The Bob Dorsey Project


Participants: Artur Albrecht, Stefan Aue, Ann Cotten, Clémentine Deliss, Christian Filips, Lama El Khatib, Lee Plested, Vincent Sauer, Bonaventure Soh Bejeng Ndikung, Alper Turan, and Scott Watson

Dates:          Various Dates from September 15 to October 2, 2022

Locations:   The Institute for Endotic Research, Donaustr. 84, 12043 Berlin

Kasper Theatre Rixdorf, Böhmische Str. 46, 12055 Berlin


Presented by The Institute for Endotic Research and Kasper Theatre Rixdorf, and organized by Lee Plested and Alper Turan,  The Bob Dorsey Project is a unique investigative program on the artist Bob Dorsey (1932-1994). Initiated to frame the production of this little-known African American painter, the project conceptualizes the organization of the artist’s estate, resurfaced now nearly three decades after Dorsey’s death. Life partner of Fassbinder actor Volker Spengler, Dorsey moved to Germany in the 1960s and produced extensive visual material. As of yet dates and titles for these works remain obscure to history.


Structured as a pre-encounter with this enigmatic artist and his legacy, this program consists of lectures, readings, and workshops intended to both contemplate methods for approaching his body of work and to make initial steps in engaging with this estate responsively. The Bob Dorsey Project is aiming to collectivize the knowledge production around artist Bob Dorsey while testing an open methodology to engage responsibly with the legacy of artists whose identities were historically marginalized and whose works, so far, have existed largely in the dark.


Dorsey died of AIDS in 1994, and the accumulation of his paintings & drawings were left untouched in their apartment for years until finally stored in the shipping container inherited by Artur Albrecht, the adopted son of Bob Dorsey & Volker Spengler, who brought this massive estate to his puppet theatre, Kasper Theatre Rixdorf, last year. Formally expressionist abstractions composed through hermetic mark-making, Bob Dorsey’s unexhibited and uninventoried works do not immediately provide meta-information on his practice, nor help viewers to any ready interpretation. His early instruction at The Art Students League in New York, under George Gross, led to an informed understanding of line and proportion which underlies these briskly handled contortions where forms often emerge from the tangles of suggestive pigment. Except for the scattered bits of biographocal information (i.e. his nationality and race, his relationship with Spengler and sexual orientation, and his premature death due to AIDS), Bob’s life narrative remains essentially as abstract as his works, full of expressive gaps.


Can we see Bob through his paintings? Can we find his story there, and what is the value of examining his life’s work? What tools are useful to tell his story? Can we see his racialized and sexualized body in this art? Can we read the sheer obsessive volume of the discrete production, in tandem with the fragility of his entropic materials, as charging these works with the anxiety of the AIDS crisis? And will investigating his life reveal the power of these paintings?


To create a space for contemplation before action, the project is conceived as a speculative opportunity to reflect on curatorial approaches and examine myriad modes of engaging with the unexamined works of an ‘unknown’ artist. Through the example of Bob Dorsey’s estate, we may be able to ponder upon questions intrinsic to the curatorial process. How do you approach an artwork before there is specific meta-data and potentially eschew traditional modes of evaluation? How could one contextualize how to engage with it in an expansive, essentially social, way? Does an artwork really speak for itself? How is it possible to look at an artist’s whole career as a disrupted but unified whole? What are the ethics and politics of engaging with the artworks of an artist who showed no real interest in exhibiting his works and may have been intentionally circumnavigating the art market?


On September 15, the project will host a panel discussion with Clémentine Deliss, Lama Khatib and Stefan Aue, and Scott Watson. Moderated by Lee Plested, the panel will consist of presentations by these curators and researchers whose practices seek out answers for organizing queer, metabolic, or weird archives to ask how are specific materialities from the past (re)connected to the present? Through comparative, speculative, and fictional modes of meaning-making, these researchers will posit terms and means which may further inform paths for encountering and organizing the estate. The event will be presented in English.


