Open to all cracks in the brick wall, stone butchies, soft blocks, hard socks, tender brocken, hard headed moss-blossoms, hot hot cherry stones, stoneage queens, shingly kings, dusty daddies, rocky femmes, crumbly crackers, sandy dandies, crushed cissies, marbled maybes, angry eczemas, poorly graded gravel, fluffy climbers, cuddly cobblestones, engraved fluids, stony brokes, dancing slingshots, dept mountains, uncutted diamonds, hard-edged lichens, shortsighted cliffhangers, spondulicks, kidney stones & pebble gravel +++
*
Die «Selbstbestimmungsinitiative» drängt alle Nicht-und-Stimmberechtigten in eine schwierige Situation. Zum einen gilt es sich vehement gegen die rechtspopulistische Initiative zu positionieren, weil unter einer verdeckten Rhetorik der Austritt aus den Menschenrechtskonventionen erzwungen wird - welche unter anderem die minimal verbliebenen Migrationsrechte schützen. Zum anderen erschwert es eine weiterführende differenzierte Betrachtung der Konstruktion von «Menschenrechten» in ihren Widersprüchen. Denn auch diese Konstruktion ist bezeichnend für bestehende Machtverhältnisse. So zeigt etwa das Mittelmeer-Sterben, wie systematisch darüber gerichtet wird, welche Personen von den Menschenrechten ein- oder ausgeschlossen werden.

Becoming Stone Ball möchte versuchen diesen thematischen Raum politisch, diskursiv und imaginierend aufzufächern und in Kombination mit gemeinsam geteilten Momenten von Pleasure zu denken, auch wenn sich darin viele Widersprüche auftun.

Dem «Selbst» wollen wir mit dem Gemeinsamen und Verstricktem, dem Hier und Dort, Nah und Fern entgegentreten. Mit der von Audre Lorde, Sara Ahmed und Trinh T. Minh Ha ausgeliehenen Metaphern des Steins möchten wir eine widerborstige Figur und eine Zeugenschaft vorschlagen, die in einer historisch verflochtenen, anderen Zeitlichkeit funktioniert, eine Bewegung die sowohl nach Aussen als auch nach Innen verweist, die das Jetzt und das Vergangene gleichzeitig beinhaltet, und eine nicht dichotome Position erlaubt und den Raum für die Begegnung mit Paradoxien und moosigen Verflechtungen öffnet.

NEIN ZUR "ANTI-MENSCHENRECHTSINITIATIVE" AM 25. NOVEMBER!

«In order to withstand the weather, we have to become stone.» (Audre Lorde)

*
FAKA (SA, Non Worldwide)
The artists explore a combination of mediums ranging from sound, live performance, literature, video and photography, to create an eclectic aesthetic with which they express their ideas about themes central to their experience as black queer bodies navigating the cis-hetero-topia of post-colonial Africa.
Their hybridised mode of practice and challenging subject matter as artists has lead them to being invited to perform at various international festivals such as the 9th Berlin Biennale for Contemporary Art (2016); Unsound Festival Poland (2016);  FLOW Festival (2017), and Digging the Global South (2017) amongst many others.
In October 2017, FAKA released their much anticipated sophomore EP titled Amaqhawe, a three track offering that «explores the intricacies of love and romance within the black queer experience, with songs touching on everything from self-love, unrequited love, childhood love and transactional love.»
*
Bonaventure (Lausanne/Berlin/Lisbon, Non Worldwide)
Bonaventure is Soraya Lutangu’s nom de guerre. Under this alias, she has been developing sonic weaponry designed to confront oppressive power structures, tell the story of violence, indifference and abuse fuelled by racism, with Complexion released on NON Worldwide last year marking the prelude to her protest, fully expressed on Free Lutangu released via PTP. She uses music as an identity research tool along with practical and speculative initiatives to connect her African and European roots and investigate human relationships.
A regular on Berlin Community Radio, Bonaventure has also made herself at home for several hours on London’s NTS. Her radio mixes bring disparate genres into smooth sequences she refuses to protect from abrupt collisions.
Bonaventure follows up her 'Complexion' single released on NON Worldwide last year with her EP, 'FREE LUTANGU,' out on PTP in May. Described by Lutangu as having been born out of "a violent clash of sorrow and love," this EP explores themes of institutional racism and oppression - something she's experienced first hand growing up in Lausanne, Switzerland, of mixed African and European heritage. Listeners are confronted head-on by these issues with the pummeling opener, "Supremacy," acting as an ominous movie trailer narrated by samples of Sister Souljah's speech from Bill Moyer's PBS series 'Listening To America,' and in titles such as "Mulatre" and Diaspora." Closing track "Fearlings" also sees Bonaventure collaborate with artist and writer Hannah Black - who contributes on vocals - offering a first glimpse into their ANXIETINA project, a performance piece realized in music, words and textiles by Lutangu, Black and designer Ebba Fransen-Waldhor.

*
Deena Abdelwahed (TUN)
Coming from the Tunisian alternative music scene, Deena works to inject a dose of innovation and experimentation in Electro Dance Music. Giving a personnal touch to urban rhythms and energy to avant-garde music, she starts by accompanying jazzman Fawzi Cheki- li and the group “So Soulful". Later in 2011, she joins the World Full Of Bass DJs collective, introduced by Zied Meddeb Hamrouni, one of the first performers of experimental electronic music in Tunisia. Just before moving to Toulouse/France in 2014, she performed live sets with Arabstazy’s artists in numerous European and north African cities. Now working alone, She has played at many events such as the CTM festival in Berlin, Sound of Stockholm, the RBMA festival, Villette Sonique in Paris, the Festival Transmusicales in Rennes, and made quite an impression this year, selected by NY times among Sonar’s 15 best performances, and by Les Inrocks as highlight of Nuits Sonores Brussels.
She has been selected as a Shape artist this year and is programed this summer at Rewire Festival, Lapsus, Strange Sounds from Beyond, Freerotation, Atlas Electronic and many more.