The Moor May Go
performance with Anaïs Héraud
Haus Am Kleistpark Gallery Berlin
photo: Adi Liraz, Tatiana Llichencko
2017
Haus Am Kleistpark Gallery Berlin
photo: Adi Liraz, Tatiana Llichencko
2017
The performance reflects on the historical relation between Kleispark’s former Botanical space (1718-19..) and its relevance to contemporary politics of urban/rural spaces between Africa and Germany.
The intervention bridges the link between colonial discourses on fauna and how through early feminist literatures, resistance songs (SWAPO), WWI & WWII colonial cinema productions, testimonial phonograph recordings of oppressed Namas & Herero populations (1931 Hans Lichtenecker; collection Dahlem Ehnologicker Museum) and letters of liberation in Cameroon and Namibia (Basler Afrikanisher Bibliographen archives) link to the dismantling of human rights laws and heritage of farmers notably in Tanzania which is embroiled in the entangled economies of Monsanto and Bayer. The merging of the 2 billion-euro companies are generating manipulations in the technological and natural landscapes to endorse capital abroad and displace rural populations and remove rights of farmers in Africa, U.S., Germany and elsewhere.
The title reflects on Friederich Schiller’s play (Fiesco’s Conspiracy at Genoa 1795) which then re-appears in a written letter by Captain Hendrik Witbooi to General of the Schulztruppe (1904; shortly before the Herero uprise against colonial settlements) towards anti-colonial movement and the right for human protection in Namibia during German colonial settlements. The performance in two chapters brings urgent questions on positions of human rights laws, the unidentified historical politics of archiving fauna and dimensions on experiential feminisms.
The performance is presented with the exhibition "Forschungswerkstatt zur Kolonialgeschichte in Tempelhof-Schöneberg" to re-consider Schöneberg’s colonial memory past and present. The intervention bridges the link between colonial literatures on fauna and how through early feminist testimonies & literatures, resistance songs, WWI & WWII colonial cinema productions, testimonial phonograph recordings of oppressed Namas & Herero populations and letters of human rights & liberation treaties between Germany and its colonies link to the dismantling of human rights laws and heritage of those working on the land. The performance in two chapters brings urgent questions on positions of human rights laws, unidentified historical politics of archiving fauna and dimensions on experiential feminisms. The performance is presented with the exhibition "Forschungswerkstatt zur Kolonialgeschichte in Tempelhof-Schöneberg" to re-consider Schöneberg’s colonial memory past and present.
The intervention bridges the link between colonial discourses on fauna and how through early feminist literatures, resistance songs (SWAPO), WWI & WWII colonial cinema productions, testimonial phonograph recordings of oppressed Namas & Herero populations (1931 Hans Lichtenecker; collection Dahlem Ehnologicker Museum) and letters of liberation in Cameroon and Namibia (Basler Afrikanisher Bibliographen archives) link to the dismantling of human rights laws and heritage of farmers notably in Tanzania which is embroiled in the entangled economies of Monsanto and Bayer. The merging of the 2 billion-euro companies are generating manipulations in the technological and natural landscapes to endorse capital abroad and displace rural populations and remove rights of farmers in Africa, U.S., Germany and elsewhere.
The title reflects on Friederich Schiller’s play (Fiesco’s Conspiracy at Genoa 1795) which then re-appears in a written letter by Captain Hendrik Witbooi to General of the Schulztruppe (1904; shortly before the Herero uprise against colonial settlements) towards anti-colonial movement and the right for human protection in Namibia during German colonial settlements. The performance in two chapters brings urgent questions on positions of human rights laws, the unidentified historical politics of archiving fauna and dimensions on experiential feminisms.
The performance is presented with the exhibition "Forschungswerkstatt zur Kolonialgeschichte in Tempelhof-Schöneberg" to re-consider Schöneberg’s colonial memory past and present. The intervention bridges the link between colonial literatures on fauna and how through early feminist testimonies & literatures, resistance songs, WWI & WWII colonial cinema productions, testimonial phonograph recordings of oppressed Namas & Herero populations and letters of human rights & liberation treaties between Germany and its colonies link to the dismantling of human rights laws and heritage of those working on the land. The performance in two chapters brings urgent questions on positions of human rights laws, unidentified historical politics of archiving fauna and dimensions on experiential feminisms. The performance is presented with the exhibition "Forschungswerkstatt zur Kolonialgeschichte in Tempelhof-Schöneberg" to re-consider Schöneberg’s colonial memory past and present.