Why criticism? What is, and to what end, does one practice cultural critique?
Digital debate in three episodes
During the pandemic period, the reviews in daily newspapers and radio broadcasts continued to decline. In any case, art criticism, as a vain genre, is itself repeatedly subject to criticism. Does the current situation mean the swan song to it? Time at least for an inventory: What do cultural journalists talk about (too little)? What creative options does criticism have in the form of reviews and beyond? What is the relationship between criticism and self-criticism? Who speaks or writes how about whom? Who pays for it? And what role should cultural institutions play in clarifying these questions?
In three digital panels, cultural journalists, dramaturges, philosophers and media makers will discuss the state of criticism and the cultural journalism of the future.
Concept Astrid Kaminski
Written Keynote Sanjoy Roy
Panel I & II in German, Panel III in English.
Di 08 12 2020
Panelists: Christiane Lutz, Esther Boldt, Pablo Larios and Janis El-Bira
Moderation: Susanne Burkhardt and Elena Philipp
Biographies of the panel participants
Janis El-Bira studied philosophy and history in Berlin and has since been working as a journalist, focussing on theatre and the stage. He’s a staff writer for nachtkritik.de and co-host of the radio show „Rang 1“ on Deutschlandfunk Kultur. Articles have appeared in various newspapers and magazines. Since 2016, he’s been editor and head of the „Theatertreffen-Blog“, a project for young cultural journalists hosted annually during the Berliner Theatertreffen.
Esther Boldt works as an author, dance and theater critic for media such as nachtkritik.de, Theater heute, etcetera, tanz magazine and Hessischer Rundfunk. She has written essays on contemporary aesthetics and is active on numerous juries, including the Else Lasker-Schüler Dramatikerpreis and Tanzpakt Stadt Land Bund. Since 2019, she and Philipp Schulte have headed the Academy for Contemporary Theater Journalism, initiated by the Alliance of German Production Houses.
Pablo Larios, born in Honduras, grew up in the USA, studied comparative literature, lives in Berlin and writes both novels and art criticism. Since 2018 he is the editor-in-chief of the art magazine Frieze.
Christiane Lutz studied German literature, theater studies and English literature at LMU Munich an got her Masters Degree in 2010. In 2012 she completed the journalistic program at the German School of Journalism (DJS) in Munich. She has been an editor and theater critic for the Süddeutsche Zeitung since 2013.
Susanne Burkhardt studied Cultural Studies, Business Administration and Theatre Studies at the Humboldt University Berlin and in London (Middlesex University). She holds a degree in media consulting and began her radio career as an assistant radio play director at Sender Freies Berlin (later RBB). After a traineeship at Deutschlandradio, she has been editor, author and presenter at Deutschlandfunk Kultur since 2001 („Fazit“, „Rang 1 – Das Theatermagazin“, „Der Theaterpodcast“).
Elena Philipp studied theater studies and comparative literature. She is an editor at nachtkritik.de and tanzraumberlin and writes as a cultural journalist for tanz and the Berliner Zeitung, among others. Together with Susanne Burkhardt, she is the host of the monthly theater podcast, a cooperation between nachtkritik.de and Deutschlandfunk Kultur. In the winter semester of 2020, the two will hold the „Anna Vandenhoeck guest lectureship“ at the University of Göttingen.
Fr 11 12 2020
Panelists: Chris Standfest, Nikita Dhawan and Dorian Astor
Moderation: Mohamed Amjahid and Elisabeth Nehring
Biographies of the panel participants
Dorian Astor is a French philosopher and is a recognized Nietzsche specialist. He worked at the Sorbonne Nouvelle University in Paris and at the Marc Bloch University in Strasbourg. As a freelance author, he publishes numerous essays, critical editions and translations. His current research focuses on perspectivism in Leibniz, Nietzsche, Whitehead and Deleuze. He has lived in Paris, Amsterdam, Berlin and Strasbourg and is now based in the South of France.
Publications (selection): Lou-Andreas Salomé, Gallimard, 2008; Friedrich Nietzsche, Gallimard, 2011; Nietzsche. La détresse du présent, Gallimard, 2014; Deviens ce que tu es, Autrement, 2016; Dictionnaire Nietzsche, Laffont, 2017; La passion de l’incertitude, Observatoire, 2020.
Nikita Dhawan is Professor of Political Science and Gender Studies at the University of Gießen, Germany. Her Research and Teaching expertise is in Transnational Feminism, Global Justice, Human Rights, Democracy and Decolonisation. She received the Käthe Leichter Award in 2017 for outstanding achievements in the pursuit of women’s and gender studies and in support of the women’s movement and the achievement of gender equality.
Chris Standfest is Curator and dramaturge, Vienna. Studies of literature and linguistics, Gender and Cultural Studies (FU Berlin and University of Lancashire), various trainings and collective projects in diverse contexts. Over the years, various scenic works and teaching assignments, jury activities and publications. As a performer and dramaturge she worked intensively with theatercombinat/Claudia Bosse and in her own and independent collaborative projects. Since 2013 dramaturge at „ImPulsTanz – Vienna International Dance Festival“, curator of the festival’s museum cooperations and artistic director of the „[8:tension] Young Choreographers’ Series“.
