Florian Malzacher
Florian Malzacher is a curator, writer, and dramaturg, visiting professor for dramaturgy and curatorial practice at the Karlsruhe University of Arts and Design, as well as the host of „The Art of Assembly“, a series of talks and conversations about the potential of gathering in art, activism, and politics (since 2021). His current projects include „Training for the Future“ (with Jonas Staal, since 2018). He is co-editor of the series Postdramatic Theater in Portraits published by Alexander Verlag Berlin. In 2023, his book „The Art of Assembly. Political Theater Today“ was published. His texts have been translated into more than 15 languages.
2013-17 he was Artistic Director of the Impulse Theater Festival (Düsseldorf, Cologne and Mülheim/Ruhr), 2006-12 co-programmer of the multidisciplinary festival steirischer herbst in Graz/Austria, and 2018-20 curatorial advisor of the Ruhrtriennale.
After completing his studies in Applied Theater Studies at the University of Giessen, he initially worked as a freelance theater critic and cultural journalist for large daily newspapers and national as well as international magazines.
As a dramaturge he has worked at theatres such as Burgtheater Vienna, Gorki Theater Berlin or Mousonturm Frankfurt with artists such as Rimini Protokoll, Lola Arias, Mariano Pensotti, Tania Bruguera or, regularly, the Nature Theater of Oklahoma (USA). He was a founding member of the independent curatorial collective Unfriendly Takeover in Frankfurt (2001-08).
Florian Malzacher (co-)curated, among others, the International Summer Academy (Mousonturm Frankfurt, 2002 & 2004), "Dictionary of War" (2006/07), "Performing Lectures2 (Frankfurt 2004-06), "Truth is concrete" (Graz, 2012), "Appropriations" (Ethnological Museum Berlin, 2015), "Artist Organisations International" (with Jonas Staal & Joanna Warsza, HAU Berlin, 2015), "Sense of Possibility. On the Occasion of the 100th Anniversary of the Revolution" (St. Petersburg, 2017), "After Supervising the Machinery" (Engelskirchen, 2020), the "Market for Useful Knowledge and Non-Knowledge" (Haus der Berliner Festspiele, 2022), and various performative conferences.
Guest professorships, teaching assignments, and master classes have taken him to universities and art academies in Amsterdam, among others. Berlin, Frankfurt, Giessen, Helsinki, Leipzig, Oslo, Taipei, Vienna, Zagreb and Zurich.
He has been or was a member of the Board of Trustees of the Kunststiftung NRW (since 2021), the Board of Trustees of the Fonds Darstellender Künste (since 2021), the Zurich Theater Commission (2013-22), the Jury of the Landesverband Freier Theater Baden-Württemberg (2013-22), the Theater Advisory Board of the Goethe-Institut (2015-20), the Goethe Co-Production Fund (2018-19), and the Advisory Board of DasArts – Master of Theatre, Amsterdam (2009-14).
Florian Malzacher is (co-)editor of monographs on artists such as Forced Entertainment (2004), Rimini Protokoll (2007), Nature Theater of Oklahoma (2019), andCompany&co. (2021), and Boris Nikitin (2022). Other publications include: "Curating Performing Arts" (ed., 2010), "Truth is Concrete. A Handbook for Artistic Strategies in Real Politics" (ed., 2014), "Two Minutes of Standstill. A Collective Performance by Yael Bartana" (ed., 2014), "Not Just a Mirror. Looking for the Political Theatre of Today2 (ed., 2015), "The Silent University. Towards a Transversal Pedagogy" (ed., 2016), "Empty Stages, Crowded Flats. Performativity as Curatorial Strategy" (ed., 2017), and "Gesellschaftsspiele. Politisches Theater heute" (2020).
https://florianmalzacher.net/
2013-17 he was Artistic Director of the Impulse Theater Festival (Düsseldorf, Cologne and Mülheim/Ruhr), 2006-12 co-programmer of the multidisciplinary festival steirischer herbst in Graz/Austria, and 2018-20 curatorial advisor of the Ruhrtriennale.
After completing his studies in Applied Theater Studies at the University of Giessen, he initially worked as a freelance theater critic and cultural journalist for large daily newspapers and national as well as international magazines.
