August 5th. Presenting TIER in ‘Encounters’, as part of Transart Triennale Berlin.

‘Encounters’ is an afternoon of conversations about how we live, work and think in the space between the no longer and the not yet.

9 guests
50 artists

15:00 – 16:30
Each guest will have 9 mins to talk about aspects of their practice in response to the Transart Triennale theme, “The Imperceptible Self”.

16:30 – 17:00
Break & Sign up

17:00- 18:45
Artists sign up to have 9 min long conversations with a guest of their choice.
Artists can sign up for conversations with two different guests.
Each guest meets with 9 artists.

Julieta Aranda
Sonia Barrett
Lou Cantor
Jean-Ulrick Desert
Elise Lammer
Nora Mayr
Morgan O’Hara
Ece Pazarbasi
Lorenzo Sandoval


AUGUST 5-7, 2016


  July 30th. Reading Bodies. A Gathering of Inner S(h)elves.

Featuring works by:
Ally Bisshop, Maria Cerón, Kate Chen, Maira Dietrich, Femke Fredrix, Laura Genevieve Jones, So Hee Kim, Sophie Kitson, Marié Nobematsu-Le Gassic, Paula Querido van Erven, Jana Pacheco, Sophia Schultz and Anya Yermakova.
Facilitated by Lorenzo Sandoval. Coordinated by Paz Ponce.

30 July 2016
18:00 – 22:00h

Presented at Agora Rollberg
Am Sudhaus 2, 12053 Berlin-Neukölln
29 & 30 July 2016
18:00 – 22:00h

scheduled evening’s program:

18:00 – 22:00 me,they, tu, nós (*Durational)
Participatory performance by Maíra Dietrich

18:00 E(u)phemeral map (*20 minutes)
Performance by Jana Pacheco
19:00 ____/—-___| ` `_))___L||+(|^_^|) (*30 minutes)
Sound piece by Anya Yermakova (score) & James de Graef (piano)
20:00 Body machine (*30 minutes)
Collective game inspired by Augusto Boal
21:00 Will you recognize me? (*25 minutes)
Performance by María Cerón & Jana Pacheco

The act of reading is never a passive act. When one is reading, one unfolds all the cultural constraints, the previous gained references, and some times, the possibility of practicing one’s own agency. From that perspective, nevertheless, reading becomes a writing gesture. And any writing gesture is also a spatial production.
Reading Bodies. A Gathering of Inner S(h)elves presents a two day-long exercise of narration composed of different voices, following on Aby Warburg’s articulation of the ‘law of the good neighbour’. Warburg’s proposal was a way to approach libraries in which
the unknown book on the shelf, neighbour to that which was familiar,
could indeed change the course of one’s research.
This proposition about libraries could be an operative translation to the understanding of the body as an archive. One that talks about history, present conditions and potential desire. A constantly transforming agent that communicates through storytelling, oral history, text, traditions, rituals but also fashion, gastronomy, choreography and the unknown.

‘A Gathering of Inner S(h)elves’ will present a composed space as a fleshy archive, which will develop through a program and series of artifacts. Agora Rollberg’s space will be edited between 18:00 and 22:00 on Saturday 30th of July.
Social event link

“Reading Bodies” by The Institute for Endotic Research has been a month-long workshop in the frame of AFFECT 2016 facilitated by Lorenzo Sandoval inviting participants to work on ways to approach libraries, archives and its potential performativities, in relation with the body. To develop this process, the group has been realizing a series of studio-visits, projects and public events in the archive of Broken Dimanche Press, Savvy Contemporary and District Berlin. Module III of AFFECT 2016 is developed in cooperation with The Institute for Endotic Research (TIER), artistic project initiated by Sandoval assembled to work as a host that brings different disciplines together, namely architecture, art, writing and curation, acting as a platform of encounters through the production of a fictional institution with an operative program of collaborations with other agents, composed with the help of architectural devices.

AFFECT is Agora’s Program for Collaborative Artistic Practices in Berlin running
from May to November 2016 at Agora’s new project space “Agora Rollberg”.
Every last weekend of the month the module culminates into a public event.
AFFECT is developed by Agora Collective e.V.
Coordinated by Paz Ponce
Agora Collective e.V. is member of CAPP
(Collaborative Arts Partnership Programme) from Creative Europe.

Module III of AFFECT 2016 is developed in cooperation with The Institute for Endotic Research (TIER)

  July 19-21. Approaches to What? Reading Bodies Reading Archives.

