Programme Nocturnal Unrest

Page 1

A Feminist Festival for Theory, Performance and Radical Flâneuserie 20-24 May 2021


CONTENT About us ................ 04 Awareness & Team

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Accessibility ................ 14 Programme Overview

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Thursday | 20 May

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| 21 May

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Saturday | 22 May

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| 23 May

Our Partners ................ 74 All tickets are available for FREE. Please book your tickets via our website In case you have any questions, needs or critique, please send us an email to We would be happy to hear from you! Planning this festival in pandemic times involves a lot of dynamic shifts. Therefore there might still be some last-minute changes in the schedule. Please check our website shortly before the event to stay up to date:



About Nocturnal Unrest



About Nocturnal Unrest


social utopia. We aim to establish alternative practices of care as well as counter-narratives to fear and violence that still endanger women, queer people and BIPoC at night. We address this issue as a team comprised entirely of white, academic cis women. While we do engage with forms of discrimination that we do not experience ourselves, our perspectives are and will remain limited. We have included queer, disabled, and BIPoC in curation, had the call for papers and our awareness concept critically reviewed. In the About Us section, we want to make our reflection processes transparent. However, the contradiction cannot be reflected away:With our positioning, we continue to represent white positions in cultural work and are entangled in existing power relations, which we collectively criticize. The, now digital, Festival on Night is developed with this contradiction.

Nocturnal Unrest (nOu) is a queerfeminist festival that (re-)claims the night as a space of dreams, utopia, solidarity and care. nOu fights for inclusiveness and empowerment, revolving around the themes of night and darkness which have played a central role for the intersecting groups of BIPoC¹ women and queer people in the organization of their everyday/-night lives as well as in their art works, theories and political practices. The festival delves into feminist archives, establishing a dialogue with current artistic, scholarly and activist practices. A diversity of online workshops and (audio-)walks, installations and open spaces both invite everyone to interact, share their experiences, to experiment with their bodies and imaginaries and to take up space in the analogue and digital public sphere. Simultaneously, performances and lectures/talks/Q+A’s We – Lisa, Helene, Maggi, Teresa, Raprovide opportunities for learning, hel, Caro, Nina, Vero, Sophi, Judith sharing and creating new knowledge. and Sonja - know each other from University or have met at feminist workshops. We were glad to get ABOUT THE NOU COLLECTIVE Lisa Gehring and Carmen Salinas on As a collective, with a queer-feminist board who manage productions freeorientation, we are co-creating a fes- lance and share our feminist visions. tival that asks about the potential of Both, in our plenary meetings and in the night for feminist solidarity and our studies/work which cover the 7

About Nocturnal Unrest

humanities, the social/ political sciences, philosophy and theatre studies, we discuss feminist theories and practices (of the night). For us, feminism means to find ways to think resistance as well as to be unruly; in resistance there lies the possibilities of utopia, of new dreams and other desires. With the idea of Nocturnal Unrest and Nocturnal Feminism, we want to contribute to building caring structures of solidarity based on mutual understanding and shared knowledge. When we speak of knowledge, we refer to its very different forms, that go far beyond the scholarly and academic and which reminds us that we always keep learning. Feminisms have long- standing experience in learning collectively and using the everyday and our emotions as valuable sources of power and knowledge. In that, we’re proud to write forth feminist histories, while critically reflecting their shortcomings and the influences they still have on us – especially regarding ableism, racism, anti-semitism, queerphobia, transphobia, lesbophobia, homophobia and classism. We will be overlooking things, we might sometimes not be aware enough or ignorant of things and people we should have taken care of.

do let us know where you feel nOu has to become more inclusive, more feminist, more unresting. We’re eager to learn! Read more about us and our curation on NOU AND THE NIGHT The night is a contradictory space where sometimes this is denied while at other times it is enabled particularly because of invisibility and darkness. If Nocturnal Feminism were already in existence, it would ask: Who remains in the dark? And why? And how does one take back, explore, celebrate, devour, indulge in the night? At the festival, we’d like to find out together with you what that could mean.

“Night” refers both to the actual time of darkness and its metaphorical spheres. For example, Western epistemes commonly associate it with ignorance and irrationality, with the feminine, with blackness and queerness; for more detailed insights, take a look at our Call for Papers. While initially inspired by feminist solidarity movements such as “Reclaim the Night” (which has since spread all over Europe from Leeds beginning in 1977), “Nocturnal Unrest” gains even more relevance during the CoPlease do send us your critique and vid-19-pandemic and the dangerous


About Nocturnal Unrest

surge of right-wing politics and ideologies regarding the current backlash regarding gender equality and the ongoing obfuscation of gendered violence intersecting with sexism, racism, ableism, classism, anti-semitism, queerphobia, transphobia, lesbophobia, homophobia, and other forms of violence. We firmly believe that queer-feminist art, theories and intersectional solidarity movements harbour manifold resources for such global crisis. It is about time they get to be centre stage! What ways of living together free from fear, devaluation and exoticization do they offer?, we ask ourselves – and you! Having been set in motion by these questions, we organize this festival where theory meets activism and performance art. This is a process throughout which we try to constantly reflect and tackle our complicities as white cis women with the very power relations we claim to work against. As a collective consisting of white cis women we feel a particular obligation to be aware of our structural privileges and our limited stand- and viewpoints (while not all of us are born in Germany). If we know one thing sure, it is that Nocturnal Feminism is Unrest.