Independent researchers have been engaged to do the actual work of ordering the estate and will draw terms and concepts from this initial discussion. Developed in close conversation with the organizers, from September 22 to 25, they will actualize the accounting and initial organization of the estate, taking on the marathon task of sketching an inventory of Bob Dorsey’s works and papers. Their discussions and processes will be documented and gathered. Over the afternoon of September 25, and conducted on the last day of the inventory process, we will have an open house at the Kasper Theatre Rixdorf for people who knew or knew of Bob to collect oral histories. These documents will become a part of the estate and may facilitate future scholarship on the artist.


September, 29, TIER will host a conversation with curator and writer Bonaventure Soh Bejeng Ndikung and Bob Dorsey’s estate-owner and puppeteer Artur Albrecht. These two close friends will discuss narratives that emerge around the investigation of Bob Dorsey’s estate through sharing the personal memories of Artur Albrecht and reflecting on contemporary issues of representation. By presenting this discussion publicly, we seek to ask who has the access to memories and how do they form narratives? Who determines what will become shared memory and how does this process work? This event will be in German.

— THURS 29TH SEPT PUBLIC CONVERSATION CANCELLED —Due to unforeseen circumstances, the conversation scheduled for Thursday September 29 between Artur Albrecht and Bonaventure Soh Bejeng Ndikung has been cancelled. We are working to arrange a future date and will keep you posted.


Amongst Bob Dorsey’s drawings, paintings and photos were found a small notebook, actually a “Schulheft” (exercise book), which has been transcribed by literary critic Vincent Sauer. On the evening of September 30, acclaimed poets and translators Ann Cotten and Christian Filips will read passages from texts found in the estate, including an extended monologue by Dorsey from this notebook, addressed at Spengler, reflecting on their relationship over the years and accusing Volker of a lack of empathy. They will also read from Volker Spengler’s diary as a young ambitious student of acting and short-time sailor, as well as his notes from the later hospital decades, ordering “Gin Tonic durch die Nasensonde” (gin tonic via nasogastric intubation). This event will be in both German and English.


October 1 and 2, Rixdorf Theatre will host a collective speculation workshop on Bob Dorsey, his works and his personal history together with a composed group of contemporary artists whose practices are informed by fiction and speculation. Initiated by curator Alper Turan, this open-ended workshop entails focused time spent collectively with works of Bob to generate alternative narratives in relation to larger societal conditions, to fill the gaps of Dorsey’s biography with fictional stories, and potentially formulate new artworks that are born out of or in response to Bob’s works, created individually or within a group. Interested artists are welcome to participate! Please apply until September 18, with a short introduction of your practice to


Through a series of public gatherings around and within Bob Dorsey’s enormous body of works, The Bob Dorsey Project will collect some critical perspectives on Dorsey’s life experience and bring the work into conversation with cultural practitioners and artists who will guide these initial encounters with the Dorsey corpus. Through speculating on the politicization of this body of art production, we seek to understand the modes through which we encounter artists, their processes and products, and the potential of their creativity for social transformation. The documentation of this research project will be developed into an artist-driven, digital testament by Berlin-based Andreas Villareal, who will be an active viewer of the entire encounter.


Full schedule


  • Thursday, September 15, 19:00 @ TIER

Don’t Tell a Soul: Approaches to an Estate

Panel discussion with Clémentine Deliss, Lama El Khatib and Stefan Aue, and Scott Watson; Moderated by Lee Plested – In English


  •  Friday, September 22 – Sunday September 25, 12:00 to 17:00, @ Kasper Theatre Rixdorf

Counting the Estate, Making an Inventory.