As a dramaturge he has worked at theatres such as Burgtheater Vienna, Gorki Theater Berlin or Mousonturm Frankfurt with artists such as Rimini Protokoll, Lola Arias, Mariano Pensotti, Tania Bruguera or, regularly, the Nature Theater of Oklahoma (USA). He was a founding member of the independent curatorial collective Unfriendly Takeover in Frankfurt (2001-08).
Florian Malzacher (co-)curated, among others, the International Summer Academy (Mousonturm Frankfurt, 2002 & 2004), "Dictionary of War" (2006/07), "Performing Lectures2 (Frankfurt 2004-06), "Truth is concrete" (Graz, 2012), "Appropriations" (Ethnological Museum Berlin, 2015), "Artist Organisations International" (with Jonas Staal & Joanna Warsza, HAU Berlin, 2015), "Sense of Possibility. On the Occasion of the 100th Anniversary of the Revolution" (St. Petersburg, 2017), "After Supervising the Machinery" (Engelskirchen, 2020), the "Market for Useful Knowledge and Non-Knowledge" (Haus der Berliner Festspiele, 2022), and various performative conferences.
Guest professorships, teaching assignments, and master classes have taken him to universities and art academies in Amsterdam, among others. Berlin, Frankfurt, Giessen, Helsinki, Leipzig, Oslo, Taipei, Vienna, Zagreb and Zurich.
He has been or was a member of the Board of Trustees of the Kunststiftung NRW (since 2021), the Board of Trustees of the Fonds Darstellender Künste (since 2021), the Zurich Theater Commission (2013-22), the Jury of the Landesverband Freier Theater Baden-Württemberg (2013-22), the Theater Advisory Board of the Goethe-Institut (2015-20), the Goethe Co-Production Fund (2018-19), and the Advisory Board of DasArts – Master of Theatre, Amsterdam (2009-14).
Florian Malzacher is (co-)editor of monographs on artists such as Forced Entertainment (2004), Rimini Protokoll (2007), Nature Theater of Oklahoma (2019), andCompany&co. (2021), and Boris Nikitin (2022). Other publications include: "Curating Performing Arts" (ed., 2010), "Truth is Concrete. A Handbook for Artistic Strategies in Real Politics" (ed., 2014), "Two Minutes of Standstill. A Collective Performance by Yael Bartana" (ed., 2014), "Not Just a Mirror. Looking for the Political Theatre of Today2 (ed., 2015), "The Silent University. Towards a Transversal Pedagogy" (ed., 2016), "Empty Stages, Crowded Flats. Performativity as Curatorial Strategy" (ed., 2017), and "Gesellschaftsspiele. Politisches Theater heute" (2020).
https://florianmalzacher.net/
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ENGLISH by Florian Malzacher
steeds meer kunstenaars zich bij sociale en politieke
bewegingen aan. Wat hebben kunstenaars en activisten
gemeen, waar is er overlap en waar staan ze juist haaks
op elkaar?
i form av en essä om konst och aktivism.
Florian Malzacher inleder sin text med
ett citat tillskrivet Marx, Brecht och
Majakovskij: "Konsten är inte en spegel
att hålla upp framför verkligheten utan
en hammare
Several leading European (mostly female) thinkers analyse artistic practices that have emerged alongside new social movements – such as Solidarity in Greece or Municipalism in Spain – investigating how theatre, dance and performance respond to the new political insights and experiments. It is a context wherein the previously well-known tactics and tools, such as participation, identity politics or spontaneous usage of public space don’t suffice. Thus we must build and learn a new vocabulary of politicality of performance that includes opaque words such as ‘innervation’, ‘preenactment’, ‘prefiguration’ or ‘recreation’.
ISBN 978-3-942214-29-2
This catalogue is a documentation of Two Minutes of Standstill, revealing the ideas behind the work and the process that led to its realization. The book includes several essays that discuss possible interpretations and consequences of the artwork, questioning the role of history and commemoration in Germany today.
The book contextualizes this initiative within a broader picture of migration policies, critical pedagogy, artistic involvement and institutional engagement. It also hopes to be an introduction for all those who might want to get involved in the Silent University—as contributors, lecturers, students in the existing branches, or by initiating new SUs wherever they are needed: a need which is becoming urgent in more and more cities and countries all around the world.
June 2016, English/German
ISBN 978-3-95679-245-8