1) Creed, M. (2005) If you’re lonely. Accessed 12th April 2016 at: http://www.martincreed.com/site/words/if-youre-lonely.

2) Arendt, H. (1981/2016) Vita activa oder Vom tätigen Leben, p. 16. München: Pieper.

3) Weeks, K. (2011) The problem with work. Feminism, Marxism, antiwork politics, and postwork imaginaries, p.109. Durham: Duke University Press.

4) Weeks, K. (2011) The problem with work. Feminism, Marxism, antiwork politics, and postwork imaginaries, p.2. Durham: Duke University Press.

5) Marx, K. (1863/n.d.) Theorien über den Mehrwert, MEW 26.3, p.300.

6) Weeks, K. (2011) The problem with work. Feminism, Marxism, antiwork politics, and postwork imaginaries, p.52. Durham: Duke University Press.

7) Weeks, K. (2011) The problem with work. Feminism, Marxism, antiwork politics, and postwork imaginaries, p.3. Durham: Duke University Press.

8) Gielen, P. (2009) The murmuring of the artist multitude: Global Art, Memory and Post-Fordism, p.23.Valiz, Amsterdam.

9) Weeks, K. (2011) The problem with work. Feminism, Marxism, antiwork politics, and postwork imaginaries, p.4. Durham: Duke University Press.

10) Gielen, P. (2009) The murmuring of the artist multitude: Global Art, Memory and Post-Fordism, p.24.Valiz, Amsterdam.

11) Engels, F. (1844/1976) “Umrisse zu einer Kritik der Nationalökonomie”, p.524, in: Karl Marx/ Friedrich Engels – Werke, pp. 499-524. Berlin: Dietz Verlag.

12) Shukaitis, S. (2016) The composition of movements to come. Aesthetics and cultural labour after the avant-garde, p.177. London: Rowman & Littlefield.

13) Gielen, P. (2009) The murmuring of the artist multitude: Global Art, Memory and Post-Fordism, p.24.Valiz, Amsterdam.

14) Creed, M. (2005) If you’re lonely. Accessed 12th April 2016 at: http://www.martincreed.com/site/words/if-youre-lonely.

15) Gielen, P. (2009) The murmuring of the artist multitude: Global Art, Memory and Post-Fordism, p.19.Valiz, Amsterdam.

16) Bücher, K. (1899) Arbeit und Rhythmus, p. 2. Leipzig: Teubner.

17) Fisher, M. (2014) “What is it you’d say you do here? The Post-Fordist compedy of management”, p.70 in: N. Möntmann (ed.) Brave new work. A reader on Harun Farocki’s film A New Product. Köln: Walter König.

18) Shukaitis, S. (2016) The composition of movements to come. Aesthetics and cultural labour after the avant-garde, p.68. London: Rowman & Littlefield.

19) Fisher, M. (2014) “What is it you’d say you do here? The Post-Fordist compedy of management”, p.66, in: N. Möntmann (ed.) Brave new work. A reader on Harun Farocki’s film A New Product. Köln: Walter König.

20) Creed, M. (2005) If you’re lonely. Accessed 12th April 2016 at: http://www.martincreed.com/site/words/if-youre-lonely.

21) Weeks, K. (2011) The problem with work. Feminism, Marxism, antiwork politics, and postwork imaginaries, p.46. Durham: Duke University Press.

22) Shukaitis, S. (2016) The composition of movements to come. Aesthetics and cultural labour after the avant-garde, p.70. London: Rowman & Littlefield.

23) Shukaitis, S. (2016) The composition of movements to come. Aesthetics and cultural labour after the avant-garde, p.71. London: Rowman & Littlefield.

24) Hardt, M. & Negri, A. (2011) Commonwealth, p. 151. Belknap Press.

25) Duchamp, M. /Cabanne, P. (1971) Dialogues with Marcel Duchamp, p.72. London: Thames and Hudson.

26) Weeks, K. (2011) The problem with work. Feminism, Marxism, antiwork politics, and postwork imaginaries, p.43. Durham: Duke University Press.

27) Hardt, M. & Negri, A. (2011) Commonwealth, p. 153. Belknap Press.

28) Weeks, K. (2011) The problem with work. Feminism, Marxism, antiwork politics, and postwork imaginaries, p.97. Durham: Duke University Press.

29) Foucault, M. (1976) “Die Macht und die Norm”, in ders. Mikrophysik der Macht, p.117. Berlin: Merve.

30) Power, N. (2014) The social brain an its missing body. Work in the age of semio-capital”, p.95, in: N. Möntmann (ed.) Brave new work. A reader on Harun Farocki’s film A New Product. Köln: Walter König.

31) Arendt, H. (1981/2016) Vita activa oder Vom tätigen Leben, p. 16. München: Pieper.

32) Creed, M. (2005) If you’re lonely. Accessed 12th April 2016 at: http://www.martincreed.com/site/words/if-youre-lonely.

I hope work as a relation is friendship.

I hope work as a relation becomes less dominated by fear.