  • Sunday, September 25, 12:00 to 17:00, @ Kasper Theatre Rixdorf

Collecting Stories 


  • Thursday, September 29, 19:00 @TIER

Conversation with Bonaventure Soh Bejeng Ndikung and Arthur Albrecht – In German


  • Friday, September 30, 19:00 @ Kasper Theatre Rixdorf

Reading from Dorsey and Spengler texts by Ann Cotten and Christian Filips, presented by Vincent Sauer – In English/German


  • Saturday, Oct 1 – Sunday, October 2, 12:00 to 17:00, @Kasper Theatre Rixdorf

Workshop: Fictionalizing Bob, Collectivizing a Legacy 

Initiated by Alper Turan. Open to artists & practitioners whose work involves fictional world-making and/or collective speculation. – In English

Limited to 6 participants, please send a short introduction of your practice to by September 18th.




Artur Albrecht is a theatre and film actor, director and theatre teacher. He has run K&K Volk Art and been owner operator of Kasper Theatre Rixdorf since 2007. He has also developed many programs for children’s theatre, including RIXDORF SAGA PART 1 and 2.


Stefan Aue is project leader at Haus der Kulturen der Welt (HKW) in Berlin. He is

currently realizing the collaborative program The Whole Life. An Archive Project (2018-

2022). He holds a masters degree from the Cultures of the Curatorial program, Leipzig, and studied sociology, psychology, and media studies. He is co-editor of ArteFakte: Reflections and Practices of Scientific-Artistic Encounters (Transcript, 2014) and Dictionary of Now (Matthes & Seitz, 2019).


Ann Cotten is a writer and translator from Vienna, Austria. Recently she has translated books by J. Wenderoth, I. Waidner, R. Waldrop, L. Russell, A. Green. Cotten’s English language work is published by Broken Dimanche Press (I, Coleoptile, 2013; Lather In Heaven, 2016). Her most recent book in German is the SF prose collection “Lyophilia” (Suhrkamp 2019). She is currently working on her PhD “Aesthetics of Misuseability”.


Clémentine Deliss works across the borders of contemporary art, curatorial practice, and critical anthropology. She is Global Humanities Professor in History of Art (2021-2022) at the University of Cambridge and Associate Curator at KW Institute for Contemporary Art Berlin, where she is currently developing the “Metabolic Museum-University” with a peer group that includes BLESS, Matthias Bruhn, Iman Issa, Augustin Maurs, Tom McCarthy, Henrike Naumann, Margareta von Oswald, Manuel Raeder, El Hadj Abdoulaye Sène, Krista Belle Stewart, and Luke Willis Thompson.


Christian Filips lives as a poet, director, and music dramatist in Berlin. Between 2000 and 2007 he studied philosophy, musicology, and literature in Brussels and Vienna. In 2001 he received Austrian Radio’s Rimbaud Prize. Filips has been the program and archive director of the Sing-Akademie in Berlin since 2006. His works are characterized by an expanded notion of poetry that also integrates musical theater and social sculpture, as exemplified by his productions for the Volksbühne Berlin and the Berliner Ensemble, amongst others. His texts have primar­ily been published by the Swiss publisher Urs Engeler, with whom he has jointly published the series “roughbooks” for contemporary poetry since 2010, the most recent being Heiße Fusionen: Beta-Album; Gedichte und Analysen zur poetischen Ökonomie, 2007–2018 (2018).


Lama El Khatib writes, draws, and makes objects. Her practice examines spatial relations along/as aesthetic, political, and cultural lines. Since 2018, she works at Haus der Kulturen der Welt in Berlin.


Lee Plested is from Vancouver and based in Berlin, and has made contemporary exhibitions of art in a variety of historical and institutional contexts. His writing has appeared in Artforum, Canadian Art, and Art21. He is currently working on a project to animate documents of conceptual art from the archive of the Western Front, Vancouver, for their 50th anniversary next year.


Vincent Sauer works as an editor for the journal „Sprache im technischen Zeitalter“ (based at Literarisches Colloquium Berlin) and at the publishing house Schlaufen-Verlag. He regularly contributes articles for the newspaper „neues deutschland“ and is currently translating poems of the francophone egyptian surrealist Georges Henein.


