https://jassemhindi.cargo.site Jassem Hindi Thu, 12 Feb 2026 12:04:38 +0000 https://jassemhindi.cargo.site en https://jassemhindi.cargo.site/SUN-EATERS-1 Tue, 12 Mar 2024 22:17:50 +0000 Jassem Hindi https://jassemhindi.cargo.site/SUN-EATERS-1 <img width="2150" height="728" width_o="2150" height_o="728" data-src="https://freight.cargo.site/t/original/i/be63c696db681dce4ac69272bdec7deb468453bd15897ec2f86690fd865e6892/LOGO_w.png" data-mid="207137815" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/be63c696db681dce4ac69272bdec7deb468453bd15897ec2f86690fd865e6892/LOGO_w.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ad03b2d5d4cf4565f1c43fbb71c2654f642384be5734cdd7e8b10ecc5de6f1d8/501A7371.MOV.00_56_54_19.Still001.jpg" data-mid="211261416" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/ad03b2d5d4cf4565f1c43fbb71c2654f642384be5734cdd7e8b10ecc5de6f1d8/501A7371.MOV.00_56_54_19.Still001.jpg" /> There is no East, There may never be a Sun Laila Malik Oil is a deadly pearl. Sun Eaters is a contemporary folk dance about the mythological origins of petrol, about the long cycles of violence that it initiates, steeped in wars, dangerous gods and death poems. It is inspired by petro-magic, pre-islamic figures, and the tradition of vengeful dances. If oil is an immense, collective, anonymous material, it can be accessed through another similarly collective and anonymous material: folk dance is a perfect device for this purpose. It is alive, unburied, incarnated, and it waves back at us. Oil is a vicious poem hidden in darkness. Sun Eaters blends dances from Norway, Brittany and West Asia. It is drenched in doom metal, pre-islamic iconography, levantine maqams and Norwegian curse tunes. Sun Eaters twists and betrays what it summons, and rekindles with the cruelty of oil to incarnate its deadly, seductive smile. The piece uses sources from doom metal, pre-Islamic iconography, Levantine maqams, west asian death poetry, and cursed Norwegian tunes. Press:‘When the performance ignites, however, it does so with convincing fervor: Sun Eaters suddenly becomes a mesmerizing folk dance that draws you into a dark universe where oil not only exists but lives. And it is precisely in these moments that the performance reveals its true potential: uncompromising, raw, and inescapable.’ Gina Miroula, Teaterkrant&nbsp;https://www.theaterkrant.nl/recensie/sun-eaters/jassem-hindi-sina-seifee-frascati-producties/ CREDITS: Concept, scenography, sound: Jassem Hindi &amp; Sina SeifeeChoreography: Jassem HindiDance: Charlott Utzig, Paolo de Venecia Gile, Harald Beharie (in alternance with Alexandra Tveit, Trine Lise Moe)Production: Marie Ursin&nbsp;Outside eye and support: Simon Portigal, Mira AdoumierProduction: Lisa Bakk Bøen Duration:60 min. Performed at:&nbsp; Frascati Amsterdam, BIT Bergen, Dansenshus Oslo, RAS Sandnes, Schedhalle Zurich, Art Pavillion Zagreb, Vinterscene Porsgrunn Supported by: Kulturrådet - Arts Council Norway and AmmodoCo-production:RAS - Regional Arena for SamtidsdansModerna DansteaternwpZimmerBeursschouwburgGrenland FriteaterSamar ProductionsFrascati Producties ...More text...Folk dances: broken, incomplete, transforming the dancer into a sun eater. Folk dances are when bodies need to speak first. They are the joyous language of darkness. Folk dances are made on the edges of dark forests at dusk, in moonlit deserts, close to icy rivers. They are collective rebellions against the light, the obedient, the coherent. It is sacred knowledge: its darkness is an illumination within an illumination. Sources:Sun Eaters is partially based on Cyclonopedia by Reza Negarestani, associating pre-islamic iconography to analyze our political landscape, the studies of mesopotamian rituals concerning snakes, the cult of Pazuzu, the horror poetry of Aase Berg, the war writings of Pierre Guyotat, the mythical poems of Laila Malik, the description of bodies in Hassan Blasim’s novels, the movie The House is Black by Forough Farrokhzad, and living documentation of exalted folk dances from Norway, Brittany and West Asia (Iran and Palestine). <img width="4106" height="2745" width_o="4106" height_o="2745" data-src="https://freight.cargo.site/t/original/i/4e9198ad1aaa2a2a068f1a208954f097d49e3ec7057581b54fd7fb9731029d6c/Foto--Tale-Hendnes-Dansens-Hus-2025-63.jpg" data-mid="233971539" border="0" src="https://freight.cargo.site/w/1000/i/4e9198ad1aaa2a2a068f1a208954f097d49e3ec7057581b54fd7fb9731029d6c/Foto--Tale-Hendnes-Dansens-Hus-2025-63.jpg" /><img width="5752" height="3835" width_o="5752" 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data-mid="211261918" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/7af306ce89db1fc8c901319353e86d05c2556f837311510dafe8c4bbf2c3e44c/wall-of-archives.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/21be5c1fc416f109cdb1513c4d5379b6aff0256f32399eb90dab3d839ad5143f/501A7407.MOV.01_53_06_14.Still002.jpg" data-mid="211261126" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/21be5c1fc416f109cdb1513c4d5379b6aff0256f32399eb90dab3d839ad5143f/501A7407.MOV.01_53_06_14.Still002.jpg" /><img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/362728f82b36255272e3606d15ca572484363ef7c08f1f7dc4f7e3c543a7607d/501A7410.MOV.01_57_30_04.Still002.jpg" data-mid="211261128" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/362728f82b36255272e3606d15ca572484363ef7c08f1f7dc4f7e3c543a7607d/501A7410.MOV.01_57_30_04.Still002.jpg" /> <img width="3412" height="5481" width_o="3412" height_o="5481" data-src="https://freight.cargo.site/t/original/i/595f0e2123f4e2c496762dbf8b67574362fc5bad0304f68b7f98a962cf97b7bc/pazuzu.jpg" data-mid="206648083" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/595f0e2123f4e2c496762dbf8b67574362fc5bad0304f68b7f98a962cf97b7bc/pazuzu.jpg" /> https://jassemhindi.cargo.site/Laundry-of-Legends Wed, 01 Feb 2023 06:02:28 +0000 Jassem Hindi