Expectations Around Cultural Production in Times of War and Oppression

01st Feb 2023 01st Feb 2023 17:00 18:30

Anna Kravets, Diana Azzuz, Nazanin Noori. Moderator: Mariana Berezovska

00:00

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  • Anna Kravets

    UA

    The Ukrainian researcher, radio journalist, sound artist, and documentary podcast producer is one of this year’s Radio Lab winners.

  • Doron Sadja

    US/DE

    The American artist, composer, educator, and instrument designer – who splits his time between Berlin and Los Angeles – explores modes of perception and the experience of sound, light, and space. 

  • Nabihah Iqbal

    UK

    The musician, producer, DJ and broadcaster from London made waves in 2017 with her debut album, Weighing of the Heart, on Ninja Tune, and is currently an artist-in-residence at London’s Somerset House, where she is writing and recording her second album.

     

  • Maryanne Amacher

    US

    The internationally renowned American composer, performer, and multi-media installation artist – who died in 2009 – was a 20th century maverick of music and sound, working extensively to develop her »ear tone music, with the physiological phenomenon called otoacoustic emission – in which the ears themselves act as aurally active generating devices.

    • Live stream

    Within the context of Russia’s war of aggression on Ukraine, and the current uprising in Iran, this panel brings together a group of artists who have addressed topics of war, revolution, and oppression through their music and art.

    Image: Diana Azzuz, 2023.

    Their works tell stories that recreate a certain feeling or that help us imagine an experience of the destructive consequences of oppression — though their language is not straightforward as expected by mass media. Do they feel like it’s their duty to create content that focuses on topics of the war or crisis in their homeland? At what point do they feel the need to explore different topics? How much pressure is there to represent your art through the lens of war, revolution, or oppression due to expectations from curators and cultural institutions, and even peers and the public? At what point does it feel OK to move into different topics, and what kinds of resources or opportunities might be offered to artists from countries at war or in frozen conflicts, to allow them wider ranges of expression?

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    Presented in collaboration with the project Goethe-Institut in Exile, which aims to provide meeting places, safe spaces, and platforms for cultural workers who can no longer work in their home countries due to war. The initiative aims to maintain spaces for dissent, dialogue, and intercultural exchange for artists and intellectuals from countries where the Goethe-Institut and other international cultural institutions have had to close their doors due to war or censorship.