Bonaventure Soh Bejeng Ndikung is an independent curator, author and biotechnologist. He is founder and artistic director of SAVVY Contemporary in Berlin and is the artistic director of Sonsbeek20–24, a quadrennial contemporary art exhibition in Arnhem, the Netherlands. He is professor in the Spatial Strategies MA program at the Weissensee Academy of Art in Berlin. Curator of Dark’Art  Biennial 2018 in Dakar, Senegal. He is the Artistic Director of Rencontres de Bamako (2021-22), Mali. From 2023 he will take on the role of Director at Haus der Kulturen der Welt (HKW) in Berlin.


Alper Turan is a curator and researcher based in Istanbul and Berlin. His current research and curatorial practice focus on queer strategies, methodologies, and languages, which include but are not limited to abstraction, collective speculation, appropriation, and anonymity. His recent curatorial projects include Smoothing (lines into circles) (A Tale Of A Tub, Rotterdam, 2022); How does the body take shape under pressure? (Queer Museum Vienna, 2022). He is a Ph.D. candidate at the College of Fine Arts in Hamburg (HFBK) and works as an assistant curator at Protocinema.


Scott Watson is former Head (2012–2018) and Professor (2003–2022) in the Department of Art History, Visual Art and Theory and Director/Curator of the Morris and Helen Belkin Art Gallery (1989–2021) at the University of British Columbia. Distinctions include the Hnatyshyn Foundation Award for Curatorial Excellence in Contemporary Art (2010), Alvin Balkind Award for Creative Curatorship in British Columbia Arts (2008), and the UBC Dorothy Somerset Award for Performance Development in the Visual and Performing Arts (2005). In addition to his extensive writing on art, Watson’s fiction includes Platonic Love, Three Tales (1981) published by New Star Press and was anthologized in Writers Who Love Too Much: New Narrative 1977-1997, edited by Dodie Bellamy and Kevin Killian.


Andres Villarreal is a Swedish-Colombian artist, filmmaker and writer. Andres received their MFA from the Berlin University of the Arts and has previously studied Gender Studies and Sociology and has attended the Whitney ISP in New York City. Andres’ practice interrogates how discourses emerge and are cultivated within society; explores the relationship between representation and the production of reality; and deals with questions relating to time, narration, and memory. Their work is often situated in the borderland between fact and fiction.


Eine Aussage von Bob Dorsey (english below)


Der Grund, dass ich 1932 in Philedephia/Pensylvania, USA geboren wurde – ist: um zu malen.


Mein erstes Meisterwerk war ein Frachter – diesen Frachter portraitierte ich als ein Detail innerhalb eines monumentalen Aquarelles, das man mystischerweisen den “Philadelphia Navy Yard” nannte. Dort arbeitete von Zeit zu Zeit mein Vater, wohingegen meine Mutter 6 tage in der Woche als Sekretarin für einen entsprechenden Lohn schuftete: für den geringsten – den Hunderlohn.


Also mein restes Meisterwerk war jener verrostete Frachter. Meine erste interessierte Kritikerin – meine Mutter – fragte mich angesichts dieses Bildes, was dieser markwürdige senkrechte Strich, der sich seitwärts aus dem Schiff ins Wasser, dargestellt als eine Linie von sich aneinanderreihenden Suppentassen – ergross, bedeuten solle? Meine Antwort was: Das Schiff muss mal: Da knallte sie mir eine.


As war mein erstes Meisterwerk, fast als stünde Pavlow dahinter.

Meine Mutter, sie war somit auch meine erste Leherin – korrigierte einmal die perspektivische Haltung des Fusses meines überdimensionalen Nicolaus. Und vor dieser nostalgischen Autorität wurde ich bis heute seitdem nicht mehr heimgesucht. George Gross, mein Lehrer an der “Art students League” in New York machte schon mal unangenehmere Bemerkungen über meine Zeichnungen – Don’t tell a soul.