https://jassemhindi.cargo.site/Laundry-of-Legends LAUNDRY OF LEGENDS <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/f9a5404786d0586eb2686114c5a0d8586837e2360009d17d5aeef0084a5dd63a/MAI_March_24_2023__Vanessa-Fortin-50-2048x1365.jpg" data-mid="176709345" border="0" src="https://freight.cargo.site/w/1000/i/f9a5404786d0586eb2686114c5a0d8586837e2360009d17d5aeef0084a5dd63a/MAI_March_24_2023__Vanessa-Fortin-50-2048x1365.jpg" /> Choreography, concept, scenography, music: Jassem Hindi Dance: Clara Furey, Simon Portigal &amp; Justing de Luna Lights: Darah Mia Commissioned by the MAI, Montreal with the support of the Norwegian Arts Council How to dance during war times? What to dance in the face of extreme violence? Laundry of Legends is based on The Arab Apocalypse,&nbsp;by Etel Adnan, a poem written at the beginning of the Lebanese civil war, in the midst of the palestinian struggle. It is a baroque, cruel, and cosmological text, a death poem, laced with references to pre-islamic mythologies, an epic battle between a woman and the sun, a love letter to the healing powers of the night.&nbsp; This war poem, when transformed by dancing bodies, becomes a lyrical resurrection and a death fueled time-machine. The poem emerges when there is a gathering. It starts in the body, and reassembles itself within us in fragments.&nbsp; Laundry of Legends is a dance piece about the impossibility of dancing in the face of war, and yet doing it anyways. It shows us how to surrender, how to betray death, how to be playful with absence. Death poetry is a special kind of incarnated political healing; it tells us what to look for in our pharmakon – at the way children dance, or how corpses still retain invisible movements, or when bodies are crouching, shaking, bent in threatening postures. <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/5bf7d63f490d080b7c59faa085f62d26a0dc5a3b5170a345e245d327a10bac9e/May22-63.jpg" data-mid="233969684" border="0" src="https://freight.cargo.site/w/1000/i/5bf7d63f490d080b7c59faa085f62d26a0dc5a3b5170a345e245d327a10bac9e/May22-63.jpg" /><img width="4432" height="2955" width_o="4432" height_o="2955" data-src="https://freight.cargo.site/t/original/i/ad106c3a6becba107739774db2d26c610bb27cca44da32e4e55cb8d5b5872000/May22-51.jpg" data-mid="233969683" border="0" src="https://freight.cargo.site/w/1000/i/ad106c3a6becba107739774db2d26c610bb27cca44da32e4e55cb8d5b5872000/May22-51.jpg" /><img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/50a69fced2e67d1ade4ca13e2630990b39c7b633637247363c2db342058fce7e/IMG20230517165812.jpg" data-mid="201214453" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/50a69fced2e67d1ade4ca13e2630990b39c7b633637247363c2db342058fce7e/IMG20230517165812.jpg" /><img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/a62e2c8a08b39e606072db93cad00d4bc6f0ff85c537ed26361277ed46a8c56b/IMG20230517172243.jpg" data-mid="201214455" border="0" src="https://freight.cargo.site/w/1000/i/a62e2c8a08b39e606072db93cad00d4bc6f0ff85c537ed26361277ed46a8c56b/IMG20230517172243.jpg" /> World Premiere May 17, 2023 at the MAI in Montreal, Canada Performance: May 23, 24 2025 at Espace Libre - Festival Acces Asie, Montreal, Canada Performed at Festival Acces Asie, Montreal, Mai 2025 Funded by: Canada Council for the Arts with the support of&nbsp;Kulturdirektoratet (Norwegian Arts Council - SKS Arbeidstipend) <img width="1486" height="446" width_o="1486" height_o="446" data-src="https://freight.cargo.site/t/original/i/7388ee96526b7e2d98d28b9a842c90b5ce39102da5411167fa38a4a2275455b8/ArtsCouncilNorway_White.png" data-mid="166858230" border="0" data-scale="15" src="https://freight.cargo.site/w/1000/i/7388ee96526b7e2d98d28b9a842c90b5ce39102da5411167fa38a4a2275455b8/ArtsCouncilNorway_White.png" />&nbsp; &nbsp; &nbsp;&nbsp;<img width="1201" height="220" width_o="1201" height_o="220" data-src="https://freight.cargo.site/t/original/i/831063b822f959e04588ef0446b74a6ad44a486895b666216b95a7b2e06cd19a/CCA_RGB_black_e.png" data-mid="166858431" border="0" data-scale="28" src="https://freight.cargo.site/w/1000/i/831063b822f959e04588ef0446b74a6ad44a486895b666216b95a7b2e06cd19a/CCA_RGB_black_e.png" /> https://jassemhindi.cargo.site/Uskkadat-Ustaria-Elina-Waage-Mikalsen-Jassem-Hindi Thu, 12 Feb 2026 12:04:38 +0000 Jassem Hindi https://jassemhindi.cargo.site/Uskkadat-Ustaria-Elina-Waage-Mikalsen-Jassem-Hindi /* Container for the whole page */ .cargo-content-wrapper { padding: 10vw 5vw; max-width: 1400px; margin: 0 auto; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; color: #fff; /* Entire block is now white */ line-height: 1.05; } /* Large Header Section */ .header-section { margin-bottom: 4vw; } .project-title { font-size: 9vw; font-weight: 500; letter-spacing: -0.05em; margin: 0; text-transform: uppercase; color: #fff; } .artist-subtitle { font-size: 2vw; font-weight: 400; letter-spacing: -0.02em; margin-top: 1vw; color: #fff; } /* The Combined Text Block */ .text-block { font-size: 4.5vw; font-weight: 400; letter-spacing: -0.03em; max-width: 95%; text-align: left; color: #fff; } .text-block p { margin: 0; display: inline; } .question-highlight { font-style: italic; font-weight: 500; display: inline; color: #fff; } /* Mobile adjustments */ @media (max-width: 768px) { .project-title { font-size: 14vw; } .artist-subtitle { font-size: 5vw; } .text-block { font-size: 8vw; line-height: 1.1; } .cargo-content-wrapper { padding: 15vw 5vw; } } Uskkádat Ustaria Elina Waage Mikalsen &amp; Jassem Hindi sound, dance and performance commissioned by the National Museum, Oslo dur. 1h30&nbsp; Elina Waage Mikalsen and Jassem Hindi navigate the transition from the National Museum’s entrance to its inner sanctums. By weaving disparate elements of sound and materiality, they challenge the colonial framework of the architectural space. Using poems, sound, dance, and an original co-written text, they ask: What is our