A night on the multiplicities of 1968

    19/05  | 20:00

€ 14 / € 11 (-25/65+)

In the frame of The May Events @ INSAS, 16>20/05

Fifty years on, what gets highlighted when commemorating 1968, a year in which radical changes occurred all around the world? While individual freedoms were being fought for in Paris, tanks were crushing well-supported reforms in Prague. In Nigeria civil wars were ravaging communities, and in the United States the civil rights movement was culminating. This performative conference, conceived by BAK, basis voor actuele kunst as part of their series Propositions for Non Fascist Living, revisits the complexity of the year’s global legacy. It merges performative interventions, music acts, a lecture, a VJ conversation, and an intimate discussion during a film screening. Offering insights into the multiple 1968s, First Person Plural seeks mutual entanglements and sees common ground in a shared yearning to construct, even if temporarily, another we – a collective first person plural.


Sepake Angiama with Karina Griffith, Born in Flames (1983) 
screening with live commentary and conversation 

Like an evening at the cinema when you are disturbed by your neighbors’ comments on the film, educator, curator, and BAK 2017–2018 fellow Sepake Angiama engages in live commentary and conversation during a screening of the film Born in Flames (1983), directed by Lizzie Borden. The movie addresses questions of feminism, gender politics, race, surveillance, and police brutality, and these same topics form the foci of the talk. 

21.00—21.20 / 22.00—22.20 
Ola Hassanain, Unscripted Public 
installation with video projection, tea set, and performance 

On September 1st 1967 the Khartoum Resolution was issued, containing the famous “Three No’s”: "no peace with Israel, no recognition of Israel, no negotiations with it..." from the eight Arab League countries. BAK 2017–2018 Fellow Ola Hassanain departs from a text describing the political turmoil in Sudan following the Resolution, and develops an installation and performance that connects the historical protests with the current demonstrations erupting all over Khartoum, calling for the removal of the government, and usually suppressed with extreme violence. Unscripted Public invokes the gendered geographies and subjective recollections in the use of public space along different timelines in Khartoum, navigating among political poems, audible demands for public space as a site of resistance, and improvised political actions.  

Otobong Nkanga, After First Light A Story to Tell 
lecture performance 

BAK 2017–2018 fellow Otobong Nkanga will be using the means of storytelling, objects and voice as a way of delving into fragments of history. Nkanga engages with a series of selected objects with narratives that excavates and unearths the existing entanglements along different historical happenings and personal accounts and encounters.  

Quinsy Gario, …; speaking of borders 
lecture performance with Jörgen Gario, Gloria Holwerda-Williams and Shaka Jean-David 

BAK 2017–2018 Fellow Quinsy Gario proposes a lecture performance through which the student uprising of January 1968 will be connected to the global racial emancipation during the 1960s. The piece departs from a picture taken by Ron Kroon lon January 18th 1968 of the Muurkrant (Wall Newspaper) in Leuven, where the students wrote: “Leuven moet een tweede Detroit worden!” (Leuven should become a second Detroit!). The reference to the resistance of African Americans to police brutality in Detroit in 1967, places the Leuven uprising not just in the lineage of students’ protests around Europe, but also in an explicitly anti-racist and anti-colonial violence conversation. The profound international references of this uprising will be explored in a lecture performance that will look at language, colonial violence, religion and the political role of archives.  

Wendelien van Oldenborgh and Charl Landvreugd, Conversational Tones 

musical and visual battle

Without any wish to undo difference, contradiction, or distance, artist Charl Landvreugd and artist and BAK 2017–2018 Fellow Wendelien van Oldenborgh generate a discourse through a playful “battle” made of musical and visual interactions, with a wide variety of questions, fragments, and choices from their respective and specific idioms: filmmaking, visual arts, theory. Like Mikhail Bakhtin, the Russian philosopher and critic who coined the term polyphony in literature, has argued, multilingual environments “liberate man by opening up a gap between things and their labels.” Nonequivalence is not a matter for despair, but is rather the impulse to life. 

Marinella Senatore, Protest Forms: Memory and Celebration Invites: Blu Samu, Fatoosan & Raph Stark

Marinella Senatore, as part of her ongoing project Protest Forms: Memory and Celebration—investigating new ways of reclaiming the future common good through generations celebrating past achievements via music—, invites local rapper and musician Blu Samu to perform a live set. Salomé Dos Santos, alias Blu Samu, is a Belgian-Portuguese rapper, composer, and interpreter from the Brussels Hip Hop scene. Following the concert, a DJ set by Fatoo San & Raph Stark will fade the event into a night party.

Curated by BAK, basis voor actuele kunst

Contributions by Quinsy Gario, Otobong Nkanga, Marinella Senatore, Sepake Angiama, Luigi Coppola, Ola Hassanian, Wendelien van Oldenborgh & Charl Landvreugd, among others

This performative conference is an extension of the eponymous exhibition concurrently taking place at BAK, basis voor actuele kunst curated by Matteo Lucchetti (12 May–22 July). Propositions #5: First Person Plural is the fifth gathering of BAK's series Propositions for Non-Fascist Living (2017– 2020), and involves participants of the 2017/2018 BAK Fellowship Programme 

Presentation Kunstenfestivaldesarts, INSAS

Co-organised by Kunstenfestivaldesarts & BAK, basis voor actuele kunst (Utrecht)

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