A statement by Bob Dorsey


The reason that I was born in 1932 in Philedephia/Pensylvania, USA – is: to paint.


My first masterpiece was a freighter – this freighter I portrayed as a detail within a monumental watercolor, mystically called the “Philadelphia Navy Yard”. There my father worked from time to time, whereas my mother toiled 6 days a week as a secretary for a corresponding wage: the lowest – the dog’s wage.


So my remaining masterpiece was that rusted freighter. My first interested critic – my mother – asked me, in view of this picture, what was the meaning of this striking vertical line that extended sideways from the ship into the water, represented as a line of soup cups lined up next to each other? My answer was: The ship has to go. There she slapped me. As was my first masterpiece, almost as if Pavlow was behind it.

My mother – she was thus also my first teacher – once corrected the perspective posture of the foot of my oversized Nicolaus. And before this nostalgic authority I have not been haunted since. George Gross, my teacher at the “Art Students League” in New York made more unpleasant remarks about my drawings – Don’t tell a soul.



Online from Saturday, October 1, 19:00 Berlin/CET
TIER.cast Episode 3: Maintenance! Domestics as Institutional Becomings
Listen at

This episode of TIER.cast was recorded at the physical launch event of our publication, The Endotic Reader N.2: Maintenance! Domestics as Institutional Becomings at Hopscotch Reading Room in Berlin. It features live readings by Elena Agudio, Renée Akitelek Mboya and Pol Merchan from their contributions to the publication. We hope you enjoy tuning into this special evening in celebration of the publication, and we invite you to download it for free on our website or pick up a physical copy at TIER.

TIER.cast is a long-term series of sonic encounters creating a platform for interdisciplinary intimate, process rather than goal-oriented conversations and listening sessions beginning in February 2021. In each session, the guests are invited to discuss and present with voices and sounds their past and current projects, intellectual and personal inspirations, works-in-progress, work/production methodologies, and practices.

The aim is also to address and challenge the capitalistically and individualistically driven practices of knowledge and art production, as well as the myth of the isolated genius. The interdisciplinary encounter itself is an exercise of collective knowledge-based and practical exchange, and becomes an act of collective production itself.

The sonic and non-visual format is envisioned as a soft intrusion that infiltrates into the domestic spheres, forces self-imagination for the lacking esthetics and focuses on audio imprint of the conversations/speakers. It is a journey through voices, music, noise, sound and silence.

Sound production & mix by Sara Pereira

Tuesday, September 14, 19:30
Print Launch of TERN.2: Maintenance! Domestics as Institutional Becomings at Hopscotch Reading Room
Location: Kurfürstenstraße 14/Haus B, 10785 Berlin

With readings from: Elena Agudio, Renée Akitelek Mboya and Pol Merchan.

We are glad to present for the first time printed copies of the print and digital publication The Endotic Reader N.2: Maintenance! Domestics as Institutional Becomings at Hopscotch Reading Room in Berlin. Titled after our last year’s public program at The Institute for Endotic Research, TERN.2 opens doors and windows to the myriad ideas that underpin it.

With TERN.2, we turn to the domestic sphere, which today has become an especially important site of production. In recent years we have seen the domestic sphere, often in relation to care, work as a model for institutions, which also always depend on reproductive labor. Indeed the domestic model has many problematic aspects, such as exploitation and nonrecognition of labor and rights. It is perhaps in the tension between its conflicts and possibilities where the power of the domestic lies. The domestic is also where possible paths for the reorganization of institutions can be uncovered.

Download the PDF for free here:

With contributions from: Elena Agudio, Renée Akitelek Mboya, Benjamin Busch & Lorenzo Sandoval, Edna Bonhomme, Binna Choi, Stephanie Comilang, GeoVanna Gonzalez & Najja Moon, Helen Hester, Elaine W. Ho, Juliet Jacques, Fermín Jiménez Landa, Maria Lind, Sofia Lomba, Pol Merchan, la Sala and Daniel Tremolada. Design by Donají Marcial. Edited by Benjamin Busch & Lorenzo Sandoval.