autonomy in a museum? <img width="867" height="1416" width_o="867" height_o="1416" data-src="https://freight.cargo.site/t/original/i/78a2b8409d564173fc32813e9531b14632ad09a375e485f495539e6015d0ac83/IMG_20251102_044126.jpg" data-mid="244755027" border="0" src="https://freight.cargo.site/w/867/i/78a2b8409d564173fc32813e9531b14632ad09a375e485f495539e6015d0ac83/IMG_20251102_044126.jpg" /> <img width="926" height="601" width_o="926" height_o="601" data-src="https://freight.cargo.site/t/original/i/4672af1c929cf0bc7aa8aaf3fd098405d752f0261235162e61bcb74e01188326/IMG_20251102_044044.jpg" data-mid="244755026" border="0" src="https://freight.cargo.site/w/926/i/4672af1c929cf0bc7aa8aaf3fd098405d752f0261235162e61bcb74e01188326/IMG_20251102_044044.jpg" /> <img width="1717" height="2560" width_o="1717" height_o="2560" data-src="https://freight.cargo.site/t/original/i/4efb2663ca04676e0c74534923aadb675efc53768fb462e2e10ba6d9d5b1398c/Uskkadat-Ustaria-performance-006-scaled.jpg" data-mid="244754847" border="0" src="https://freight.cargo.site/w/1000/i/4efb2663ca04676e0c74534923aadb675efc53768fb462e2e10ba6d9d5b1398c/Uskkadat-Ustaria-performance-006-scaled.jpg" /><img width="996" height="855" width_o="996" height_o="855" data-src="https://freight.cargo.site/t/original/i/5c203be06b4a2f13a12e1c87c2afb1bdfcb8a03ec0c5ad5be23c5a4df2f210a8/IMG_20251026_093246.jpg" data-mid="244755025" border="0" src="https://freight.cargo.site/w/996/i/5c203be06b4a2f13a12e1c87c2afb1bdfcb8a03ec0c5ad5be23c5a4df2f210a8/IMG_20251026_093246.jpg" /> https://jassemhindi.cargo.site/New-Year Fri, 15 Feb 2019 21:21:18 +0000 Jassem Hindi https://jassemhindi.cargo.site/New-Year NEW YEARa death poem <img width="3968" height="2976" width_o="3968" height_o="2976" data-src="https://freight.cargo.site/t/original/i/b942189c7af113ebdee22a1f7d7d921c2b3734310c5f2a685a8b4a7d0a176098/IMG_20190322_215207.jpg" data-mid="233972181" border="0" src="https://freight.cargo.site/w/1000/i/b942189c7af113ebdee22a1f7d7d921c2b3734310c5f2a685a8b4a7d0a176098/IMG_20190322_215207.jpg" /> <img width="2976" height="3968" width_o="2976" height_o="3968" data-src="https://freight.cargo.site/t/original/i/a67a52e66f634872e20a0508c0a21f2f25b582b535ea322855b8875a81c7091b/IMG_20180121_184805.jpg" data-mid="35666039" border="0" src="https://freight.cargo.site/w/1000/i/a67a52e66f634872e20a0508c0a21f2f25b582b535ea322855b8875a81c7091b/IMG_20180121_184805.jpg" /> <img width="3968" height="2976" width_o="3968" height_o="2976" data-src="https://freight.cargo.site/t/original/i/d65813ad5e19f103e703dd41766f6a505e3e49b4b2aa5a04b99c607bf93a6508/IMG_20190322_215237.jpg" data-mid="233972182" border="0" src="https://freight.cargo.site/w/1000/i/d65813ad5e19f103e703dd41766f6a505e3e49b4b2aa5a04b99c607bf93a6508/IMG_20190322_215237.jpg" /><img width="3968" height="2976" width_o="3968" height_o="2976" data-src="https://freight.cargo.site/t/original/i/ad6a2c7c8770eda567f5abfaf75911607bcbfb5c34cc45d0faa42e41be99dc62/IMG_20190322_215358.jpg" data-mid="233972183" border="0" src="https://freight.cargo.site/w/1000/i/ad6a2c7c8770eda567f5abfaf75911607bcbfb5c34cc45d0faa42e41be99dc62/IMG_20190322_215358.jpg" />This is a performance which ends with the recitation of a death poem called New Year, written by the legendary poet Nazik el Malaika. It is about the quality of death that one can hope for. It is a desperate and dark poem and at the same time a courageous, enraged cry of rebellion. It is an homage to Nazik El Malaika and a swan song to the sultry, defiant, nocturnal joie de vivre of my Middle Eastern cities. It is a performance for 20 to 30 people, which can be repeated several times in the course of an evening, with simple food made and served by the performer, accompanied by a series of drawings: landscapes, incantations, portraits of animals. New Year is about the conditions of production of transmission. It is to be done from person to person. It is a gift performance, the passing of a death poem from one person to another. The sharing of this poem is a physical, discursive and emotional gesture - and incidentally an attempt to fulfill the last wish of Nazik el Malaika herself.&nbsp; Nazik El Malaika was a world reknown Iraki poet who passed away in 2007. She wrote a lot about loneliness, the night, the liberation of Arab women and the dark tides that ravaged her life. I use Malaika’s provocative claim to a different type of relation to death, as a place of gathering and sharing, rather than a horrifying moment reduced and simplified to gore arithmetics, voyeurism and bigotry. A project curated by Barbara Raes and HAU Hebbel am Ufer. Funded within the framework of the Alliance of International Production Houses by the Federal Government Commissioner for Culture and the Media. It has been made in Berlin (HAU), Tehran (Fadjr), and soon Brussels (KAI).Interview by Dr. Elisabeth Nehring about the work can be found here: https://www.theaterderzeit.de/buch/unacknowledged_loss/ <img width="2976" height="3968" width_o="2976" height_o="3968" data-src="https://freight.cargo.site/t/original/i/f0e8ce1b7ef75168d8f9e3d6616f3e8c85581d5f7c81d0c6150d8e6e471e4406/IMG_20180219_161656.jpg" data-mid="35658645" border="0" src="https://freight.cargo.site/w/1000/i/f0e8ce1b7ef75168d8f9e3d6616f3e8c85581d5f7c81d0c6150d8e6e471e4406/IMG_20180219_161656.jpg" /> <img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/8593f7126f5b6eb761cad4a2afbedef6f70f6534dc211e2cf0a3dd73fed0d9fa/IMG_6931.jpg" data-mid="35666037" border="0" src="https://freight.cargo.site/w/1000/i/8593f7126f5b6eb761cad4a2afbedef6f70f6534dc211e2cf0a3dd73fed0d9fa/IMG_6931.jpg" /><img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/fc476d4f430829ac9d4bf090e15b6f3864c013094f7819c802be46fc2695b058/UL_Jassem-Hindi_7205.jpg" data-mid="35666042" border="0" src="https://freight.cargo.site/w/1000/i/fc476d4f430829ac9d4bf090e15b6f3864c013094f7819c802be46fc2695b058/UL_Jassem-Hindi_7205.jpg" /><img