I hope work as a relation is trying again.

I worry that work relations become increasingly strategic.

I worry work relations are undermined by competition.

I hope that work relations can be structured differently than merely through market logic.

I hope work as a relation is collective daydreaming.

 

I worry about the strategic cruelty of professionals.

I wonder what parasites do to work relations.

I worry that work as a relation is defined by efficiency.

I hope work as a relation can transgress networking logics.

I hope we start building packs.

I hope work as a relation is based on trust.

I worry that work as a relation is dominated by opportunism.

 

I hope that work as a relation is making space for togetherness.

I hope work as a relation has more time to unfold.

I hope that work as a relation can balance fears.

I worry about how much is excluded in current work relations.

I hope that decision-making is shared in work-relations.

I worry about abusive work relations.

I wonder what complicity does to work relations.

 

I worry that work as a relation is affected by opportunistic strategies.

I worry that work as a relation is affected by an increasing unequal distribution of resources.

I hope that work as a relation embraces the unpredictable.

I hope that work as a relation gives shelter for the not yet fully grown, not fully developed ideas, desires, plans and people.

 

I hope that work as a relation can also handle deals.

I hope that work as a relation can recuperate patience again.

I worry that work as a relation is overpowered by expectations.

I worry that work as a relation has been replaced by functions and positions.

I hope we can work side by side.

I hope that work as a relation gives more space to everyone.

I worry that intimacy can be abused in work relations.

 

I hope that we do not lose respect for the other.

I hope work as a relation nurtures solidarity.

I hope that work as a relation is growing.

I wonder how to think about the future of work relations.

I hope that work as a relation gives enough time for listening.

I hope that work as a relation leads to joint forces.

I hope work as a relation invites [ex]change.

I hope work as a relation becomes more caring.

I hope we can also let go of work relations.

 

I hope.

 

Hope as being committed to a proposal as a practice of respect.

Hope as listening.

Hope as witchcraft that names and invites those who are missing.

Hope as a sensing and working with different energy levels.

Hope as a practice to unfold something powerful.

 

Hope as picking up and joining ideas of different people as a practice of mutual engagement.

Hope as sharing worries, dreams and personal longings as a practice of trust.

Hope as awareness of the importance of protecting, nourishing and letting the inside grow to open up to the outside.

Hope as a being open and curious towards others as a practice of being non-judgemental.

Hope as acknowledging the fragility of embryonic encounters as a practice of protecting.

 

Hope as making space despite fear.

Hope as a practice of spacing.

 

Hope as a practice of bricolage.

Hope as exploring the threshold that in- and excludes instead of reproducing it.

Hope as rejecting the power of the factual.

Hope as dancing as a practice of togetherness, that does not need words.

Hope as focussing on interest and fascination instead of achievement and expertise.

Hope as a practice of rendering the unknown as a lateral presence that does not give answers but determines action.

 

Hope as experimenting with transgressing the own boundaries as a practice of taking risks.

Hope as being prepared to be disappointed.

Hope as remaining prepared to be affected to affect.

 

UnReal Estates_Dies ist keine Betonfabrik

The workshop lasted 3 hours and consisted of four exercises, all of them are used in contemporary dance. They come from artists/movers who aimed at finding new approaches to movement in the 60’s and 70’s. Since then these approaches were further developed from generations of dance and movement practitioners. All of them aim at activating different sensory perceptions, for instance the gaze, the touch and also to a certain extent our kinaesthetic sense.

We wanted the students to explore the location ”Betonwerk Stolpe” physically by moving in space. The focus was to be attentive to the sensations of the own body in relation to the others and in relation to the space – and to raise the awareness in which way the body is directly influenced by the environment.

Whilst the first exercise was moving and aiming at making eye-contact to explore the space that opens up and develops along the connection of the gaze between two people, for the second exercise we asked half of the students to move in space with their eyes closed. We asked the other half of the students to guard the blind and varied the ways they did so – starting with touching the blind partner, then not touching but intervening only if the blind partner is ‘in trouble’ and eventually asking them to change the guard without letting their partners know. After these exercises, we came together to reflect on experiences made so far with everyone.

The second part of the workshop consisted of two parts. For the first part, we asked the students to pair up, go out and “observe what needs to be observed”. When they came back after half an hour, we asked them to share these explorations with each other in movement, using as little words as possible. Although the students felt a little uncomfortable in this last task, everybody took the courage and joined in. Usually working with performance art and dance students, we were surprised how fast these exercises pushed the students out of their comfort zone and we were even more impressed of their curiosity, openness and how much courage they had following us regardless.

For us, it was a fascinating journey to see how these students from different departments, different cultural backgrounds, who hardly knew one another came closer through connecting with their bodies and senses. At the same time as they connected with one another, their widened sensual awareness also made the physical and atmospheric dimension of the Betonwerk more tangible. To observe how careful the students were with one another and the care with which they started exploring the physical space was for us like to listen, to sense, to be attentive and responsive to what is present, although at times invisible, to affect and to be affected.