This event is part of ‘The Institute for Endotic Research: Reading Bodies’. Module #3 of AFFECT Agora´s Program of Collaborative Artistic Practices in Berlin.
A series of interventions in 3 different archives rehearsing with the possibilities of the library as a ‘place for encounters’: encounter of new reading materials; as a content display through its spatial design and the library as a social space, where the readers place the body to read and to share what they gather.

19.July. 19:00. Self-publication archive of Broken Dimanche Press.

Ally Bishop, Maria Cerón, Maira Dietrich, Sophie Kitson, Marié Nobematsu-Le Gassic and Paula Querido van Erven in:

The Self-Publishing Archive
Büro BDP
Mareschstrasse 1, 12055, Berlin
19:00 – 21:00
Tuesday 19th of July 2016

What’s the life of a book after it’s been read?
What is the temporality of an archive? How can archives speculate on the future?
What are the minor expressions of the archive?
How do you play/perform an archive?
What gestures of care does the archive produce?
What are the spaces of creative rupture in an archive?
How does the ‘stickiness’ of archive objects operate as a navigational tool?
What are the points of linkage between objects in an uncurated archive?
How do you read a book without reading?
What are the more-than-human modes of expression and language given in the materiality of books, of objects?
How does the archive reify / challenge the idea of how a book functions?
How does one create accessibility, availability?
How can the archive offer us advice on how to relate to the world and one another?
How many dimensions has a word, a poem, a text? Is possible to approach it through the interaction/activation of an archive?
How many times can you fold a page onto itself?
Can you make paper works and save your life?
How can we catalogue this archive in a way that it involves a more physical interaction?
What does it mean to ‘save’ a book?
How can the archive be activated with the abstraction of the objects they contain?
What is the space between YES and NO?
What gives the archive authority?
What gets left out of the archive?
What can the archive not capture?

Broken Dimanche Press
Mareschstrasse 1, 12055 Berlin, Germany


-20.July. 18:00 Savvy Contemporary.

Research Presentation with Michael Jevon Demps, Laura Genevieve Jones, Del Hardin Hoyle and Anya Yermakova

How do archives contain the intangible?
Do archives reference the body towards the spiritual?
How is the “third world difference” produced to create colonial discourses?
Could be interesting to share this archive with the countries and cultures it is based upon?
How is information disseminated?
Where are the black women writers?
How does the intangible content of the archive relate to its tangible counterpart?
How can we share and communicate the journey of going from tangible to intangible (or the other way around) to the other?
Given the colonial history of Berlin (and Germany in general), how does the archive (the amassing of books and other informative objects) contribute to the reconciliation of systemic destruction of knowledges bases (i.e. book burning during the Third Reich)?
How does the archive reify / challenge the idea of how a book functions?
The archive is a site of knowledge and power, what are the best ways to implement these without perpetuating coloniality??
What gestures of care does the archive produce?
How can the archive make the human body in it feel – like a historical site – a sense of oneness with other materials?
What is a book that could live in an archive? What is a book that could not?
How can we subtract the weight of the ink in a book?
What is the negative space of the archive (that builds a story)?

SAVVY Contemporary
c/o Silent Green, Plantagenstraße 31, 13347 Berlin-Wedding
Wednesday 20th of July 2016 from 19:00 to 21:00

-21. July. 19:00. dissident desire archive. District Berlin.

Kate Chen, Femke Fredrix, So Hee Kim, Jana Pacheco and Sophia Schultz in:

How can an archive activate a performance?
How can personhood be curated?
How can the archive be intervened towards reflecting nuances of identity fluidity?
What are the points of linkage between objects in an uncurated archive?
Could the action of consulting an archive be regarded as a performatic experience?
Who curates an archive?
What role does the “orange elastic band” fulfill in district’s archive? Can we elevate this object as a matter of utmost importance for this archive?
If our bodies together can shape an archive, can the archive be a body itself?
How can the archive be alive? How can archive breathe?
How can agency exist within a gallery space?
Can you make paper works and save your life?
How can the curated space productively take advantage of the experience of distraction?


dissident desire is an ongoing art and research project by Suza Husse and Lorenzo Sandoval on the body as an archive of political and material fluxes and the resilient performativity of precarious bodies in the everyday. Developed through performance, exhibition, archive and publication formats at District Berlin since 2013, dissident desire assembles a toolbox for political imagination.

dissident desire archive
Malzfabrik, Bessemerstraße 2-14
12103 Berlin

  28th and 29th June at 19:00. TIER: Formation Centre presents Molaf Variations.

Please join us for an evening of words, images, sounds, conversation, and beer with the Museum of Longing and Failure (MOLAF).

Tuesday, June 28th at 19.00 & Wednesday June 29th at 19.00.

Please RSVP to and indicate which day you would like to attend. Spots are limited.