width="5448" height="3632" width_o="5448" height_o="3632" data-src="https://freight.cargo.site/t/original/i/79cbcfe346f2c4b17fce72680064d30c6fe0a8d420803f497c9f8cf7fdae5879/UL_Jassem-Hindi_7217.jpg" data-mid="35666043" border="0" src="https://freight.cargo.site/w/1000/i/79cbcfe346f2c4b17fce72680064d30c6fe0a8d420803f497c9f8cf7fdae5879/UL_Jassem-Hindi_7217.jpg" /><img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/869630ef3ebfa148f5470b102ae9db23c7b71d8dedc97f73fc5544d27931fc03/IMG_6930.jpg" data-mid="35666053" border="0" src="https://freight.cargo.site/w/1000/i/869630ef3ebfa148f5470b102ae9db23c7b71d8dedc97f73fc5544d27931fc03/IMG_6930.jpg" /> https://jassemhindi.cargo.site/Stranger-Within Mon, 18 Feb 2019 07:14:50 +0000 Jassem Hindi https://jassemhindi.cargo.site/Stranger-Within Stranger Within Performance created with Mia Habib A fragmented cartography of Norway through its movements of populations, minorities, political tensions and cultural territories within the North of Norway, Hedmark, South of Trondelag.&nbsp; We perform in people’s homes in exchange for dinner or coffee, pace the land, read the archives. We are attentive to the local environment: everything is material, everything performs - mythology, social tensions, geography, local archives, poems, songs, local news, names, crafts, ways people travel, ways people meet each other. Press:&nbsp;https://www.shakespearetidsskrift.no/anmeldelser/poltergeist-teater/221356 <img width="4276" height="2836" width_o="4276" height_o="2836" data-src="https://freight.cargo.site/t/original/i/de8feb235540501bdd9f3ad887848a062fbe62807f7036eaac6cc76afa8ddf8f/Copy-of-Copy-of-_DSC0441.jpg" data-mid="35660968" border="0" src="https://freight.cargo.site/w/1000/i/de8feb235540501bdd9f3ad887848a062fbe62807f7036eaac6cc76afa8ddf8f/Copy-of-Copy-of-_DSC0441.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/f0ec23c9bcbbd3c71445d786848be1a86f4190a63e766b0f41b124ee94f2f362/Copy-of-Copy-of-Photo_YanivCohen-3276.jpg" data-mid="35661506" border="0" src="https://freight.cargo.site/w/1000/i/f0ec23c9bcbbd3c71445d786848be1a86f4190a63e766b0f41b124ee94f2f362/Copy-of-Copy-of-Photo_YanivCohen-3276.jpg" /> Since 2017 Mia and Jassem have performed in people's houses in exchange of a dinner or a coffee. The work has been developed in the spirit of hosting strangers with strangeness, where art is stuck inside reality. Habib and Hindi use found objects, lo-fi recordings, fantastique-realist poems and their own bodies. Stranger Within is a collective endeavor, and for many of the editions they invite guest artists they have met along the road. The guests add their own perspective to what absence and strangeness feels like.Stranger within is the making of a haunted, embodied cartography of Norway - by observing migration movements, past and present living beings on the land, techniques of hospitality, moments of strangeness. It is a long term artist research and performance project by Jassem Hindi and Mia Habib. It is a serial project, where the country is divided in non administrative borders. So far we have done ‘Stranger within Nord’ and it is now followed by ‘Stranger within Hedmark’. Following this work on site, we reshape the work so that this experience can be transmitted. Stranger within then becomes an overlapping of performances, installation, dinners, projection of a documentary, lectures, concert and a book. Stranger Within is a tale set in Norway, exploring the fabric of what makes a political unconscious. This broken history of Norway is shaped like a haunted land, fretting at the remains of the day. Stranger within is the work of a sleeper: the story unfolds using displacement, condensation and disruption. It is a haunted landscape that maintains a multiplicity of absences; organic, historical and ecosystemic. They start to behave strangely; shaking bodies, breaking objects, shaping menacing figures. Haunting: That which roams unseen and quiet upon the land signals that what is not here is moving us. Absence is a powerful drive. The word is often found at a muddy crossroad between performance and politics. Stranger Within is a haunted landscape that maintains a multiplicity of absences; organic, historical and ecosystemic. They start to behave strangely; shaking bodies, breaking objects, shaping menacing figures. <img width="3648" height="2048" width_o="3648" height_o="2048" data-src="https://freight.cargo.site/t/original/i/a8fd87d5818afd56b354f1edcf6b66db060ab482fd21c74ff671503e788829fc/Copy-of-Copy-of-IMG_8274.JPG" data-mid="35660970" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/a8fd87d5818afd56b354f1edcf6b66db060ab482fd21c74ff671503e788829fc/Copy-of-Copy-of-IMG_8274.JPG" /><img width="797" height="789" width_o="797" height_o="789" data-src="https://freight.cargo.site/t/original/i/2db0df5747f2114e2ccf707865cbe50c3735efa109cd98bfc42d26cb3982cccb/IMG_6964.JPG" data-mid="35661303" border="0" src="https://freight.cargo.site/w/797/i/2db0df5747f2114e2ccf707865cbe50c3735efa109cd98bfc42d26cb3982cccb/IMG_6964.JPG" /> <img width="1018" height="1356" width_o="1018" height_o="1356" data-src="https://freight.cargo.site/t/original/i/0ff6f94e054d614965a981ed9335192a1a2304872e593ca3a95762448ae0465a/IMG20251210140254.jpg" data-mid="241887404" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/0ff6f94e054d614965a981ed9335192a1a2304872e593ca3a95762448ae0465a/IMG20251210140254.jpg" /> <img width="1808" height="1356" width_o="1808" height_o="1356" data-src="https://freight.cargo.site/t/original/i/6d569077e08ba8f66272246841e116964670f384f423c079cada7995ad2aad7a/IMG20251208153938.jpg" data-mid="241887407" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/6d569077e08ba8f66272246841e116964670f384f423c079cada7995ad2aad7a/IMG20251208153938.jpg" /> <img