Dr. Elisabeth Nehring, author, dance critic, cultural-political moderator and coordinator. Since 2019 she has been head of the dance department in Mecklenburg-Western Pomerania. In 2018, she steered and coordinated the round table for dance in Berlin as a team, a participatory process with broad participation from cultural policy, administration and dance experts to develop a concept for dance in Berlin. Since 1999 she has been working as a freelance journalist and critic for national and regional broadcasters (including Deutschlandfunk, Deutschlandfunk Kultur, WDR) as well as print and online media. Elisabeth Nehring moderates public discussions and is and was a member of several juries.
Mohamed Amjahid was born as the son of so-called guest workers in Frankfurt am Main in 1988. He attended school in Morocco until he graduated from high school. He studied political science in Berlin and Cairo and conducted research on various anthropological projects in North Africa. During his studies, he worked as a journalist for taz, Frankfurter Rundschau and Deutschlandfunk. Amjahid worked as a trainee at the Tagesspiegel in Berlin. Afterwards he worked as a political reporter for the weekly newspaper Die Zeit. He is currently working on several new book projects. He is fellow of the Thomas Mann House in Los Angeles.
Di 15 12 2020
“Some see the cultural pages of continental European character already as a kind of UNESCO World Heritage that needs to be protected and funded by the state,” wrote journalist and artist Jörg Scheller in the magazine of the renowned Schauspiel Zürich (Switzerland). Like many other cultural institutions, the theatre in Zürich is ahead of the state and digs into its own pockets to make reviewing and art writing possible. Is this form of support helpful or a hindrance for authors and journalists as well as for the establishment of new, self-contained media? In Panel 3, young media makers, supporters and authors discuss new forms of organization and financing and how that effects their texts.
Erica N. Cardwell, Journalist & Author, a.o. BOMB & Hyperallergic
“Who we are“ – Which policies do magazines have towards writers and how do they affect the writing?”
Alina Kolar, Founder Arts of the Working Class
“The artist Union“ – How new distribution and financing systems influence the content.
Lukas Harlan, program director Schöpflin-Stiftung
“Providing Money“ – What is the idea behind non-profit journalism? Which place does it give to culture?
Lynn Berger, De Correspondent, staff member Care
“Using Money in member based journalism” – Which obligations does it contain if you are paid by your readers?
Sanjoy Roy, Springback Magazine, Founding editor
“Giving support or pulling the strings“ – How to deal with funding obligations at the editorial board?
Talking to Elena Philipp, staff member nachtkritik.de, and Elisabeth Nehring, radio journalist and outreach developer
Biographies of the panel participants
Lynn Berger is a staff writer at Dutch journalism platform De Correspondent, where she covers care. Previously, she covered culture for De Correspondent as well as other publications. Her first book, „Second Thoughts: On Having and Being a Second Child“ looks at the science and culture of family relationships and will come out in the UK and the US in the Spring 0f 2021. She holds a PhD in Communications from Columbia University and lives in Amsterdam, the Netherlands.
Erica N. Cardwell is a writer, critic, and educator based in Brooklyn, New York. Erica often writes about print, archival media, visual culture, and interdisciplinary performance; she centers Black feminist theory as her primary critical approach. Her work has appeared in BOMB, The Believer, Brooklyn Rail, frieze, CULTURED, Hyperallergic, Green Mountains Review, Passages North and other publications. Most recently, she was invited to join the Queer Art Men-torship Fellows Cohort. Currently, she teaches writing and social justice at The New School. www.erica-cardwell.com
Lukas Harlan is program director at the Schöpflin Foundation and responsible for the areas “Non-profit Journalism” and “Schöpflin Biotope”. For the last 15 years he has worked as a social entrepreneur, cultural and educational manager and holds a Master’s degree in Public Policy.
Alina Ana Kolar is a publisher and editor of Arts of the Working Class. As a contemporary art historian, specialized in political semiotics of visual cultures, she works at the intersection of art, activism and social change.
Sanjoy Roy (London, UK) has been writing on dance for the Guardian since 2002, and is founder-editor of Springback Magazine, launched in 2018 by Aerowaves Europe. He has contributed to other publications including the New York Times, New Statesman, Dance Gazette, Pulse and Dancing Times, and is London correspondent for Dance International magazine. He studied contemporary dance at Laban, London, after which he was production editor and designer at Dance Books Ltd for 10 years. He keeps an online archive of published writing at sanjoyroy.net.
Astrid Kaminski writes as a journalist, author and speech writer. She develops and moderates public and dialogic formats in the field of creative writing, art and social criticism – including the series „Blattkritik“ (2018-2020 at various Berlin theaters) and „Letters Of“ (Love, HAU Hebbel am
Ufer / Volksbühne Berlin, Roter Salon, 2019). In 2019 her lecture performance „Death of a Critic“ was created. As co-editor she was most recently responsible for „Recipes for the Future“ (Onomatopee, Eindhoven 2020). She is based in Berlin and Athens
Eine Kooperation des Tanzbüro Berlin mit dem radialsystem und dem Dachverband Tanz Deutschland.
Präsentiert von tanzschreiber.de
Eine Begleitveranstaltung zu tanzschreiber.
tanzschreiber ist ein Modul von „Attention Dance II“, einem Projekt des Tanzbüro Berlin, getragen vom Verein Zeitgenössischer Tanz Berlin e.V. Das Projekt wird von 2018-2021 gefördert durch den Europäischen Fonds für regionale Entwicklung (EFRE) und die Senatsverwaltung
für Kultur und Europa.