NOU AND COVID In light of the current situation, the event will be held digitally. Several aspects of the programme will invite you to become active at home, in your own neighbourhood or alone in the city. Dancing, laughing, chatting, discussing, eating, hanging out, learning, debating, arguing, hugging: All that is vital for a festival. Corona seems to make all that impossible. Does this mean we have to give up on a „festivalesque“ atmosphere and nightly conversational escapades? Well, we are not under the illusion that technology and video conferencing can replace the diversity and vulnerability of the physical encounter. But we will not let the distance that the virus and current health policies has forced between us drag us down. In the present moment it is important for us not to retreat into the private sphere, but to be creative and find caring, creative forms of resistant politics and practices of solidarity. Therefore, we have tried to create digital spaces for exchange, in order to create bonds and alliances. These spaces will offer different possibilities depending on your needs. Stay unresting! 9





The festival spaces are meant to crea- TELEPHONE & „OFFICE HOURS“: te a place for shared discussion, care, and non-violent conflict, without The team can be reached by phone: claiming conformity or homogenei- +49/17671912590 during the folloty. This is an aspiration that requires wing office hours: active work against discrimination as 20:00-22:00 well as reflection on the fact that we Thursday: 18:00-22:00 are all entangled in different ways in Friday: Saturday: 16:00-20:00 prevailing structures. Sunday: 18:00-22:00 13:00-16:00 The sketched principles are intended Monday: to prevent and avoid discrimination and assaults. They are not meant to Every day, an additional Zoom space impose rule-conforming behaviour is available for the above-mentioned or a certain demeanor. However, it consultation with at least one person is important for us to clearly identify from the Awareness Team. You will the limits of unacceptable behaviour. receive the link on request via email to ( Should something come up later, or DIGITAL & PRESENT should you have questions and feedIf during the festival you are subjec- back, you are welcome to write to ted to abuse and/or violent (verbal) the Awareness Team before, during acts or if you experience discrimina- and after the festival sending a mestory behaviour on our part; the orga- sage, video or voice recording to the nisers, technicians, helpers, artists or following address aware@nocturnalhosts of the festival and, if you want (until the end of the festival support, need to talk, want or need on 24 May 2021.) to withdraw without being alone, you can contact our Awareness team in DIGITAL SAFER SPACE: various ways. As a retreat or networking space, we At least two people from the team offer BIPoC-only , Queer-only and a will be present at every Zoom event, FLINTA (female, lesbian, inter, nonand the awareness room will still binary, trans* and/or agender idenbe staffed for 30 minutes after each tifiying people) Break-Out rooms, which will be moderated. event ends. 11


You will get access to them on request by sending a message to In the Digital Safer Space there are podcasts and music for further learning, empowerment and well-being, as well as tips for self-care. LANGUAGE & WAYS OF SPEAKING It is important for us to be tolerant of errors in our discussions and still make it clear that we actively intervene when we encounter discriminatory and exclusionary language. We therefore ask all participants to observe their speech and speaking behaviour and to shape it in such a way that discrimination and other violent effects are avoided. AWARENESS AS A PROCESS We understand Awareness and our confrontation with discrimination as a process in which we as a majority white cis team are trying to become aware of many of our own entanglements in discriminatory structures using our privileges to fight discrimination. Despite the provision of an Awareness Team and our attempts to prevent and avoid violent behaviour, we cannot rule out the possibility of abuse happening at our festival. We therefore have included funds in our budget to provide support services to those affected in these cases. 12

ANTI-DISCRIMINATION CLAUSE In our contracts we have included the anti-discrimination clause drafted by the director Julia Wissert and the lawyer and dramaturg Sonja Laaser, that serves to protect participants in a contractual relationship from discriminatory statements and attacks by organisers or employees of an institution. FEEDBACK If there are any comments or criticisms, e.g. about gaps in the awareness concept published here, we expressly ask you to send feedback to the following e-mail address:



CONCEPT, ORGANIZATION AND CURATION: Caro Zieringer, Helene Röhnsch, Judith Hesselmann, Lisa Wagner, Magdalene Hengst, Nina Rosstalnyj, Rahel Crawford Barra, Sophi Lewis, Teresa Bernauer, Vero Schweighoferová, Sonja Diederich PART OF THE CURATIONAL TEAM: Rebecca Gotthilf, Zandile Darko PRODUCTION TEAM: Carmen Salinas, Lisa Gehring WEBSITE/GRAPHICS/CORPORATE IDENTITY: Anna Zhu, Inga Baumgartner, Susi Sauer, Connor Lanigan AWARENESS TEAM: At the time of creating this booklet, the people who will consitute the awareness team were not yet confirmed. Unfortunately, therefore, we can‘t name them yet. Please check out our website to get to know them. BIG THANK YOU FOR THE SUPPORT IN SO MANY DIFFERENT AREAS: Adrian César Montufar, Bárbara Luci Carvalho, Bianca Bertrams, Brix Lange, Carlotta Teyke-Saathoff, Renate Enslin (GLSH), Caroline Frölich, Chloe Turner, Ella McGrane, Eva von Redecker, Franz-Josef Hanke (Arbeitskreis Barrierefreies Internet), Jeanne-Charlotte Vogt and the NODE team, Lucy Duggan, Matthias Nikutta, Andreas Streinzer, Melmun Bajarchuu, Nora Schratz, Patricija D. Popovaite, Sebastian Köthe, Tabea Dibah Jian, Vanessa Eileen Thompson, Viktoria Reisch, Zwoisy Mears-Clarke, Jeanette Oholi, Tiffany Florvil, Vanessa D. Plumly, Sandra Markewitz, Sophia and Mello from Ladiez e.V., the team from Mousonturm and hafen2 13





For us accessibility means not just wheelchair ramps, especially when it comes to digital spaces. We know that barriers can be as different as the people who encounter them. Our aspiration is that all peo­ ple who are interested in feminist performances, lectures, workshops and walks around the themes of night and darkness can take part in the festival. For this reason we, the nOu-collective, stand for a feminism where disabled FLINT* people are represented, feel empowered and can move in the space as naturally as everyone else. However, during the preparation of the festival, we had to realize that unfortunately we do not always live up to this claim. Between our goal and us, there exists a frightening rigidly standardized world, where it is hard to fight barriers in minds, like in our own ones, and where is above that often insufficient time and financial resources. We decided to speak of low-barrier access to the festival, well aware that we cannot guarantee barrierfree access to the festival.

Our intention is to remove as many barriers as far as possible and to communicate those barriers we have not been able to remove, transparently and in advance. On the pages of the programme’s projects, there will be a „Good to know“-section. There you will find information about existing audio descritption, the languages spoken, subtitles, translations and existent barriers, such as strobe-lights or triggers during event. If you are unsure whether the event is suitable for you and/or you are missing information that is important or relevant to you, please do not hesitate to contact us at On the following pages, we outline some more measures we take to reduce barriers during Nocturnal Unrest.