Online – Wednesday, February 24, 19:00 Berlin/CET
TIER.cast hosted by Aouefa Amoussouvi, Olivia Berkowicz and Sasha Engelmann. Sound design by Sara Pereira
Listen at

TIER.cast is a long-term series of sonic encounters creating a platform for interdisciplinary intimate, process rather than goal-oriented conversations and listening session beginning in February 2021. In each session, the guests are invited to discuss and present with voices and sounds their past and current projects, intellectual and personal inspirations, works-in-progress, work/production methodologies, and practices.

The aim is also to address and challenge the capitalistically and individualistically driven practices of knowledge and art production, as well as the myth of the isolated genius.

The interdisciplinary encounter itself is an exercise of collective knowledge-based and practical exchange, and becomes an act of collective production itself.

The sonic and non-visual format is envisioned as a soft intrusion that infiltrates into the domestic spheres, forces self-imagination for the lacking esthetics and focuses on audio imprint of the conversations/speakers. It is a journey through voices, music, noise, sound and silence.

The first edition will be a three-way conversation with geographer Sasha Engelmann, curator Olivia Berkowicz and new artistic co-director of TIER, curator and biophysicist Aouefa Amoussouvi. They are currently fellows in residency at Akademie Schloss Solitude, and in a 3-part series they will discuss tarot, radio, rituals, technologies, feminist narratives in science and art, as well as personal experiences and reflections on transgenerational memories & migrations. Each encounter focuses on one practice, being tarot in this first edition.

This first series of episodes of TIER.cast is made in collaboration with the Akademie Schloss Solitude.

Olivia Berkowicz is a curator, writer and editor. Her practice explores the intersection of critical visuality studies and contemporary art theory. She is interested in vocabularies and practices which challenge modernist-colonial principles of exhibition histories, art production, and collaborations. Together with Marianna Feher, she organises Tentative Transmits (2020-2022), a discursive radio project investigating the ”former East”, supported by the artistic research funding of the Royal Institute of Art in Stockholm. She is a current fellow at Akademie Schloss Solitude, Stuttgart.

Sasha Engelmann explores interdisciplinary, feminist and creative approaches to environmental knowledge making. Her new book Sensing Art in the Atmosphere: Elemental Lures and Aerosolar Practices (Routledge, 2020) traces the potential of artistic, community-driven experiments to amplify our sensing of air and atmosphere. Together with Sophie Dyer she leads the feminist radio project open-weather. She is Lecturer in GeoHumanities at Royal Holloway University of London and a current fellow at Akademie Schloss Solitude, Stuttgart.

Aouefa Amoussouvi is a French-Beninese research scientist based in Berlin, Germany and holds a PhD in Theoretical Molecular Biophysics from the Berlin Humboldt University, Germany. Outside the lab, she researches and develops curatorial projects on history and alternative narratives of science in context of intersectional feminism and de-coloniality. Especially, she explores how the development of digital technologies creates opportunities as well as ethical challenges within western and non-Western contexts. She is also interested in the endotic exploration of the human psyche, body-mind relationship, group dynamics and transgenerational trauma and is training as a coach of process-oriented psychology. Between 2014 and 2019, she collaborated on several interdisciplinary projects at SAVVY Contemporary – Laboratory of Form-Ideas. She is currently a fellow in residency at the Akademie Schloss Solitude in Stuttgart, Germany.

