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eCommemoration

@ecommemoration

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๐Œ•๐‹…๐Œ„ ๐Œ๐Œ€๐Œ”๐Œ• ๐Œ‰๐Œ” ๐Œ ร˜ ๐Œ• แ๐Œต๐Œ”๐Œ• ๐Œ• ร˜ ๐Œ‹๐Œƒ ๐Œ‰๐Œ ๐Œ ร˜ ร˜ ๐ŒŠ๐Œ”! ๐–Š๐•ฎ๐–”๐–’๐–’๐–Š๐–’๐–”๐–—๐–†๐–™๐–Ž๐–”๐–“ ๐–‰๐–Š๐–†๐–‘๐–˜ ๐–œ๐–Ž๐–™๐– (๐–’๐–Š๐–‰๐–Ž๐–†) ๐–†๐–—๐–™๐–Ž๐–˜๐–™๐–Ž๐–ˆ ๐–Ž๐–“๐–™๐–Š๐–—๐–›๐–Š๐–“๐–™๐–Ž๐–”๐–“๐–˜ ๐–Ž๐–“๐–™๐–” ๐–’๐–Š๐–’๐–”๐–—๐–ž ๐–ˆ๐–š๐–‘๐–™๐–š๐–—๐–Š
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This is the first of three questions we are bringing into public space ahead of the Transgressive Memory Festival 2026. In a moment when memory is increasingly shaped by political narratives, algorithms, archives, and digital infrastructures, we want to ask a different question: What if memory is not only something we store, but something we carry? Our bodies remember. Through movement, rituals, inherited gestures, trauma, resistance, care, and collective experience. Long before an event enters an archive, it is inscribed in the body. The Transgressive Memory Festival explores new forms of remembrance emerging at the intersection of contemporary art, technology, performance, and historical reflection. Through exhibitions, performances, and discourse, we investigate how memory can become more participatory, polyphonic, and open to alternative futures. Over the coming weeks, we will share three questions that sit at the heart of the festival. Our questions are not intended to be answered, but to open conversations. We begin with: HOW DOES THE BODY TESTIFY? ๐Ÿ“ Transgressive Memory Festival ๐Ÿ“… 12โ€“13 September 2026 ๐Ÿ“ silent green, Berlin Graphic Design: @sophia_krasomil #berlinartweek #MemoryCulture #ContemporaryArt #DigitalCulture #PerformanceArt by @ecommemoration
0
4 months ago
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WHO CODES MEMORY? This is the second of three questions we are bringing into public space ahead of the Transgressive Memory Festival 2026. For long, collective and individual memories have been stored in monuments, museums, books, and archives. Today, it moves through networks. Memories are sorted, filtered, ranked, recommended, and reproduced by systems we rarely see. Images resurface years later. Histories become searchable or disappear. Algorithms determine what gains visibility and what slips away. As memory becomes increasingly digital, a new question emerges: Who codes memory? Who shapes the infrastructures through which the past is encountered? Who designs the (digital) archives of the future? And what happens when remembrance is no longer organised only by institutions, but also by platforms, databases, and artificial intelligence? The Transgressive Memory Festival explores how artists challenge these emerging architectures of memory, exposing their biases, reimagining their possibilities, and asking what forms of remembrance might still escape the code. โœฆ Transgressive Memory Festival โœฆ 12โ€“13 September 2026 โœฆ silent green, Berlin Graphic Design: @sophia_krasomil by @ecommemoration
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4 months ago
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WHO CURATES THE PAST? This is the third and final question we are bringing into public space ahead of the Transgressive Memory Festival 2026. Our past(s) are not neutral givings. They are edited, organised, exhibited, archived, and repeated. Some stories become common knowledge. Others remain fragmented, contested, or invisible. For a long time, the authority to narrate history rested with archives, museums, states, and academic institutions. Today, that authority is increasingly challenged by artists, activists, digital communities, and new forms of cultural production. But the question remains: Who curates the past? Who decides which memories become public memory? Which images survive? Which absences remain unaddressed? And how do we respond when inherited narratives no longer account for the complexity of the present? At the Transgressive Memory Festival, artists, historians, and cultural practitioners explore memory not as a fixed record, but as a contested field, shaped by power, interpretation, technology, and imagination. โœฆ Transgressive Memory Festival โœฆ 12โ€“13 September 2026 โœฆ silent green, Berlin Graphic Design: @sophia_krasomil by @ecommemoration