SUBTITLES (German: UnterTitel)

With an audio description (AD) visual impressions are described acoustically so that blind and visually impaired people can participate in them. AD can be either pre-recorded or recorded live on site. Depending on the area of application, certain visual impressions are more important for an AD than others. Basically, objects, movements, facial expressions and gestures of persons, colours, sounds, projected texts, perspectives as well as other visual impressions that are relevant to follow the action are recorded. In contrast to film and television, AD in theatre take place live. Therefore in addition to the stage action for example reactions of the audience can also be commented on.

Wherever possible, we provide subtitles in the language spoken. The captions will be provided live by professional staff and you can choose to turn them on and off according to your preferences. A majority of previously uploaded videos will be subtitled, too.

A selection of Nocturnal Unrest’s programme will have live Audio Description. This will be marked in the Good to Know Section both online and in this booklet. 16




A digital festival might reduce some barriers connected to physical space, but of course means other barrieres in relation to virtual spaces. We have carefully chosen the platforms keeping accessibility (e.g. through screen readers) in mind. For live events, we mainly rely on the software Zoom since it is the one many people are already familiar with. Besides Zoom, there are Mozilla Hubs and video conference spaces for in-between encounters (see: nOu and Covid). We provide step-by-step booklets and introductory sessions that guide you through entering, using and navigating any digital platform we‘re using. The booklets are available as .pdf and as .docx on our website. Should you experience any difficulty, our tech support is available during the festival. Just drop them an e-mail to indicating whether you‘d like to be contacted via e-mail or phone and they will get back to you shortly.

In case you need any kind of support, that we do not provide yet, please do not hesitate to write to us and we will do our best to cater to your needs! GENERAL INQUIRIES ACCESSIBILITY AND ASSISTANCE FOR DISABLED FESTIVAL VISITORS AWARENESS TEAM TECH SUPPORT



22 – 24 May

20 – 24 May

EXTINCT Teo Ala-Ruona and Tuuka Haapakorpi

NIGHT SONG Wanda Dubrau, Christa L., Christa M. FEM.MAG. FEMINISTISCHE WANDZEITUNG Fem.Mag Collective A POCKET OF DYKE FEELINGS Julia Forgacs I DREAMT A LITTLE DREAM Selamawit Mulugeta Zewdie

WHITE CUBE_DEKOLONIAL Katalina Götz and Nebou N‘Diaye (Ensemble Hajusom) PRETTY WOMAN / THAT‘S NOT MY NAME Anne Mahlow, Nana Melling DOSTA, DOSTA (GENUG, GENUG) Julia Novacek, Nataša Mikić, Teresa Schwind, Ljubica Duvnjak Dordevski

21 – 24 May HIDDEN SIDE OF THE MOON Sophia Roxane Rohwetter RUNDBOGEN GEGEN SCHLAFLOSIGKEIT Nora Kühnhold, Thekla Molnar, Dominique Enz, Nina Ozan 18

23 – 24 May TOSS AND TURN Sharon Jamila Hutchinson, Lua Mariell Barros Heckmanns

Thursday | 20

Friday | 21


17:00 SCHLEIM IS (PART OF) THE ANSWER Julia*n Meding and Tina Turnheim



20:00 SCHLEIM IS (PART OF) THE ANSWER Julia*n Meding and Tina Turnheim

19:00 QUEER NOCTURNAL BODYBUILDING Simon(e) van Saarloos, Natal Igor Dobkin, Rahel Crawford Barra 19:00 WAX-EN Laia RiCa, Rafi Martin, Beate Absalon


Saturday | 22 00:00 HILMA - AN DIE NOCHNICHT-GEBORENEN Flo Thamer

18:00 EXTINCT Teo Ala-Ruona and Tuuka Haapakorpi

14:00 REVENGE OF THE CREATURE Selamawit Mulugeta, Matti Traußneck, Nebou N‘Diaye Katalina Götz, Ana Paula Oliveira Martins dos Santos

21:00 RANZFURTER HEXENKONVENT Ranzfurter Schwestern



Sunday | 23

Monday | 24

16:00 WORKSHOP: WHITE CUBE_DEKOLONIAL Nebou N‘Diaye, Katalina Götz


17:00 MEET UP NIGHT SONG Wanda Dubrau, Christa L.

(tbc) MEET UP: RUNDBOGEN GEGEN SCHLAFLOSIGKEIT Nora Kühnhold, Thekla Molnar, Dominique Enz, Nina Ozan

19:00 DOCUMENTING NOCTURNAL FLÂNEUSERIES Eluned Zoe Aiano and Anna Benner 20:00 Q+A DOSTA DOSTA Julia Novacek, Nataša Mikić, Teresa Schwind, Ljubica Duvnjak Dordevski, Dalibor Mikić 22:00 OPERATION ALIEN LOVE #1 Operation Alien Love 21

Thu 22

day 23



20 May 18:30 English Workshop 20 May 20:00 24


„What happens when an Indian woman decides to walk the streets after midnight just for fun?” This is the question that fueled our curiosity in 2014 after reading the revolutionary book ‚Why loiter?‘ written by Shilpa Phadke, Shilpa Ranade and Sameera Khan. The seemingly innocent book suggested women do something unique and dangerous: to „loiter the streets of your city like a man, with­ out apology, without justification, without fear.“

Let‘s discuss the creation and growth of the ‚Why loiter?‘ movement and how it changed the narrative of women’s rights from one of safety to one of pleasure and fun, both in India and worldwide. You can join Neha for an additional workshop after the lecture at 20:00. Please register for the workshop.

English German

“When I began loitering, it was a personal project. Little did I know that the small act and the politics behind it would become so popular, and that so many women would take a risk like me. Since 2014, we have loitered in the day and in the night, we have sung, danced, laughed in the most „unladylike“ manner, laid down, slept, played games, drunk chai, engaged with fellow men and women and even our harassers and the police on the streets of the city“, describes Neha Singh. For this, she asks, how does this small and seemingly banal act of an ordinary woman loitering on the streets create a women‘s movement - a revolution?

