where she’s teaching a rope/shibari/bondage workshop this weekend. In Helsinki? Go. It’s called Wellness to Torture. How could anyone not want to go to a workshop called that? Also another one called Japanese Dreams, where she goes into butoh and bondage.

In Berlin, not in Helsinki? Her Tuesday morning workshops are running all October. And she was in Oliver Riehs’ new comedy Der Affenkönig, on at CineStar Kulturbrauerei from next week.

Here’s everything. You can also keep up with her news on her blog, Zur Zeit; on Twitter, @dasniyasommer; or her mailing list.

  1. Shows & Teaching Abroad
  2. Berlin Workshops (at Institut Sommer in Berlin-Wedding)
    • 3 x Shibari Technique in Oct: Tuesdays 4, 11 & 18 (No class on the 25th), always 10am -12pm
    • Self-suspension Workshop 14th Oct. 12-16h
Vera Goetzee in “Knot Applicable” at Fringe festival Amsterdam. (Photo: Kasper Vogelzang)
Vera Goetzee in “Knot Applicable” at Fringe festival Amsterdam. (Photo: Kasper Vogelzang)
Dasniya Sommer — Butoh Bondage
Dasniya Sommer — Butoh Bondage

Image

Black Metal Autokino

And what was best! Gab was in town! (So we had pizza and beer beside Urbanhafen.) A single photo (of three photos from Dasniya) of last week’s public outing of the first section of Black Metal 1 at Autokino. Seems to be getting somewhere. And now back to working on my own.

Black Metal Autokino
Black Metal Autokino

A short performance on Thursday at Eat More Bondage // Film Evening

I’ll be performing an excerpt from Black Metal 1 this Thursday at Autoteile in Kreuzberg at Eat More Bondage // Film Evening. All the details? Yes!

Film Evening // Eat More Bondage
– a short film evening on ropes and bondage

21h, Thursday, 28th July
Autoteile
Yorckestraße 70
10965 Berlin-Kreuzberg

Doors open at 20h, performance at 21h, and films + beer directly after.

AUTOKINO ist ein privater Vorführort für Filme Videos VJ-Performances und Crossover Media.

We all know that a varied diet is good for one’s health, and being in a monodiet is not only adverse to wellbeing, but in the long run increases the risk of health hazards. It is the same with art, films and bondage. A diverse portfolio of possibilities will be good for your appetite, for your health, your view of the world and for your eyeballs.

Having this in mind we put together a short-film evening having bondage/shibari as main topic, but with special focus on non-mainstream views and experiments, which break or bend gender/performative/traditional/humour/aesthetic/other stereotypes.

We are still putting the program together, so feel free to send your suggestions… DIY productions are specially welcome.

Films confirmed so far (list under construction):

  • Black Metal 1 by Frances d’Ath
  • Let Go by Mischa Badasyan
  • I/XXI by Aida Jara
  • Slowdance (trailer) by Harvey Rabbit
  • Remember Gay Love Story by The Strange Life of the Savages
  • Fight and flight by Proa Proeza
  • Cuerpas&Cuerdas (Bodies&Ropes) by Missogina, Proa Proeza and Maria Mutebox

More details: The Strange Lives of Savages, & Autokino.

Eat More Bondage // Film Evening
Eat More Bondage // Film Evening

Emile Zile — Mining the Cloud

And another performance. You’re not in Moscow for Isabelle; you’re in Collingwood for Emile Zile and Desktops! Part of the Mining the Cloud: a series of desktop documentaries performances put on by Interval Projects.

Desktops
Disembodied voices. Home Altar eternally altered. You wont believe what happens next.

Building on the recent body of work Desktops, Emile Zile’s performance creates narratives from computer screen captures, search term collages and algorithmic portraiture to explore human mediated communication and the circulation of digital images.

Emile Zile

Emile Zile: Desktops — 1
Emile Zile: Desktops — 1
Emile Zile: Desktops — 2
Emile Zile: Desktops — 2