3
4 months ago
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One last look at Kฤฑrkpฤฑnar at the Transgressive Memory Festival. Oil wrestling is built around close physical contact. Bodies grip, push, resist and hold each other โ€” gestures that can be read as competitive, but also as remarkably intimate. In Kฤฑrkpฤฑnar, caner teker works within this ambiguity. Drawing on the centuries-old tradition of Turkish Yagฬ†lฤฑ Guฬˆresฬง, the performance plays with the boundaries between combat and care, masculinity and vulnerability, ritual and desire. Rather than leaving the tradition behind, Kฤฑrkpฤฑnar looks closely at what is already there โ€” and what else its gestures might hold. Kฤฑrkpฤฑnar by @canerteker__ Transgressive Memory Festival 13 September 2026 silent green, Berlin Credits: Choreography, Concept & Direction: @canerteker__ Performers: Felipe Faria ( @f.f.aria ), Emil Ertl ( @emxi_maux ) Music: Lou Drago, Valerie Anna Zwoboda Dramaturgy: Isabel Gatzke Production: @darcey__bennett A production by @canerteker__ in co-production with SOPHIENSร†LE. Supported by the Kunst- und Kulturstiftung der Stadtsparkasse Duฬˆsseldorf and tanzhaus nrw. The 29th Tanztage Berlin is a production of SOPHIENSร†LE. Funded by the Senatsverwaltung fuฬˆr Kultur und Europa. taken in silent green by @ecommemoration
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3 days ago
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More scenes from OBLIVION at the Transgressive Memory Festival. For OBLIVION, Javier Blanco worked with artists and community members from different generations in Coฬrdoba, Argentina, gathering testimonies and memories of the Cordobazo and the countryโ€™s military dictatorship. At the festival, these memories moved through bodies, dance, video mapping and digital technologies. One of the ideas behind the work is borrowed from computing: memory needs to be refreshed to remain accessible. OBLIVION takes this quite literally, but also pushes the idea further. Once memories pass through bodies, images and other people, they donโ€™t simply stay intact. They change. OBLIVION by @javier_blanco_sur Blanco Transgressive Memory Festival 13 September 2026 silent green, Berlin Direction/concept/choreography: @javier_blanco_sur Dancers & co-creators Berlin: @sabrirochaa, @kathy_roco, @anazampaglione, @lauraschultis, @mariapommorsky, Libertad Esmeralda Iocco @libertad.esmeralda, @princesamonto Music/sound: Rodolfo Acosta, Matiฬas Romero Acunฬƒa Video: Laura Colombo, Huberto Abel Aleman, Josefina Gabrielli, Amparo Mariฬa Joseฬ Alvarez, Fernando Cucchietti Dome visuals: Laura Colombo ยท Mapping: @zuza_marczak_ ยท Lights: Javier Blanco, Zuza Marczak ยท AI: Jean Peralta ยท Live subtitles: Ana Maria Acevedo Vargas ยท Guest: Beatriz Elena Martinez Production: Javier Blanco, Beleฬn Marinato @ardea.berlin ยท Management: Marcela Villanueva @karnekunst ยท Production collaboration: Mara Martiฬnez Developed in Coฬrdoba (2025) with EU S+T+ARTS Buen-TEK. Coฬrdoba artists: Camila Jimeฬnez, Agostina Acosta Lazarte, Catalina Alejandra Gaete Schwalm, Maria Victoria Vides, Lucia Pavese, Valentina Campos, Constanza Estevan, Mariฬa Julia Albuixech, Omar Herrera, Sofiฬa del Mar E. Bulacio, Valentina Wiens, Sabrina Rocha; performers/live archive: Iris Durando, Dr Jose Raul Heredia. Collaborations/support: HPC Centreโ€“UNC; Barcelona Supercomputing Centerโ€“Creative Intelligence Lab; Ministry of Culture of Colombiaโ€“Colombian Diaspora in the World; UPC; CePIAโ€“UNC; Cultural Centre UNC; Museo de la Mujer; Festival Pulso Urbano. taken in silent green by @ecommemoration
1
4 days ago