width="1808" height="1356" width_o="1808" height_o="1356" data-src="https://freight.cargo.site/t/original/i/e270e7af8cb09264a3e404693b865086cad709f82712e34e0c22239b5969b092/IMG20251209140659.jpg" data-mid="241887405" border="0" src="https://freight.cargo.site/w/1000/i/e270e7af8cb09264a3e404693b865086cad709f82712e34e0c22239b5969b092/IMG20251209140659.jpg" /> <img width="4500" height="2995" width_o="4500" height_o="2995" data-src="https://freight.cargo.site/t/original/i/f1b9896428d1986329c0c5c7841b6c97fe2167909d1fb6efe413a009b28f2f6b/Copy-of-Copy-of-Photo_YanivCohen-7149.jpg" data-mid="35660972" border="0" src="https://freight.cargo.site/w/1000/i/f1b9896428d1986329c0c5c7841b6c97fe2167909d1fb6efe413a009b28f2f6b/Copy-of-Copy-of-Photo_YanivCohen-7149.jpg" /> ‘’Poetry is not a luxury, Audre Lorde wrote. Perhaps the Stranger Within are mind-bodies who challenge the lies our Western art institutions are built upon, and that make us believe that poetry is a luxury: the aura of unattainability surrounding the figure of the artist, the space relations between the work of art and its beholder, and the very notion of work of art, beyond performance’s nature as both material and immaterial phenomenon’’Locality in transit: impressions on Mia Habib and Jassem Hindi's Stranger Within Deise Nunes <img width="5000" height="3328" width_o="5000" height_o="3328" data-src="https://freight.cargo.site/t/original/i/a734feb390b297a9a8616d83b3714f610b1bf45480d99172045fe4dd87c20ae6/Copy-of-Copy-of-Photo_YanivCohen-7328.jpg" data-mid="35660973" border="0" src="https://freight.cargo.site/w/1000/i/a734feb390b297a9a8616d83b3714f610b1bf45480d99172045fe4dd87c20ae6/Copy-of-Copy-of-Photo_YanivCohen-7328.jpg" /> <img width="2016" height="1512" width_o="2016" height_o="1512" data-src="https://freight.cargo.site/t/original/i/91d96969556ca5b5647f969984a82b926df8c619dc8cd00c049bd1f1852b38fe/bilde-IMG_4970-1.JPG" data-mid="35661688" border="0" src="https://freight.cargo.site/w/1000/i/91d96969556ca5b5647f969984a82b926df8c619dc8cd00c049bd1f1852b38fe/bilde-IMG_4970-1.JPG" /><img width="3968" height="2976" width_o="3968" height_o="2976" data-src="https://freight.cargo.site/t/original/i/5a9997bd049fd68d4437297c73bafa4fcdd804206cbc5d3d42c029646d9b6ada/IMG_20171117_122916.jpg" data-mid="35661250" border="0" src="https://freight.cargo.site/w/1000/i/5a9997bd049fd68d4437297c73bafa4fcdd804206cbc5d3d42c029646d9b6ada/IMG_20171117_122916.jpg" /> <img width="3968" height="2976" width_o="3968" height_o="2976" data-src="https://freight.cargo.site/t/original/i/ca522237fd6f69e0bd13304a5d79bd7ce517d2a27f0f2b945cbd259b92b35900/IMG_20171117_125128.jpg" data-mid="35661251" border="0" src="https://freight.cargo.site/w/1000/i/ca522237fd6f69e0bd13304a5d79bd7ce517d2a27f0f2b945cbd259b92b35900/IMG_20171117_125128.jpg" /> <img width="384" height="512" width_o="384" height_o="512" data-src="https://freight.cargo.site/t/original/i/c7a1e92b8dd2b188b64f101a8a1d48cc27268989003cb11b7b23ad805f564c91/1510245039845.jpg" data-mid="35661268" border="0" src="https://freight.cargo.site/w/384/i/c7a1e92b8dd2b188b64f101a8a1d48cc27268989003cb11b7b23ad805f564c91/1510245039845.jpg" /> Pre-production for Stranger Within was by Kira Senkpiel / Mia Habib ProductionsStranger Within premiered during Bastard Festival 2018, September 11 - 14 at&nbsp;Galleri KIT in Trondheim. With guest performers&nbsp;Siri Broch Johanssen and Sina Seifee.October 11 - 20, 2018, Stranger Within was shown at Interkulturelt Museum, Oslo, with guests Nils-Rune Utsi aka SlinCraze, LATERNA /&nbsp;Inger-Reidun Olsen &amp; Marianne Skjeldal,&nbsp;Ingun Mæhlum and&nbsp;Sina Seifee.October 23 - 24, 2018, Oktoberdans, Hordaland Kunstsenter, Bergen.&nbsp;SITE, Stockholm, December 2018 Produced by&nbsp; TrAPMia Habib Productions Co-producers Black Box teaterInterkulturelt Museum – Oslo MuseumTeaterhuset AvantgardenBIT TeatergarasjenSITE Other partners Sina SeifeeSiri Broch JohansenKirsten OpstadHelle SiljeholmIngunn MæhlumPikene på broen Supported by Arts Council NorwayFond for lyd og bildeMunicipality of Oslo https://jassemhindi.cargo.site/Betraying-Utopia-Slime-Utopia Sun, 14 Mar 2021 19:42:29 +0000 Jassem Hindi https://jassemhindi.cargo.site/Betraying-Utopia-Slime-Utopia BETRAYING UTOPIA / SLIME UTOPIA Introduction part I and II "I am not real, I am just like you". A utopia is a suspended locale, a space without time, extracted out of the mud of life.&nbsp; In this canonical, western version, it is a suspicious object of desire - dis-incarnated; bodies are designed, pacified, idealized.&nbsp; It is an island where time is suspended, therefore transformation is excluded. What happens when we re-introduce time, when we betray Utopia’s intentions? To unlearn what “Utopia” could be/become, Jassem Hindi uses historical, conceptual and speculative strategies. This audio narrative consists of two parts, and it is a soft introduction to a wider research on “Betraying” utopia, and on “Slimy” utopia. He looks at utopia as a political practice that is not about projection (waiting patiently for the future) in a linear, progressive timeline (what is possible according to what we know) - our strategy is to fragment utopia into smaller pieces and disseminate those fragments in our present practices. In art, Utopia is not ‘yet to come’, it is a now:&nbsp; a poem written in times of war is direct access to utopia, a pharmakon in times of hardship - this is the effectiveness of utopia, its potential for immanence, for betraying the dis-incarnated, idealist version. This work is dedicated to the loving memory of Alina Popa First two episodes produced by https://www.futurematter.institute/ FutureMatter · Future Matter # 3.1 - Jassem Hindi : Betraying Utopia Part 1. Betraying UtopiaThe first part is about how betrayal can be used as a tool to corrupt, to shred&nbsp;utopia, about how time haunts&nbsp;utopia, and the difference between chimeras and monsters. FutureMatter · Future Matter # 