By Neha Singh 25


SCHLEIM (IS PART OF) THE ANSWER 20 May 20:00 21 May 17_00 Online/ Frankfurt/ Offenbach German 26

Thursday + Friday

Julia*n Meding and Tina Turnheim a time slot in which to meet us online invite us to a cautious and delicate and to determine the rules of the enexploration of the contamination and counter together with us. decomposition of the supposedly solid, identical and masculine. At stake Through various exercises and exis the dissolution of the body armour periments, we will find out together by the (syphilis) bacillus: a tightrope what practices can be in order to walk of intimate distancing in terms physically approach the decomposiof content and aesthetics that de-ta- tion of our own boundaries from a boo illness, questions the „healthy“, safe distance. Let‘s experiment, get the physically and mentally normati- in touch with our fears and carefully ve, exposes vulnerability and depen- and as much as we can with pleadencies and celebrates the slime. The sure ‚mess around‘ - quasi simultaslime meeting will be a radically soft neously together and alone. Let us meeting between workshop and im- dissolve soldierly masculinities in mersive performance against social ourselves until – physically present or not – our dicks fall off. de-siphoning fantasies. Discursive, playful and haptic-ma- The workshop includes intimate and terial, the siffing workshop, building erotic ways to engage with shame, on the feminist approach of Radical radically softly encouraging you to Softness, looks for a critique and explore your personal boundaries own experiences with Ableism, an consensually. empowering approach to the „lust plague“ syphilis as a utopian tool to- Content Warning: The event thematizes the entanglewards a Queer Crip Future. ments of cis-sexism, ableism, antiFor this, participants from Frankfurt semitism, racism, classism. and Offenbach can register by 15 May. You will then recieve a package The workshop includes intimate and by our couriers with instructions for erotic ways to engage with shame rdaicall softly encouraging to walk the upcoming days. On 20 or 21 May you can then choose the line consensually.

By Julia*n Meding and Tina Turnheim 27



20-23 May German Meet Up 23 May 17:00


Thursday - Sunday

The audio walk night song is an exchange between Wanda Dubrau, Christa L. and Christa M. about desire, sexuality and sensuality from a female perspective. The women share personal stories and experiences and put them in relation to social conventions. night song is a cross-generational conversation that explores the question of what has actually happened in terms of sexual education ever since. What language do we have to talk about sex, what spaces? Where do diverse ideas and practices of sexuality take space in the public sphere?

of the audio walk with them and ask questions. The talks will take place in small groups of max. 5 people (including Wanda Dubrau and Christa L.).

The audience follows the voices of women* asking questions and inviting them to become part of the conversation. The audio walk can be experienced alone and together, it is personal as well as political. An intimacy inscribes itself in the night of a big city, the unsaid is said, a journey begins. The audio walk can be done independently at dusk or in the dark during the festival. Wanda Dubrau and Christa L. invite you to become part of the intergenerational exchange on Sunday. You can discuss your impressions

By Wanda Dubrau, Christa L., Christa M. 29


FEM.MAG Feministische Wandzeitung

20 May Online/ City Space German Q+A on 21 May 17:00


Thursday - Monday

Fem.Mag. is a loose feminist collective of FLT* people actively reclaiming the night through activism. Its largescale, Frankfurt-wide poster actions under the title Fem.Mag. – Feministische Wandzeitung (Feminist wall newspaper) move somewhere be­ tween dusk and darkness. The historical origin of the medium „wall newspaper“ can be found in the Soviet Union. There, wall newspapers served as a means of political expression. With the student protest movement of the 1968s, this medium also found its way into Germany and other European countries. The wall newspaper serves as a means of expressing critical counter-information to the one-sided reporting of the mass media. The original idea of Fem.Mag. was to draw attention to feminist issues beyond its own circles, to make feminist problems visible for a greater range of peo­ ple. Therefore, the articles deal with basic feminist issues and they are short texts written in simple language. In this way, the Fem.Mag. collective wants to make a contribution to counter-hegemonic reporting by literally inscribing the perspectives of women on facades, advertising pillars, electricity boxes, dustbins,

train stations, shop windows, monuments and many other places in the city. Therefore the slogan RE­ CLAIM THE NIGHT serves as the inspiration for the practice of these actions, following the tradition of protest marches that have been carried out by women and queers worldwide since 1976. Two editions of the wall newspaper with numerous articles have already been published under the title Fem.Mag. – Feministische Wandzeitung with more to follow. The first two editions dealt, for example, with rightwing terrorist violence using the example of Hanau, anti-racism/anti-racist feminism and the Corona pandemic. Here you will be able to see the wall newspapers in a gallery during the festival and meet the collective in person online. And of course the wall newspapers will be available during Nocturnal Unrest, so you can pave the city with anti-patriarchal wall newspapers and feminist content. RECLAIM THE CITY.

By Fem.Mag Collective 31


A POCKET OF DYKE FEELINGS 20-24 May Online/Phone German/ English Q+A on 24 May 13:00


Thursday - Monday

In the tradition of normative archives, evidence of queer life often tells a story of pathologisation. At the same time, we encounter a great absence where non-normative forms of desire do not meet the requirements of validated historiography and where historical methods fail to map the desire, community, and thus the complexity, of queer pasts. Queer archival work, therefore, demands not only an inclusion of queer subjects on the shelves of knowledge institutions, but a queering of what we understand as history, as knowledge, and as evidence. Queer history has always taken place in private, darkness, and transience. We find its documents in bars, boxes, rumours, fictions, our bodies, and our collective memory. A Pocket of Dyke Feelings is a playful reflection on (queer) archives and the question of how queer knowledge is organised in a cis-heteronormative society. It wants to counter the violent „objectivity“ of normative archives with an intimate, interactive, and absolutely incomplete experiment. It invites a reciprocal historiography. Via mobile phone, participants are invited to send in their own fictional and real stories, longings,

TikToks, „facts“, favourite dykes, voice messages, or any other ephemera that comes to mind. The contributions become part of the archive and in return, the archive offers back a piece of itself for the participants. This loop continues throughout the festival - once part of the archive, participants can dive deeper into communication, interact with the archive, contribute and examine more fragments, and challenge or critique the endeavor. The focus on Dykes decentralises dominant cis-male perspectives. As an insult, the term “Dyke” has attacked not only lesbian cis-women but a wide range of queer identities. The term’s usage in this work connects to a queer appropriation that opposes any essentialisation of desire or gender. All who feel connected to this history are invited to co-create this archive. You need to download the free, encrytped app WIRE to participate. The artist and you can individually agree on topics you would (not) want to be in conversation over.