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Looking back at the performances of the Transgressive Memory Festival. What if memory has to be continuously refreshed? In OBLIVION, Colombian artist and choreographer Javier Blanco brought together dance, performative actions, living archives, video mapping and digital technologies to approach memory not as a fixed record, but as something that has to be continuously reactivated. Developed in Coฬrdoba, Argentina, the work emerged from encounters with artists and community members across generations who shared testimonies and memories connected to the Cordobazo and Argentinaโ€™s military dictatorship. At the festival, these histories became bodily, technological and collective. OBLIVION draws a connection between historical and computational memory: both depend on processes of maintenance and updating. Direction/concept/choreography: @javier_blanco_sur Dancers & co-creators Berlin: @sabrirochaa, @kathy_roco, @anazampaglione, @lauraschultis, @mariapommorsky, Libertad Esmeralda Iocco @libertad.esmeralda, @princesamonto Music/sound: Rodolfo Acosta, Matiฬas Romero Acunฬƒa Video: Laura Colombo, Huberto Abel Aleman, Josefina Gabrielli, Amparo Mariฬa Joseฬ Alvarez, Fernando Cucchietti Dome visuals: Laura Colombo ยท Mapping: @zuza_marczak_ ยท Lights: Javier Blanco, Zuza Marczak ยท AI: Jean Peralta ยท Live subtitles: Ana Maria Acevedo Vargas ยท Guest: Beatriz Elena Martinez Production: Javier Blanco, Beleฬn Marinato @ardea.berlin ยท Management: Marcela Villanueva @karnekunst ยท Production collaboration: Mara Martiฬnez Developed in Coฬrdoba (2025) with EU S+T+ARTS Buen-TEK. Coฬrdoba artists: Camila Jimeฬnez, Agostina Acosta Lazarte, Catalina Alejandra Gaete Schwalm, Maria Victoria Vides, Lucia Pavese, Valentina Campos, Constanza Estevan, Mariฬa Julia Albuixech, Omar Herrera, Sofiฬa del Mar E. Bulacio, Valentina Wiens, Sabrina Rocha; performers/live archive: Iris Durando, Dr Jose Raul Heredia. Collaborations/support: HPC Centreโ€“UNC; Barcelona Supercomputing Centerโ€“Creative Intelligence Lab; Ministry of Culture of Colombiaโ€“Colombian Diaspora in the World; UPC; CePIAโ€“UNC; Cultural Centre UNC; Museo de la Mujer; Festival Pulso Urbano. taken in silent green by @ecommemoration
2
6 days ago
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More scenes from *Kฤฑrkpฤฑnar* at the Transgressive Memory Festival. Two bodies wrestling, holding, slipping away, coming close again. In *Kฤฑrkpฤฑnar*, caner teker works with the movements and rituals of Yagฬ†lฤฑ Guฬˆresฬง, traditional Turkish oil wrestling. It is a practice with its own rules, gestures and histories of masculinity. teker stays close to this physical vocabulary, but shifts what happens between the bodies. Competition and aggression make room for intimacy, vulnerability and care. What emerges is a different way of looking at the bodies, gestures and intimacies already present within tradition. Kฤฑrkpฤฑnar by @canerteker__ teker Transgressive Memory Festival 13 September 2026 silent green, Berlin Credits: Choreography, Concept & Direction: @canerteker__ Performers: Felipe Faria ( @f.f.aria ), Emil Ertl ( @emxi_maux ) Music: Lou Drago, Valerie Anna Zwoboda Dramaturgy: Isabel Gatzke Production: @darcey__bennett A production by @canerteker__ in co-production with SOPHIENSร†LE. Supported by the Kunst- und Kulturstiftung der Stadtsparkasse Duฬˆsseldorf and tanzhaus nrw. The 29th Tanztage Berlin is a production of SOPHIENSร†LE. Funded by the Senatsverwaltung fuฬˆr Kultur und Europa. taken in silent green by @ecommemoration
1
10 days ago
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โ—พ๏ธTransgressive Memory Festival 2026โ˜ฃ๏ธ Over the past eight months, I had the chance to develop the visual identity and design system for the Transgressive Memory Festival 2026, commissioned by eCommemoration / Koฬˆrber-Stiftung. @ecommemoration @koerberstiftung The festival approached memory not as a fixed record, but as a contested field shaped by power, interpretation, technology and imagination โ€” asking who gets to narrate the past, which memories become public memory, and how inherited narratives can be challenged and reimagined. Across the project, I developed the visual language and translated it into a wide range of formats: four posters, flyer, the programme folder, web app, artist communication, countless social media assets, motion applications and more. It was an eight-month process of building a system that could remain recognisable while constantly shifting across different types of content, scales and media. The festival took place on 12โ€“13 September 2026 at silent green in Berlin during Berlin Art Week. @silent.green In calloaboration with CTM Festival & Transmediale @ctmfestival @transmediale A selection of the work here. ๐Ÿ–คโ˜ฃ๏ธ๐Ÿ’œ taken in silent green by @ecommemoration