3.2 - Jassem Hindi : Slimy Utopia Part 2. Slimy UtopiaThe second part is about what happens when we have shredded utopia to pieces. I will evoke what kind of politics of hospitality are implied in a slimy utopia. I aspect poetry and monsters towards a political practice, a political practice of magic which says: ‘’I am not real, I am just like you’’. Image by @viktortimo https://jassemhindi.cargo.site/Thank-You-Ireland Tue, 01 Jul 2025 23:56:42 +0000 Jassem Hindi https://jassemhindi.cargo.site/Thank-You-Ireland THANK YOU IRELAND Thank you Ireland is a 40 min outdoor performance about the relationship betwen Irish folk dancing and the Palestinian struggle. It is a naive love letter from one Palestinian exile to the people of Ireland, thinking about the function of dance during war time, as a way to survive and heal collectively. This dance solo is an interpretation of folk dances from Palestine and Ireland, dances that are made to be performed outside on the pavement or by a river, on simple tunes. The music is The Whistler at the Wake. Performed for the first time in Svartdalen, Norway, in June 2025, as part of How to be a visitor? by Tommy Noonan, Jassem Hindi, Frank Mugisha, during the American Dance Festival, streamed live in Kampala, Uganda and Durham, U.S.A. Produced by Culture Mill based on a proposal by Tommy Noonan <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/34defa277627a5267b362486a617d2c1693f2b3ba820d29195702f6506656870/IMG_3189.jpeg" data-mid="235289919" border="0" src="https://freight.cargo.site/w/1000/i/34defa277627a5267b362486a617d2c1693f2b3ba820d29195702f6506656870/IMG_3189.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/ee1cd2a46f3fa955b67cc838f29feaca01f80259c7b2b0d36e67800e153645b7/IMG_3190.jpeg" data-mid="235289920" border="0" src="https://freight.cargo.site/w/1000/i/ee1cd2a46f3fa955b67cc838f29feaca01f80259c7b2b0d36e67800e153645b7/IMG_3190.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/93d0af8dba90543f1e23b81b1f24227c663e8f4732d549248c5c84973c9016a8/IMG_3138.jpeg" data-mid="235289924" border="0" src="https://freight.cargo.site/w/1000/i/93d0af8dba90543f1e23b81b1f24227c663e8f4732d549248c5c84973c9016a8/IMG_3138.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/b1b034f3e760ced0583756a0a4572e6e90ea40ac19a20f3ff5aadbbfeb936e83/IMG_3178.jpeg" data-mid="235289961" border="0" src="https://freight.cargo.site/w/1000/i/b1b034f3e760ced0583756a0a4572e6e90ea40ac19a20f3ff5aadbbfeb936e83/IMG_3178.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9ce3e30888af68680192ac82f559ccc1ab8809972caf88ce15ccc95bd73e063a/IMG_3170.jpeg" data-mid="235289959" border="0" src="https://freight.cargo.site/w/1000/i/9ce3e30888af68680192ac82f559ccc1ab8809972caf88ce15ccc95bd73e063a/IMG_3170.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/77d30e40e65c8b9db5a1c4cdebd7589f1aa23a9df3a130b77a731e4aaa4d70c5/IMG_3177.jpeg" data-mid="235289960" border="0" src="https://freight.cargo.site/w/1000/i/77d30e40e65c8b9db5a1c4cdebd7589f1aa23a9df3a130b77a731e4aaa4d70c5/IMG_3177.jpeg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/45aea7e166c0e94c3aa1212825061ace58d516992c490f03381c20f02be1fc3e/IMG_3159.jpeg" data-mid="235289929" border="0" src="https://freight.cargo.site/w/1000/i/45aea7e166c0e94c3aa1212825061ace58d516992c490f03381c20f02be1fc3e/IMG_3159.jpeg" /> https://jassemhindi.cargo.site/future-friend-ships Mon, 18 Feb 2019 06:21:53 +0000 Jassem Hindi https://jassemhindi.cargo.site/future-friend-ships FUTURE FRIEND/SHIPSperformance created by Keith Hennessy and Jassem Hindilighting designer Dennis Döscher <img src="https://static1.squarespace.com/static/56046d78e4b0b3ab89c2575c/568f446f69a91adb94c787b4/59f8f3d26c31945e330d93eb/1509488054453/2+Pictured_+Hennessy+%2B+Hindi+_+Photo+by+Robbie+Sweeny.jpg?format=500w"><img src="https://static1.squarespace.com/static/56046d78e4b0b3ab89c2575c/568f446f69a91adb94c787b4/59f8f58953450aacc047eb8e/1509488054459/DSC_3953.jpg?format=500w"><img src="https://static1.squarespace.com/static/56046d78e4b0b3ab89c2575c/568f446f69a91adb94c787b4/59f8f5894192028351ae6c0e/1509488054570/DSC_3979.jpg?format=500w"><img src="https://static1.squarespace.com/static/56046d78e4b0b3ab89c2575c/568f446f69a91adb94c787b4/59f8f58e2774d1b8507fab2f/1509488054637/DSC_4282.jpg?format=500w"> "Irony is about the tension of holding incompatible things together because both or all are necessary and true. Irony is about humor and serious play. It is also a rhetorical strategy and a political method."&nbsp; -&nbsp;Donna Haraway future friend/ships is made from oracles and drones and childish dances. Projecting oneself into the future is more often than not a privilege reserved to a happy few, and a way to reproduce sameness. future friend/ships casts a different kind of physical future fiction: we host the uninvited to conjure the curse. We are amateur oracles and oracle-making machines. We call upon fragments of raging poetry, broken machines, dying animals, and plastic flowers. We use arab future fiction and punk anxiety as excuses and models. We celebrate, among others, the poetry of Etel Adnan, Nazik al Malaika and Donna Haraway. The more we generate potential for transformation, the more we will be surprised by the future. Otherness hosts otherness. Utopian science-fiction texts, drone wars, and works from Middle Eastern artists, and ambivalent outcomes of the Arab Spring activate this work. future friend/ships is poetry as political practice. Despite feeling powerless to save what is already lost, we consider it our role to imagine an impossible future, and to embody this (post) utopian place, in fragments, on stage, with rich visual components and a desire to share this experience with others. Our approach to Arab Futurism is to defend one simple idea: to borrow from the geo-traumatic chaos, the maddening world, the desperation, the hospitality to strangers and strange