By Julia Forgacs 33

Fr 34

ay 35





© photo by Tessa de Geus



Hier der Text: Nocturnal Queer Bodybuilding is a workshop, a performance, a conversation that plays with the impostor energy of drag performance and the supposed political isolation of sport practices. As Kathy Acker questions: “What actually takes place when I bodybuild? The crossing of the threshold from the world defined by verbal language into the gym in which the outside world is not allowed.” Bodybuilding is a highly coded body practice that has undergone various levels of social recognition, from being considered ‘lower class’ to becoming the physical ideal portrayed in Hollywood films.

Whose queerness do we represent, and whose queerness do we exclude as white performers, appearing half-naked, with curvy but non-fat able bodies? In this Queer Bodybuilding performance, we explore the desire to feel and appear strong without perpetuating or mimicking normative masculinity. We invite participants to join in a workshop. We will develop poses to show off other tissue than muscle: binding tissue, fatty tissue, bony tissue, fantastic tissue, the tissue that we build between us.


By performing the traditional gestures of the bodybuilder from a queer experience, we aim to create glitches in an otherwise highly protocoled bodily language. They allow us to ask: What is perceived as strength, which bodies can perform muscle and expansion? Who is allowed to rest, whose presentation of power is considered affective? How do we glitch the intricate connection between bodybuilding and ideologies of health and strength?

By Simon(e) van Saarloos, Natal Igor Dobkin, Rahel Barra 37



21 May 21:00 followed by Artists‘ Talk German



WAX-en is the encounter between two artists: Laia Ribera Cañènguez, a Salvadoran performer with a history of German exile, and Rafi Martin, a French transgender figure theatre performer with a history of Russian migration. It is the encounter be­ tween two mythological figures: Quetzalcoatl, a syncretic deity from Mesoamerican mythology known as the „luminous feathered serpent”, and Baba Jaga, the emblematic witch from Slavic mythology who controls light phenomena and is responsible for death and rebirth, and offers initiation to the young people who visit her. It is a chromatic encounter: red on white; red in the darkness. The colour spectrum from dark night to full electrifying light is defined in this space, but deeply rooted in transformation. The different states of red wax, manipulated in block, hot, pouring and cooling, speak of the different stages of selfconstruction, in gendered ways and in the context of family migration. With on-stage blotographs, masks, and casts of body parts, WAX-en explores how two-dimensional images can transform into three-dimensional figures. Symbolically, the red colour defines our history of migration

and exile. Aesthetically, it takes over the stage as the only colour. Concept, text and performance: Laia RiCa and Rafi Martin Music composition: Isabel Gonzalez Toro (DJan) and Camille Martin (double bass) Music: Moira Cameron (double bass) Exterior vision: Julika Mayer and Verena Melgarejo Weinandt Dramaturgical support: Anne Brammen Stage design: Margot Ardouin, Laia RiCa and Rafi Martin (Larissa Jenne for research) Light design: Joachim Fleischer Artistic collaboration: Rodrigo Zorzanelli A co-production of the FITZ! Zentrum für Figurentheater (Centre for Figure Theatre). Supported by the City of Stuttgart (project funding 2020).

Screening: German English(tbc) Talk:German

By Laia RiCa and Rafi Martin Moderation: Beate Absalon 39


THE HIDDEN SIDE OF THE MOON Fragments of a Feminist Dream Interpretation

21-24 May 18:00 English


Friday - Monday

The psychoanalytical topography of nocturnal dreamscapes, which Freud first presented in The Interpretation of Dreams (1900), lays out a complex way of decoding the “night side“ of the human being – repressed desires and experiences of the unconscious that appear in dreams, veiled in nocturnal garments, only to disappear again in the morning. The psychoanalytic interpretation of dreams is, as Elisabeth Bronfen says, an excavation that clears away layers of psychic material to bring clandestine knowledge which has been hidden in the dark depths of the unconscious into the light of analytic explanation. Numerous feminists have pointed out that this psychoanalytic light shines patriarchally and is structured by narcissistic fantasies of masculinity that manifest themselves in Oedipal constellations: incest desires, castration anxiety, patricides. The poetic-visual collage The Hidden Side of the Moon: Fragments of A Feminist Dream Interpretation reflects then on the possibilities of a feminist interpretation of dreams and proposes a new language of dream analysis, one drawn from feminist psychoanalysis, poetry, visual art, and mythology.

Rather than illuminating the strange darkness of the unconscious with the light of the mind, The Hidden Side of the Moon thinks with and through the night side of human consciousness and follows the dreams’ navel; the passage where the dream reaches down into the unknown. In various dreams and interludes, the fragments reclaim dream analysis as a method for collective feminist dreaming, writing, and unconsciousness raising.


By Sophia Roxane Rohwetter 41


RUNDBOGEN GEGEN SCHLAFLOSIGKEIT 21 -24 May starts 23:00 German

Q+A on May 24 (tbc)


Friday - Monday

Based on our own experiences of insomnia, we want to take a walk through Bornheim. We could no longer sleep. Not being able to sleep means that everyday life disintegrates, the body becomes numb, the head can no longer remember anything, the identity disintegrates, I am afraid of sleeping, I am afraid of the night. At some point, we started running: running so that the head would stop spinning, running away from the partners next to whom we could no longer sleep, running to the partners we thought we could sleep next to, running on so that the body would get tired. Insomnia takes different forms, produces different feelings and hits different bodies, it can be frightening or paralysing, but also inspiring. What it has in common; it is the state of individuals and is difficult to collectivise or share. Who are you calling at 4 am?

norm, discrimination, weirdness do we experience while awake that deprive us of sleep? Can insomnia have emancipatory potential because it refuses a logic of productivity? What does insomnia have to do with care? What are the strategies: carrying on, fraying, raving against insomnia? Who are the people affected by insomnia? Is insomnia only an issue of the night? Others also sit at the window at night and smoke a cigarette. The Audio-Walk Rundbogen gegen Schlaflosigkeit can be downloaded and listened to individually no matter where you are physically. Cotent Note: The audio walk will deal with mental disorders and sleeping problems.

