back		KV support

		——————	——————	——————	
	            we called her cyborg aunt

		——————	——————	——————	
			['click to resize']
					The lecture-performance we called her cyborg aunt is about polemic bodies and the words that move them, 
					(screen)capture them. Taking as its starting point film material recorded in 1950s Congo, the work draws together 
					historical and contemporary rhetorics of control, submission, rights and wrongs through a sequence of 
					structural screenshots. The interface plots the movement as violent everyday choreographies between patched bodies, 
					racialised codes and gated identities. In a feedback loop of bodies, proxies and their descriptions, the word 
					is bait, instruction, enchantment and repulsion. Bodies as access, bodies with access, painfully legible?

					The thematic emphasis of Peter Hermans’ (*1987 in Gent/Belgium) work lies on the nexus between art, technology 
					and politics. He holds a MA in political and cultural science. Since 2017 he is a lecturer in media at the Burg 
					Giebichenstein University of Arts and Design in Halle/Saale. His recent performances and exhibitions include dunya, 
					Tricky Tongues, Maze9, Tel Aviv / Membrana, Cankarjev Dom, Ljubljana / Opaque Infrastructures (curated by Tekla 
					Aslanishvili and Giorgi Gago Gagoshidze) / HIPS (Hide In Plain Sight) Kunstverein Nürnberg, Nürnberg (2014), 
					Kunst im Tunnel, Düsseldorf. His writings have been published in both academic and artistic contexts; suppose 
					there’s right and wrong, it’s probably right, W139, Amsterdam, perception is material in Darkrooms: Räume der 
					Un/Sichtbarkeit. Neofelis Verlag, Berlin, edited by Sophia Kunze & Marietta Kesting.

		MI	31   j a n        19 Uhr 	Eröffnung + Audio-Performance 
		DO	1    f e b   12 — 20 Uhr
		  	             + 16.30 Uhr 	Lecture 
		FR	2    f e b   10 — 12 Uhr