things if it is impossible to project ourselves in a near immediate future because of war and misery, we can always imagine a fictional future. Duration: 75 minutes Production History Dec 15-17, 2016 :: San Francisco, CA :: CounterPulse Jan 9-12, 2016 :: New York, NY :: American Realness at Abrons Art Center June 10-12, 2015 :: Hamburg, Germany :: Kampnagel Costume Construction: Keriann EgelandDramaturg: Zulfikar Ali BhuttoProduced by Circo ZeroProduction Manager: Alec WhiteFiscal Sponsor: CounterPulseDocuments Photography: Zulfikar Ali BhuttoPerformance Photography: Anja Beutler and Ian DouglasZine Design: Chris Cuadrado Press "...Keith Hennessy and Jassem Hindi, proved both passionate and tender. In “future friend/ships,” the two stage a defiant, poetic/political work, inspired by events in Syria, that gradually transforms chaos into hope." &nbsp;- The New York Times Do toy drones dream of an Arab future? - Maro Guevara - 48 Hills (2016) The Practice of Kinship: A Conversation with Jassem Hindi - Marie Tollon &nbsp;- ODC Dance Stories (2016) Meet the Bay Area Artists Making Dystopian Performance Art for This Political Moment - The Bold Italic (2016) The interpersonal is global at CounterPulse - Calendar Feature - Lily Janiak - San Francisco Chronicle (2016) Shine a Beam into Darkness - Review - Rita Felciano - Dance View Times (2016) The Startling Brilliance of a Somewhat Troubled Year: Bay Area Theater in 2016 - John Wilkins - KQED Performance Text MANIFESTOWritten by Jassem Hindi, in dialogue with Keith Hennessy “We walked among the smashed machines &nbsp; &nbsp;and looked through undrugged eyes &nbsp; &nbsp;for engines of another war &nbsp; &nbsp;and an attrition of the soul and the device.With craft and plane and ship,And gun and drone and field we played.We wrote an allegory of our regressIn other people’s tears and in other people’s blood;These are the tentative poetics of our rise.” - Ian Banks, rewritten for Arab Futurism In 1950 Keith and I started a series of paintings entitled: “Donna Haraway as the mythical city of Baghdad”. With our future seeing night goggles and with the help of legendary oriental fatalism, we were able to predict the destiny of the Arab cities. Baghdad, capital of poetry and gin tonic, would be torn apart, transfigured into lunch, to be devoured by a giant lion. Damascus, herald of political theater, would become an arena of wild fire, burning its own children and its legendary palaces. Beyrouth, the magical teapot of journalism and spear of the feminist wave, would retract like an old apricot. Trablos, Jaddeh, Beit Lehem, Tizi Ouzou, Adis Abbeba, Aden, Sour, Homs, Deir e Zor, Iskandaria, Tikrit, Bent e Jnoub, Tabouk, Wadi Sha7rour, Kherbet anafar…the formless, the fabulous and the darkness. We used painting and printing as a divination technique, and thanks to our sensitive little radar ears, we were able to unveil our collective destiny from what was then only a frown on the desert’s brow or a pdf found on google. Haraway inspired an irreverent practice of transformation, drawing the first lines of what the politics of friendship might entail. She reminded us that one of the treasure of the Arab world was its sense of hospitality and generosity, that we were not afraid of hosting the stranger within our midst, that we were not afraid of claiming that we were of no country, and that we had always hosted all cultures. Unfortunately, the real Middle of the East perceives itself as a place with no future, with nothing to offer that is not tainted by sadness or by madness. We think of ourselves as incapable of performing the simple gestures of hospitality. We invoke our wars, our misery, and our home in ruins. Every situation hides a series of impossible tasks. The fragile status of women, the aggressive meddling of imperial interests, the pressure of wild capitalism, the corruption, the prejudices, the lack of historical understanding… All these stones in our way have made it impossible to imagine a future. What is then left for us to offer?Our capacity to charm our friends with our imagination.Our capacity to help them slip into the night. كان يا ما كان في قديم الزمان هلآ منحكي وبعد شويه منام We want a fictional future. We need a new place to host our guests, a tent, a cave, a pyramid, or even a hammam. We are the astronauts of our territories. We will walk all the way from Detroit to Ramallah – in space suits if we have to. We need an inter-stellar program, with a time travel department, a gender disruption department, a department for the satellites of our solitude, a great animal reconciliation program, a research facility for biological and non-biological sentient presences. We need a particle accelerator capable of clashing metaphors against metaphors. … and under starry nights, wrapped in blankets of unlikely friendship, we will rest and brew some kind of amazing teas, made out of queer plants gathered on our adventures. For us, the words of Captain Picard of the USS Enterprise resonate strangely, as a promise of joy and hospitality: “Space: the final frontier. These are the voyages of the Arab friend/ship. Its eternal mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before.” كان يا ما كان في قديم الزمان هلآ منحكي وبعد شويه منام Funders future friend/ships was created with funding from The Kenneth Rainin Foundation, San Francisco Arts Commission Individual Artist Commissions and Cultural Equity Initiative, and Grants for the Arts. future friend/ships was initially commissioned and created-in-residency at Kampnagel in Hamburg, Germany. https://jassemhindi.cargo.site/Ghost-dancer Fri, 15 Feb 2019 21:21:19 +0000 Jassem Hindi https://jassemhindi.cargo.site/Ghost-dancer Ghost dancer is a workshop addressed to makers and choreographers in the making, hybrid art makers who want to explore and question the place of sound in performance.