Based on this analysis, we ask ourselves: is insomnia a gendered problem? What experiences of exclusion,

By Nora Kühnhold, Thekla Molnar, Dominique Enz, Nina Ozan in cooperation with Hannah Ruoff and Lisa Stehr 43




Thursday - Monday

With her photographs, artist Sela- The photo exhibition is part of the mawit Mulugeta takes us into the series „Creature“, which can be world of dreams and asks: Can there seen here in our gallery online. be post/decolonial feminist dreams and if so, what would they look like? In doing so, the photos follow the female subject „Creature“, that understands the night, above all, as an in-between space, where questions of self-empowerment in relation to the positionality of the subject arise in an explorative and experimental way. The transition between day and night serves as a place where the subject is bound and unbound as an abstracting possibility of creation. The photographic series is related to Selamawit‘s previous paintings, whose approach to form and medium is different, however, these works also deal with questions of self-empowerment based on the artist’s own position. Perspective, dialectics and ambivalence of being are constantly related to the question of violence and the fact that being, as well as not being, are at the same time essential characteristics of the human being itself. These relations as well as a critical approach to the abstraction of the female body as artistic content are focal points of Selamawit’s work.

By Selamawit Mulugeta Zewdie 45

Sa 46

rday 47

22 May




1914 -1915 by Illizad, licensed CC BY 2.0

Hilma Af Klint Series SUW, No 14 Swan,



Midnight Friday - Saturday

In the universe of art history, the works of men are often regarded as the great planets. The artists often seem condemned to orbit around them like satellites, sometimes closer, sometimes further away and seemingly without any chance of ever reaching the centre themselves. In this logic, the work of the Swedish painter Hilma af Klint (1862-1944) has also been downgraded. In 1906, she created what was probably the first abstract painting ever - years before her male contemporaries Kandinsky, Malevich and Mondrian claimed these titles for themselves. But Af Klint‘s abstract painting has often been treated like a stroke of luck, accidental and unplanned. In contrast, the paintings of her male contemporaries are considered the result of well-earned achievement and intellect. Af Klint‘s attempts to publicly exhibit her works during her lifetime failed due to structural discrimination and were deliberately prevented by denigrating her – as a crazy woman: she remained unmarried and childless throughout her life and loved in lesbian relationships. In addition, since her youth, she showed

interest in spiritualistic and occult practices, such as seances, which were not recognised in a male society, which was fixated on reason and rationality. As part of Nocturnal Unrest, a one-hour Zooméance will resurrect the spirit of Hilma af Klint. In a critical-spiritualist session, we want to disrupt the phallocentred historiography and make it explode. During the three-part ritualised lecture, a video work will be shown that playfully intertwines Af Klint‘s works with visualisations of invisible natural phenomena, translating her images into a specially conceived cosmos of sounds. Who was this woman at Lake Mälaren who shot her work into the future as if in a time capsule? Who trusted in coming generations and thus in people who had not yet been born? For the 12 participants we will send a „Séance Starter Kit“ by post. Therefore, please provide your postal address when registering.


By Flo Thamer 49


REVENGE OF THE CREATURE Intersektionale Alp-/Träume - Ein Gespräch

22 May



© Selamawit Mulugeta Zewdie



This conversation brings together scholars, performers, artists and activists Nebou N‘Diaye, Katalina Götz, Matti Traußneck, Ana Paula Oliveira Martins dos Santos and Selamawit Mulugeta Zewdie.

You can see Nebou and Katalina in WHITE CUBE_DECOLONIAL (p. 62)

Thinking from and with Selamawit‘s foto exhibition and image cycle „Creature“, they reflect on intersectional dreams and nightmares, on post-colonialism and decolonial futures as well as the manifold hauntings of the past that they trace in their work.

You can join Matti for her lecture performance FETISCH (p. 58)

You can visit Selamawit‘s exhibition online during the festival on

Moderated by scholar and photographer Ana Paula dos Santos, they share reflections on their own work that is presented during the festival. They encourage the audience to think about their own intersectional dreams and nightmares. Content Note: The conversation deals with colonial violence and racism.

German Guests: Selamawit Mulugeta, Matti Traußneck, Nebou N‘Diaye and Katalina Götz. Moderation: Ana Paula Oliveira Martins dos Santos. 51





Feel Tanks (a spin of “think tank“) derive their name from one cell of a larger group known as the Public Feelings Project which operated from the conviction that “understanding affective investment can be the a starting point for theoretical insight into the workings of capitalism, racism and sexism within power structures“ (Cvetkovich, 2007). Feel Tank Chicago, „governed by outrage that the demands for a less bad life and a better good life continue to go
unrecognized“ (2012) organized a series of depress-ins and installations as part of academic conferences to perform their frustrations. Through over fifteen workshops, seminars and lectures, Chloe Turner has been using Feel Tanks as both intellectual enquiry and call-to-arms, broadening both the theoretical and practical scope of what it means to live under capitalism in the current moment. How can we take seriously the link between the affective intensity of feeling exhausted that registers in individual bodies and the social and political structures that affect us collectively?

How do we think about these entangled feelings through a lens of feminist, queer, anti-racist and anti-ableist politics where so much ‘good’ scholarship emerges from sites of negativity and fraught experiences? In the continuing struggles against global anti-Black, queer/transphobic conservative governance, pandemic „new normal“ living and the stripping of arts and humanities funding, nurturing spaces of care and connection have never felt more pressing. How do we bring into being the feminist space we want to be a part of? A space where we gift our labour to each other as opposed to institutions, co-create the
 spaces to weather the coming disasters and mobilise a resistance that centres pleasure and joy. This discussion-led workshop will focus on the negative affective entanglement of: Feminist Burnout.

By Chloe Turner 53





Creatures of the darknesses – be summoned!

We ask all magical beings, whether herbal witch, nectromancer, pleasure witch, shapeshifter or mythical creature, to join our shady gathering: Down with the patriarchy!