12
11 days ago
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black noise by @yararichterin is based on a quote by Saidiyah Hartman and the question of how non-linear sound and text may sound. The question of what forms a decolonisation of art and cultural practices can take in a current German setting is wrapped like a ring around the fragile attempt of an artistic practice. black noise is the whirl of animism, multidimensional temporalities, altra egos, Afrogerman identities, queerness and the vibrations of distant, past and future events that rhythmically collapses and finds new beginnings in black holes. Questions around Afropresentism and the decentralization of the โ€žartworkโ€œ in a presentation setting make this noise. ๐Ÿ–ผ๏ธ @moses_og taken in silent green by @ecommemoration
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12 days ago
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More scenes from The Bearโ€™s Den at the Transgressive Memory Festival. For years, Kostis Stafylakis kept encountering bears in his feeds: bears with Russian influencers, bears working out with bodybuilders, bears appearing in memes and increasingly strange corners of the internet. At some point, he decided to find out what was inside. In The Bearโ€™s Den, Stafylakis dissects bear-suited performers and retrieves objects from their artificial guts: among them vintage Soviet and pre-Soviet Russian toys. What comes out is a strange mix of folklore, national symbolism, internet culture, geopolitical stereotypes and queer references. In Stafylakisโ€™ logic: if the algorithm keeps analysing you, why not analyse the algorithm back? The Bearโ€™s Den by @stafylakiskostis Transgressive Memory Festival 13 September 2026 silent green, Berlin taken in silent green by @ecommemoration
3
12 days ago
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More scenes from Kishi the Vampire at the Transgressive Memory Festival. A propaganda kimono, an animated manga and Nobusuke Kishi as a vampire: Royce Ngโ€™s lecture performance takes us through the extraordinary biography of the Japanese bureaucrat, colonial administrator, war criminal, prime minister and Nobel Peace Prize winner. Performed by MRBL, Kishi the Vampire follows Kishi from colonial Manchukuo in the 1930s through postwar Japan and the transformation of East Asiaโ€™s political economy. Kishi lived through and helped shape very different political eras, while his ideas and structures he was involved in continued well beyond them. Kishi the Vampire by Royce Ng performed by @runzil__o aka MRBL Transgressive Memory Festival 13 September 2026 silent green, Berlin taken in silent green by @ecommemoration
4
13 days ago
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Looking back at the performances of the Transgressive Memory Festival. What happens when intimacy enters a space traditionally defined by competition and masculinity? In Kฤฑrkpฤฑnar, artist and choreographer caner teker approaches traditional Turkish oil wrestling (Yagฬ†lฤฑ Guฬˆresฬง) as a space in which history, masculinity, intimacy and vulnerability meet. Working with the formal structures and physical vocabulary of this centuries-old martial art, teker introduces a different form of Eros into the encounter between bodies. Rather than approaching wrestling solely through aggression and competition, Kฤฑrkpฤฑnar shifts our attention towards touch, care and rituality: towards the tensions that emerge when these become part of a practice deeply entangled with traditions of masculinity. Kฤฑrkpฤฑnar by @canerteker__ with @emxi_maux & @f.f.aria sound @lou__drago Transgressive Memory Festival 13 September 2026 silent green, Berlin taken in silent green by @ecommemoration
6
17 days ago
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