Online – Thursday, July 2, 19:00
Berlin Launch of the Agropoetics Reader
With Benjamin Busch, Binta Diaw, Alex Ungprateeb Flynn, Ayesha Hameed, Arlette-Louise Ndakoze, Lorenzo Sandoval, Cleo Wächter and the Agropoetics team Elena Agudio, Lynhan Balatbat-Helbock, Marleen Boschen, and Onur Çimen

Use this link to join:

The AGROPOETICS READER unfolds as a collection of texts that informed, grounded, and nourished SAVVY Contemporary’s Soil Is an Inscribed Body: On Sovereignty and Agropoetics (2019), a yearlong exhibition and research project curated by Elena Agudio and Marleen Boschen. The project was conceived in the framework of The Invention of Science, SAVVY Contemporary’s 2019–2020 programme, devoted to questioning the presumed universality and objectivity of the scientific canon. In this context of reflections and cogitations about the epistemic violence perpetrated by the West against other forms of knowledges, Soil Is an Inscribed Body examined anti-colonial struggles of past and current land conflicts across the world in order to address the invasiveness of neo-agro-colonialism and its extractivist logics.

Invited to contribute to the exhibition and to present an artistic position, The Institute of Endotic Research (TIER) proposed to co-edit a publication together with the curators. The path was longer than expected, the diverted tracks were not few (including a pandemic), but here – for the use of readers and many other agropoets – you can find a materialisation of this collaboration. You can linger on a selection of sources that inspired this research and exhibition, retrace the discussions that appeared along the way of its realisation, and engage with the ideas that grounded and sprouted from the project. At the same time, interwoven, you also encounter texts and materials suggested by TIER in dialogue with the curators.

WITH CONTRIBUTIONS BY Bengi Akbulut, Yemisi Aribisala, Marwa Arsanios, Luis Berríos-Negrón, Filipa César, Marisol de la Cadena, Ayesha Hameed, INLAND, Mijo Miquel, Asuncíon Molinos Gordo, Huying Ng, Maria Ptqk, Maria Puig de la Bellacasa, Silvia Rivera Cusicanqui, Bouba Touré, Mirellle and Jennifer in conversation with Alex Ungprateeb Flynn, Hervé Yamguen, and the editors Elena Agudio, Marleen Boschen, and Lorenzo Sandoval.

IN COLLABORATION WITH   The Institute of Endotic Research (TIER)
EDITORS   Elena Agudio, Marleen Boschen, and Lorenzo Sandoval
CO-EDITORS   Onur Çimen and Cleo Wächter
DESIGN BY  Cleo Wächter


Online – Wednesday, June 10, 19:00
Launch of Objects Before and After the Wall
With Tlaxcala3 (Ali Cotero and Clara Bolivar), Rodolfo Andaur, Eli Cortiñas, Manuela Koelke and Sung Tieu
Use this link to join:

Download the free PDF here

The publication Objects Before and After the Wall unfurls from our synonymous collaboration with Tlaxcala 3. Over the course of 2019, and culminating on November 9th at the 2nd International Encounter of Objects and Walls, TIER and Tlaxcala 3 hosted a trans-Atlantic exchange that was realized through a public program of screenings, workshops, readings and conversations. In Mexico City, special attention was paid to the development of border walls in Latin America and their ensuing conflicts and contradictions. In Berlin, certain attention was given to the role of the Berlin Wall as a historical site of ideological confrontation, as well as its continued presence as a contemporary media avatar. The publication Objects Before and After the Wall assembles contributions in a variety of formats—five selected by Tlaxcala 3 in Mexico City and five selected by The Institute for Endotic Research in Berlin—alongside responses by the organizers, Tlaxcala 3 (Ali Cotero and Clara Bolivar) and TIER (Benjamin Busch and Lorenzo Sandoval). The publication will be available as a free PDF download on the TIER website from June 10, and printed copies will be for sale at our space in Berlin.

Contributions by: Rodolfo Andaur, Clara Bolívar, Diana Buitrón, Benjamin Busch, Eli Cortiñas, Alí Cotero, Marisol García Walls, Francisco González Castro, Manuela Koelke, Daniela Medina Poch, Alberto Pacheco Benites, Lorenzo Sandoval, Hito Steyerl, Lorena Tabares, and Sung Tieu with text by Karen Fiss

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