Unite yourselves and your strength, the overthrow, the end of our poisoned world! Gather for the annual highlight of our lunar calendar: the The Ranzfurter Witch Convention is coming witch convention will be an interactive performance in which hosted this year by the Ranzfurter the participants themselves become Schwestern and held in Ranzfurt an active part. am Mehr. All available magic will be channelled there on 22.05.2021 to We use the platform Gathertown, work the ancient ritual of world-shif- where performers and participants ting: Against the patriarchy and in move around in a digital world with avatars. When meeting others, their defiance of mammon and the elites! camera and microphone are actiThrough the ages, we have endured vated and a conversation becomes oppression, exclusion and persecut- possible. Therefore, a stable interion at the hands of the patriarchy‘s net connection, a camera, a micropoisoned cords – but this time is phone and headphones are required now coming to an abrupt end; in the for participation. Participants are dawn of a new age, we are breaking also invited to dress up as witches, this spell that has contaminated hu- but this is not a must. manity! Rise up and join forces with our own. You can support the power of the ritual via a very specific frequency through your crystal balls and your support is urgently needed! Dancing and chanting, we will howl our magical verses into the ether and into the night until not one stone is left on another and the foundations of the patriarchy collapse.

By the Ranzfurter Schwestern (RaSch) 55



poetische theorie performance

22 May 19:30 German



Night is for conspiracy. Night is before the dawn. An owl cries out. Drums: Ritual, revolt, heartbeat. FETISCH is the exploration of unfreedom and the search for the drumming hearts, the moment before the revolution. Marx and Freud provide early fetish terms for analyzing social relations. The fetish character of the commodity and the neurosis of the bourgeois subject are both the point of reference and the object of critique in this performance. For the Western concept of the fetish remains colonial. Both in psychoanalysis and in the critique of capitalism and in the subsequent theoretical uses of the concept. Fetish critique is itself fetishistic: it takes the appearance of a thing for its essence and, in a circular movement, thereby creates both the essence and the appearance.

Lecture Performance in images, movement, poems and theoretical set pieces. Five acts on violence, capitalism, the bourgeois subject, the body and BITCHISM, negotiating death and freedom, division of labour and unfreedom, sex, deviance, the hideous triumvirate of race-class-gender and the organisation of the revolution that has yet to occurred.


In the shallows of this entanglement, we move with Rihanna as a rhythmic pilot as well as with a narrative voice that weaves theory and poetry into each other.

By Matti Traußneck 57



22 -24 May English


Saturday - Monday

„With each finger movement that I‘ve pressed on my larynx, I‘ve exorcised the ghost out of me, through my esophagus and mouth, my face covered in haematomas.“

Trigger Warning: The piece includes screaming and spitting and talk about eating disorder (bulimia), vomiting, excrements, sex, suicide and death.

Extinct is a sound piece that composes ghostly and transcendental bodily experiences into a verbal and musical incantation. The piece portrays a transbody as a haunted house that is inhabited by a ghost: a character composed of past memories. The piece stretches in time by playing with various images emerging from the past, the present and the act of them reuniting in the speaking/singing body. The piece is an autofictional horror story about phantasmal shapeshifting, abjects, trauma, reincarnation and alluring voids in the body, into which the listener is welcome to dive. Extinct is an endeavour to harness the abysmal heat rising from within these voids and to convert it into immeasurable and shared pleasures of the body, gender and multitude of selves.

By Teo Ala-Ruona and Tuuka Haapakorpi 59


DOSTA DOSTA (GENUG, GENUG) 20-24 May English

Q+A on 23 May (tbc)


Saturday - Monday

Dosta, Dosta is a work in progress that brings together women mourners, dancers and activists from Serbia, Montenegro, Germany and Austria and their practices of mourning, lamenting and lamenting in community and asks about their political, performative and feminist possibilities and externalisations.

How do public mourning, politics and medialisation relate to each other? What forms of community are created through public mourning and lamentation? The body takes on a political dimension here (Judith Butler): The „Women in Black“, a feminist anti-militarist global organisation, for example, have been demonstrating against war and violence since the 1990s with strategies of traditional mourning lamentation.

The basis of the project is mourning or lamenting in public: an ancient communal practice that combines singing and crying. It takes place ex- Ljubica Duvnjak, a dancer and choclusively in community and is practi- reographer, who is an active memced mainly by women. Since ancient ber of the organization, sees the times, lamentation has been ancho- body as a tool of feminist protest. red in a wide variety of cultures and To strengthen this tool, she does is still practised today in Europe, pole dancing. According to Ljubica, especially in the Balkans, but also in pole dancing enables women to exFinland or Ireland. Several women, perience their own strength in a new usually the oldest women in the vil- way. In Dosta, Dosta interviews with lage, dressed in black, sing, lament mourners and experts get in dia­ and weep together over the death logue with mourning songs and texts, of a person. In Serbia, for example, movements and stories that tell of the women sing and weep chorally, grief as well as mourning practices sometimes taking turns, with impro- and accusations. vised chants one after the other. German Often men are accused for their misEnglish (tbc) behaviour in marriage, for example. So the chants can be not only la- tbc ments but also accusations.

By Julia Novacek, Nataša Mikić, Teresa Schwind, Ljubica Duvnjak Dordevski Moderation: Dalibor Mikić 61



22-24 May German Workshop on 23 May 16:00


Saturday - Monday


WORKSHOP 23 MAY, 16:00

WHITE CUBE _dekolonial is a 15-mi- Following the performance, Nebou nute performance in which Nebou N`Diaye and Katalina Götz offer an N‘Diaye & Katalina Götz interweave online workshop in which they draw the history of colonial power rela- on the content of their performance tions, including scientific legitimiza- and critically examine the continuity tion since the Enlightenment, with of colonial power relations and Eutheir own complex experiences as (B) rocentric science in the context of POC. By radically dealing with four racism and exclusion. Through sendifferently coloured types of pudding, sitive and self-detemined reflection which stand for the alleged four „ty- on their own complex experiences, pes of people” and their skin colours they demonstrate the interconnec(Carl v. Lineé, Systema Naturae), they tedness of coloniality and current confidently and sensitively decons- social conflicts. truct the „White Cube“ into a selfdetermined emancipatory space of The workshop is aimed at people, empowerment. Originally a thematic who experience racism who would installation piece AZIMUT dekolonial like to deconstruct the „white cube“ - ein Archiv performt (premiere March in conversation with the perfor2019, Kampnagel), WHITE CUBE_de- mers and create an own safe space. kolonial has since been transformed Through a shared exchange of ideas into an independent format repre- and experiences, as well as writing sentative of HAJUSOM‘s status as a and experimenting with small texts of their own, the performers would transnational collective. like to create an emancipatory and empowering atmosphere to encourage all participants of the workGerman shop to reclaim their space in and outside the „white cube“.