The Museum of Longing and Failure is an artistic platform established in 2010 in Bergen, Norway by Andrew Taggart and Chloe Lewis. The museum takes shape through a sustained conversation with international contemporary artists and collectives, whose contributed works form the basis of ongoing installations and interventions into various contexts and locations. Over the last twelve months, the MOLAF has begun to systematically question its own form, identity, and capacity to both support its collection and produce new forms, and launched a publishing component in mid-2015 as one means of facilitating this process. The MOLAF’s first published work, MOLAF Variations, will be at the centre of the event at TIER. Its second book, MOLAF Approximations, will be released later this year.

The Institute for Endotic Research is a platform for the investigation about topics related to everyday life. It takes the notion of the endotic, antonym of the exotic, from French writer Georges Perec as a tool to work about immediate surroundings.

Formation Centre is one of the branches of development of the institute. It deals with the study of forms and forms of study. The project seeks to explore relationships between institutional forms, experimental formats, spatial design and cognitive processes. It is located in TIER’s director Lorenzo Sandoval’s studio.

Address: Cuvrystraße 11, 10997 Berlin

FB event.

  May 23rd. TIER: Notes on Bureaucracy with Sergio Zevallos

A brief history of Berlin TempsTEMPS – space support for nomadic projects. The Illegal use of conventional flats.

The evening aims to explore domestic environments as possible models for institutions, taking ‘Berlin Temps’ developed by Zevallos as a case study to discuss radical ideas of the use of private spaces. TEMPS was a room with balcony in a renovated 3bd apartment that offered a temporary residence for projects with unpredictable outcome. The evening will end with a choral approach between private and public conceptions.

About Sergio Zevallos

The first performance in which I took part was to be born in the best hospital of Lima, when my mother achieves to be admitted illegally to emergencies. This is a key term in long stretches of my live itinerary because then started the states of emergency of the 70s and 80s. I think this was the beginning of a feeling to be uprooted. I was co-founder of the Grupo Chaclacayo and came with them to Germany in 1989, then we split, then I moved to Berlin where I live since 1995. I am nomad and often change places and artistic disciplines. I started with drawings, afterwards I did performances, photography, installation, writings, mixing everything. My work remains in continual development, as a construction area. This is also because I deal with topics of transcultural identity, genre and the contradictions in the relation between individuals and power, or between private and public spheres. It is difficult for me to separate art practice from lovers. With both I am a self-taught person and passional. My exhibitionism has led me to show my work, my body and my ideas in institutions, streets and public spaces, which are not necessarily cultural-related.

Zevallos has exhibited in institutions such as Proyecto AMIL, Lima; El Palomar and MACBA, Barcelona; Galería Espai Visor, Valencia; 31st Sao Paulo Biennial, Sao Paulo; Württembergischer Kunstverein, Stuttgart; Museo de Arte de Lima MALI y Centro Cultural de España, Lima, to name a few of a very extensive list.

TIER: Notes on Bureaucracy research about how reality is modulated by legal constructs. One of the first membranes that regulate social relationships is made of bureaucracy. The way that institutions organize life has been discussed since the very roots of the constructions of modern states. Harun Farocki has compared the edition of a movie with the construction of laws, recalling the writing of Kafka. If a movie composed its reality though montage, in the reality, bureaucracy composes life though a montage of documents. Understanding the complexities that compose our quotidian through the production of reality that every bureau does, one can imagine the possibilities of changing reality through the intervention on its regulations.

If you would like to join, please write an email to to confirm and get the address; places are limited.

  February Monday 29th, at 19:00, TIER: Notes on The Inframince with Renata Har.

Working with existing objects that tend to be overshadowed within the cursory glance, the artist expresses her interest in, constructing visibility from almost nothing. Unnoticed stories, engraved in unnoticed materials: in Har’s work, narratives can linger or be traced through objects. Notions of impermanence and destruction constitute a central concern. Although Har does not have a preferred material, paper plays an important role in her pieces, using various techniques to add another layer of dimensionality. More than testing its sculptural properties, Har uses paper as a medium for experimenting with the Duchampian idea of the tenuous interval between two elements – the infrathin. Thus, Har seeks to create ambiances where the latent tension produced by the encounter of objects is present.

Born in São Paulo in 1981, Renata Har completed her master’s degree in Christian Boltanski’s atelier at the École des Beaux-Arts de Paris. A regular participant in group exhibitions, fairs and artistic residencies in Brazil, Germany, and France, her work is represented by L’Atelier-ksr in Berlin and Silvia Cintra+Box 4 in Rio de Janeiro. For further information please visit or

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