Lara Fonderico invites us to imagine our bodies as a text of scar tissue, burns, cuts and marks, all of which betray our most private lives. Tattooing one’s flesh becomes an editorial process on the body’s inherent capacity to carry stories, secrets, and meanings. Today our bodies are becoming showrooms, branded, trendy and hot. Tattooing has become an exclusive artistic practice that takes place in aseptic studios after processes of googling designs, booking an artist, surrendering one’s body to a professional and sealing the ritual with a monetary transaction. In contrast, Lara’s tattooing practice stems from her engagement with underground movements and trans-feminist political collectives that share how to communise technologies, transmit knowledge openly and trespass the authoritarian concept of intellectual property by deconstructing the gatekeeping approach of professionalising practices. Through a workshop in DIY tattooing techniques, Lara creates a space for an intimate ritual of traversing our personal bodily archives. Suggesting the art of tattooing as a self-publishing practice, the artist invites us to return to our bodies as archives. Questioning our relationship with pain and healing, she asks: Can self-inflicted pain become part of healing?

Transbluesencies originates from a Duke Ellington jazz composition on his 1946 Carnegie Hall LP, and is also the title of Amiri Baraka’s body of poetry published in 1995. The term invokes the blues, a centuries-old African-American form of poetic storytelling, as a carrier of joys, sorrows, and knowledge – with the understanding that music and rhythm are the only containers big enough to hold the vast complexity of Black histories. Is an invitation to witness multidisciplinary artistic practices that question written texts/printed matter as the central modality of poetic expressions. Artists from different mediums present poems at the intersection of poetry, music, and film in this performance workshop, where the audience is invited to join in on conversations between minds and bodies.

Savanna Morgan is a poet, musician, and performance artist from East Texas. She came to Berlin for a Master’s in Performance Studies in 2020, and has since joined the Archive Ensemble where she publishes and curates anti-colonial literary and performance practices. Her recent publications include debut poetry book, cow tripe (Hopscotch Editions, 2022). Her performances, ranging from concerts to choreo-poems, have been presented at Haus der Kulturen der Welt (The Whole Life, 2022, O Quilombismo, 2023), Kunstraum Kreuzberg/Bethanien (Freistaat Barackia, 2021), Gropius Bau (GABAN, 2022), ChertLüdde (Bungalow Berlin, 2022), Villa Romana Florenz, Savvy Contemporary, TanzFabrik (KoShebeen, 2021), amongst other socio-cultural institutions. Her creative process is very much rooted in time, place, and memory of home in the North American South. Her work aims to foster conversations within the black diaspora centring on its histories, triumphs, joy, and healing.

Jumoke Adeyanju is an interdisciplinary, multilingual writer, curator and dancer. Under her alias, mokeyanju, she occasionally performs as a vinyl selector and aspiring sound artist. Jumoke is the founder of The Poetry Meets Series [est.2014], co-curator of Sensitivities of Dance and hosts her radio show Sauti ya àkókò and the Breakfast Show on Refuge Worldwide. Her multidimensional sound, words, and movement art have been commissioned by Majestic Casual, MARKK Museum Hamburg, NCAI Nairobi Contemporary Art Institute, Dak’Art Biennale OFF 2022, LagosPhoto 2022, Arthouse Foundation Lagos, AAF Lagos, Image Afrique Basel, African Crossroads Mombasa, CUNY NYC, Kölnischer Kunstverein and Deutschlandfunk Kultur Klangkunst amongst others. In 2022, Jumoke Adeyanju exhibited her sound-based ‘dreams’ research project OTA – outreaching transfigurative alterations at Nairobi Contemporary Art Institute in Kenya. She has presented her artistic works at international literary festivals performing in English, German, Kiswahili and Yorùbá. Her live-writing poem was featured in the award-winning short Leave the Edges (2020) by Baff Akoto. Jumoke’s poetry and translation work were published in the anthology Kontinentaldrift: Das Schwarze Europa (ed. Fiston Mwanza Mujila) in 2021 and The 1619 Project by Nikole Hannah Jones. In 2022, her first Sci-Fi short story 77. Weltstille was published in the anthology Kollaps und Hope Porn: 13 Zukunftsaussichten by Maro Verlag. As an all-round-artist, Jumoke’s approach touches on topics like diaspora nostalgia, memory, spiritual liminal spaces, sonic tonalities, and how various elements of expressive art forms interrelate and incorporate the potential to (re-) create moments of reviving other or displaced selves.

The BROUDOU collective invites you to a workshop around deconstructing taste through a multisensory olive oil experience. We will begin by questioning the local context of olive oils in Berlin. What different types of olive oils can we find, and what information can we decode from their labels? The political reality for many non-EU olive oil-producing countries, such as Tunisia, is that their contribution to the EU market supply is entirely unacknowledged. Together, we will discuss the potential for labels to shape truths, realities and notions of value.