&nbsp; What is the status of sound in performance? How to use it, how to be used by it? It involves a series of body practices, discussions, as well as sound installations, music listening sessions and an introduction to experimental music techniques.This workshop can optionally be treated as a place for people to come find "solutions" or platforms for their own inquiries,&nbsp;in the form of a&nbsp;collective questioning around&nbsp;one's&nbsp;work and research. It&nbsp;is also&nbsp;a general introduction to sound in performance, using both a theoretical and conversational approach as well as an experiential and practical / lab-style setting.Full description(written for DanceWeb - Vienna)Sound is the ghost dancer of a performance, haunting everything, shadowing every gesture. It is a political marker. It is the friendly push towards high physical states. It is also a gateway to visual art and cinema in performance.In this workshop, sound is considered in its materiality, as a texture, as a dancing body and not as a simple ornament to frame dance. It is a simple political and poetical position which supports the idea that the practice of sound points at the invisible and tenuous relation between bodies and other (im)materialities, contaminated by images, sketches of choreography, videos, texts, persons.My proposal is to dive into all this at the same time. Play “music” and think about how to use sound in a performance, build a collective sound installation and learn how to listen. Reclaim dance and sound as burning physical desires. And then subvert and complicate that idea.This is not a technical workshop.You don’t need to be a musician or a sound maker to come. Rather, this workshop is addressed to makers and choreographers in the making, hybrid art makers who want to explore and question the place of sound in performance - this thing that is between the body, the object and the poetical/political speech.Of course, we’ll get our hands dirty and play with dangerous objects, building sound sculptures, exploring the extremes of sound making - from deep low bass frequencies to lo-fi pop and broken objects to singing and physical trance techniques.We’ll also dance on things we don’t usually dance to and things we’ve always danced to.We’ll also have a conceptual practice/open reflection.We’ll have listening sessions.We’ll try to steer in the horizon of the following questions: <img height="240" src="http://1.bp.blogspot.com/-Myd4teY1qQo/VUyeaJmKBLI/AAAAAAAAEso/R9vUVHLIoUU/s320/IMG_3979.jpg" width="320" style="width: 320px; height: 240px;">-- how can sound subvert, sustain, comment on a performance? - how to introduce sound as a ghost dancer, and not as an ornament?&nbsp; - what are the ideologies conveyed by music “styles"?- how to keep it simple and not too nerdy?We’ll also keep a historical line open, to see what has been made with sound in performance, and vice versa. We’ll try to learn from each other. We all hold this knowledge together.Listening sessions will include field recordings from Vietnam, greek music, doom, electro-clash, indian death prayer chanting, "nouvelle vague" cinema voice overs, West African disco and much more.Making sessions will include the use of lo-fi material such as tapes, contact mics, rough dj, field recording, destroyed electro music, group singing.Concept practice will include techniques coming from structural philosophy, experimental video, queer political art.Bring your toys if you have any (piano,dildo,bells,gameboy,rocks,water boiler). Bring pens and paper if you want. Anything for less than 2 euros from a flea market (walkman,tape,voice recorder,keyboard) is welcome. If you have a smartphone, bring it. https://jassemhindi.cargo.site/The-concept-and-the-idiot Sat, 13 Apr 2019 19:56:05 +0000 Jassem Hindi https://jassemhindi.cargo.site/The-concept-and-the-idiot The Concept and the Idiot This workshop is a general introduction to philosophy and more specifically to a set of tools and historical tensions that performers and artists in general might find useful for their understanding of contemporary debates and questionnings. It is also for me a way to reaffirm the importance and playfulness of au/oral transmission and thinking alive in front and in the presence of others.&nbsp; Presentation: This philosophy workshop unfolds possible ways to navigate in the nervous sea of concepts, while holding on to our own idiocy. It is an introduction to theory as a series of questions, and as an oratory, collective adventure. The horizon of this workshop is the historicised relation between "body", "concept" and "the great outdoors". This relation rests in a western history of knowledge haunted by its history of violence. It is an introduction to a theory-based practice, and a critical exposition of questions that intersect philosophy and discourses found in radical politics and contemporary art.Here are a few companions on our way: • Language, death, and hospitality: what is a milieu?• Difference and repetition: various time theories and their political subconscious• History of witches – how to make memory while gazing at shadows?• Friendship, hauntology, mathematics, science fiction: philosophy and the great outdoors• The Greek art of asking questions You don’t need to know anything about philosophy. I will share my practice with you, we will read some texts together, and you can ask as many questions as you please. This is also a workshop for people who are interested in how to transmit and share a theory-based practice. Bring some pens and paper if you wish, and some idiotic ideas. Some references – absolutely no need to read anything before! Lacan / Stengers / Sapho / Merleau-Ponty / Mbembé / Naess / Simondon / Levi-Strauss / Cavaillès / Derrida / Frederici / Glissant / Mohaghegh / Platon / Fanon / Negarestani / CA Conrad / Laboria Cuboniks / Koyré / Malabou