By Katalina Götz and Nebou N‘Diaye (members of the performance group Hajusom) 63




Saturday - Monday

„What if I told you that you did everything you could, but then someone came and sabotaged you. He abused your trust, tapped into your brain [...] while you didn‘t even realise what was happening!“ (What Women Want, 2000). We go out and reclaim the night. The discourse-video-walk Pretty Woman / That‘s not my name, which moves at the interface between feminist discourse, site-specific performance, film and activism, deals with the narrative modes and power mechanisms in Hollywood films. We will also regard the phenomenon gaslighting in relation, i.e. the psychological violence with which people are deliberately disoriented, manipulated and their perception of reality unsettled, in relation to these movies. The (almost entirely) male-dominated narrative within gaslighting and the onesided representation of women* will be addressed in the walk and placed in a different context. For this new context, we invite theorists, artists, psychologists and journalists to clarify their perspectives in the form of a video contribution. With the various discursive interventions of the experts, the perspective of the

women* will oppose the male-dominated Hollywood narrative with a feminist position. During a nocturnal walk in public space, these counter-narratives become visible and audible within the framework of the discourse-video-walk. Places and initiatives in Bornheim that hold a connection with sexualised violence against women* and feminist empowerment will be visited throughout this walk. With a collective walk, between flâneuserie and demonstration, we (re-)appropriate the public space at night as a group – without gaslight – but in the light of films and voices that make the perspectives of women* visible. Following the current corona protection measure, the discourseaudio-walk can be walked either individually or with one‘s household and/ or one additional person. You can book a slot on our website and click+ collect the necessary equipment. Find more details on our website.

By Nana Melling and Anne Mahlow 65




TOSS AND TURN a self-interrogation

23 -24 May Online


Sunday - Monday

You? Huh? Are you still awake?
 Mm-hm. I can‘t sleep.
 Me neither. Can I ask you something? Yes… How did we become who we are? The question of one is the task for the other to answer.
Performatively, the two friends and activists jointly present their research with a focus on love, sexuality, and violence. What develops, referentially and playfully, is a complex web of fictionalisation, witnessing, and reporting. The setting: a mutual interview. The questions: scripted. The answers: dance, play, movement, and staged reading.

German English (tbc)

By Sharon Jamila Hutchinson and Lua Mariell Barros Heckmanns 69



23 May 19:00 English



Running, watching, exploring, eva- going out into their respective ciding: Documenting Nocturnal Flâ- ties and filming what they observed. neuserie is a two-part project that There were no specific requirements asks the question of what it’s really for how much or how little they neelike to experience the city space at ded to walk, only that they did not night as a female-presenting per- force themselves into any situations son, with the intention of dispelling that felt unsafe. After this, everybomyths while also fostering a dialo- dy met again the next day to discuss gue on strategies to enjoy walking how the walk went and whether it after dark. The initial premise assu- conformed to people’s expectations med that no two women share the or not. exact same impressions and that For the second stage, the artists everyone exists somewhere on a have turned the material shot by the spectrum between fear and bold- participants into a partially animated ness, curiosity and indifference. As video piece that will be premiered such, our intention was to involve a during the Nocturnal Unrest festival. variety of participants in a variety Titled Im Auge der Betrachterin/In of contexts, leaving them total free- the Eye of the Beholderess, the film dom to present their city environ- interweaves the individual perspectiments however they felt best reflec- ves to create a kind of single concepted their ideas, which could also be tual city composed of all the cities contradictory and did not need to combined, while still allowing space for differences in attitudes and obadhere to one fixed stance. servations, ranging from humour to The first part of this took place du- anger, beauty to playfulness. ring two online workshops held in This event is the premiere of the film January 2021, bringing together 20 and afterwards you get a chance to participants based in cities such talk to the artists and to your fellow as Berlin, Frankfurt and Vienna, to flâneuses online. discuss the limitations and possibilities of night walking. Anna Benner German (tbc) and Eluned Zoe Aiano then gave the English participants a list of instructions for

By Anna Benner and Zoe Aiano 71




Operation Alien Love




How close is close? When was the last time we touched each other in such a way that the hair on our arms stood up? What if we could feel each other‘s skin even at a distance of 2 meters? What if we could find inspiration for our sexy moments from science fiction? And why are there artichokes everywhere? In the fifteenth month of the pandemic, Operation Alien Love attempts to bring intimacy and science fiction together in a three-hour audio workshop. Connected via headphones and telephones, we develop avatars with you that think intimacy all over again, from the fingernail or via the vibration of armpit hair. Until later at night, we lie in each other‘s imaginary arms, scratch our thoughts and smell our closeness through the telephone receiver.

be the way they are. Science fiction can open up worlds for us in which themes such as the body, sex, reproduction and work hierarchies are renegotiated. Science fiction can make proposals for social and intimate change through technological developments or new ways of dealing. Annie Sprinkle‘s vision of orgasms without touch and Octavia Butler‘s ideas on new body communications inspire us on this nightly journey through the long second lockdown, or is it the third or the fourth lockdown? Is it fiction? Is it speculation? Let‘s try it out together this night, each one separately, yet connected.

Science fiction was and is the explosive power to make new ways conceivable in this world. In addition to the well-known war scenarios and fantasies of conquest, there exists a number of great feminist authors and filmmakers who have been creating alternative social orders with their images and fantasies for decades. And thus show: Things don‘t have to

By OAL - Operation Alien Love 73


OUR PARTNERS Nocturnal Unrest is a cooperation between nOu Kollektiv Ladiez e.V. Cultural and Political Education for Women Künstlerhaus Mousonturm feministische philosoph_innen Frankfurt hafen2 Offenbach



Nocturnal Unrest is financially supported by Fonds Soziokultur as part of the Neustart Kultur programme of the Federal Government Commissioner for Culture and the Media Hessian Ministry of Science and the Arts Hessian Theatre Academy Women‘s Department and Inclusion Office of the City of Frankfurt/M. Goethe University Frankfurt am Main Students‘ Union at Goethe University Frankfurt/M. Crespo Foundation


The printing of this booklet was made possible by the kind support of the environmentally friendly printing company Lokay.

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