Approaching taste from different angles of the multi-sensory through sight, smell, imagination, movement, and memory, we will consider and practice using different tools to help us expand our tasting muscles while stretching our imaginations. A guiding question will be: How do we value a product without a predetermined value?

Returning to the notion of labels will practice constructing them differently. What if we taste first and then imagine a label? Through sharing tastes and our responses, we will play around with ideas of how our personal experiences and sensory knowledge colour our relationships with the foods we consume.

BROUDOU is an independent collective, publication, and research platform founded in 2021 by artists Aziza Gorgi, Emily Sarsam, and Yasmin Houamed. Working alongside researchers, farmers, and creative practitioners, the collective conducts original research organises immersive and embodied workshops and hosts culinary experiences inspired by the Tunisian foodscape.

Aziza is an artist and designer based in Tunis and works with various mediums such as ceramics, painting, photography and publishing. She is the main designer behind BROUDOU Magazine.

Emily is a cultural programmer and artist. Her work revolves around independent publishing, sound, poetry and food.  Through her research, she develops and facilitates embodied forms of learning and relating within the arts.

Yasmin is currently pursuing an MA in the Anthropology of Food at SOAS, University of London, where she is researching consumerism and sustainable development. She received her BA in Political Science from Stanford University.

Based on the ongoing research-based project of an artist that confronts and expands the meaning of sonic archives, Mohamed-Ali Ltaief offers a Reading Circle to share and discuss the genealogy of early ethnomusicological field recording in Tunisia, while reassembling cartographies of interwar artists in North Africa and in the diaspora. In the Reading Circle workshop, Ltaief will share a selection of readings that he refers to in his lecture performance‘Poeisis, Praxis, and Cultures of Resistance or the non-established Histories of Art in Tunisia’, re-contextualizing cuts and ruptures during colonial times, and unravelling the multiplicity of sonic performative practices. The Reading Circle is open to everyone interested in African performance art histories and sonic performative art practices, anti-colonial and anti-fascist early political movements in North Africa, decolonial theories, and practices of transformation of archives.

Unpacking Our Library invites Tunisian artist and author Mohamed-Ali Ltaief to re-entangle and negotiate the meaning of a North African sonic archive collection recorded during the first decade of the 20th Century by the Prussian Phonographic Commissions in North Africa, and now stored dispersed, in part at the Berliner phonogramm archiv(SMB)at the Ethnologisches Museum in Berlin and in part at the Ennejma Ezzahra in Tunis (CMAM). Ltaief’s Lecture performance ‘Poeisis, Praxis, and Cultures of Resistance or the non-established Histories of Art in Tunisia’ questions the dispositive of sonic archival material in those collections by displacing the Ethno-musicological illusion. Through the lecture, Ltaief revoices extended biographies and foregrounds sonic performances, confronting the static sonic archival materiality and the corporate identity of the Western aesthetic taxonomy. By shifting the sonic archive into a spatialized and performative practice, Ltaief opens those archives to art histories across Berlin, Beirut, Cairo and Tunis. Acknowledging the intrinsic multiplicity of art as a concept of “Poiesis and Praxis’, the lecture is composed by acts of translating lyrics, retracing movements-body language, and re-locating biographies and counter archives. This lecture performance ‘Poeisis, Praxis, and Cultures of Resistance or the non-established Histories of Art in Tunisia’by Mohamed-Ali Ltaief is a sonic-visual and geo-philosophical narrative that combines sonic testimonies with spatial strategies, border studies, and decolonial aesthetic methods. ‘Poeisis, Praxis, and Cultures of Resistance or the non-established Histories of Art in Tunisia’ by Mohamed-Ali Ltaief is part of ‘the Striated Time’ performance trilogy project and publication. With the kind support of Mophradat Consortium Commissions 2023/2025,  Jaou Festival Tunisia and Ennejma Ezzahra Tunis.

Mohamed-Ali Ltaief is an artist and author. His practice draws from cross-disciplinary and post-colonial perspectives at the intersection of theatre, performance, sound, conceptual and visual art, alongside essays and fiction. Ltaief studied philosophy in Tunis and graduated from the Institute of Fine Arts Tunis, and is currently at the MA Spatial Strategies at Weißensee Academy of Art Berlin. In 2011, he co-founded in Tunis the independent art group Ahl Al-Kahf (SevenSleepers), the anonymous collective created common murals and presented public performances throughout the country. From 2013, Ltaief continuously collaborated with Motus Theater Company performed, artwork and text in Nella Tempesta(performance), Caliban Cannibal (performance), and Call me X (video-installation) as a part of 2011>2068 Animale Politico Project with Silvia Calderoni on stage. In 2019, he presented the performative manifesto “Ghosts of Meaning” at The Present Is Not Enough festival at HAU2 Berlin and the play “Hundert Jahre” in Theater Basel.

NaN is a non-binary DJ/Selector originally from London. Like their surroundings growing up, they pride themselves on being a mosaic made up of multi-dimensions, and this is reflected in their eclectic music collection. As the name suggests, they are not a number, not to be put in a box, not to be tied to one genre.