Nora Kühnhold, Lisa Stehr, Dominique Enz, Thekla Molnar, Nina Ozan
Based on our own experiences of insomnia, we want to take a walk through Bornheim. We could no longer sleep. Not being able to sleep means that everyday life disintegrates, the body becomes numb, the head can no longer remember anything, the identity disintegrates, I am afraid of sleeping, I am afraid of the night. At some point, we started running: running so that the head would stop spinning, running away from the partners next to whom we could no longer sleep, running to the partners we thought we could sleep next to, running on so that the body would get tired. Insomnia takes different forms, produces different feelings and hits different bodies, it can be frightening or paralysing, but also inspiring. What it has in common; it is the state of individuals and is difficult to collectivise or share. Who are you calling at 4 am? Based on this analysis, we ask ourselves: is insomnia a gendered problem? What experiences of exclusion, norm, discrimination, weirdness do we experience while awake that deprive us of sleep? Can insomnia have emancipatory potential because it refuses a logic of productivity? What does insomnia have to do with care? What are the strategies: carrying on, fraying, raving against insomnia? Who are the people affected by insomnia? Is insomnia only an issue of the night?
We pass the Pizzeria Schlaflos in Höhenstraße, through Günthersburgpark and Bornheim Mitte. Along the way, we have a voice in our heads that spins, that thinks, that is too fast, too loud and restless, but that also shares experiences: Others also sit at the window at night and smoke a cigarette.
—> More informations about the event and the entire festival programme via Nocturnal Unrest
Infos
Language: German
Content Warning: The audio walk deals with mental disorders and sleeping problems.
There will be a talk with the team of "Rundbogen gegen Schlaflosigkeit" geben. More information will follow on the Nocturnal Unrest website!
Sponsors and Supporters
An der Konzeption des Audio-Walk waren außerdem Hannah Ruoff und Lisa Stehr beteiligt.
Nocturnal Unrest ist eine Kooperation des nOu-Kollektivs und Ladiez e.V. Kulturelle und Politische Bildung für Frauen, des Künstlerhaus Mousonturm, der feministische philosoph_innen Frankfurt und dem Hafen 2 Offenbach.
Gefördert durch Fonds Soziokultur im Rahmen des Programms Neustart Kultur der Beauftragten der Bundesregierung für Kultur und Medien, das Goethe Institut, das Hessische Ministerium für Wissenschaft und Kunst, die Hessische Theaterakademie, Frauenreferat und Stabsstelle Inklusion der Stadt Frankfurt am Main, dem QSL Fonds und dem AStA der Goethe-Universität Frankfurt am Main sowie durch die Crespo Foundation.
More Information
Biografien
Nora Kühnhold (*1990) was born in Heppenheim and grew up in Zwingenberg. From 2011 to 2012 she assisted the Argentinian theatre professor Raúl Reyes and studied philosophy and economics at the Goethe University Frankfurt from 2012 to 2016 before taking up her studies in studies at the HfMT Hamburg. In February 2021 she finished her studies with the play Alerta//Desire//Strandplenum – a play development on politicisation and queer desire for young audiences. As part of her studies and in other contexts, she created various productions: a feminist adaptation of Dantons Tod (2018), a play development on masculinity and emotions Ernste Spiele unter Männern * (Serious Games Among Men) (2019), a sex-positive reinterpretation of Jelinek's Begierde und Fahrerlaubnis (2019), a performance about housework Was ist das Gegenteil von Hausarbeit? (What is the Opposite of Housework?) (2018) and an adaptation of Marieluise Fleißer's story Avantgarde (2020) with a queer punk band. She shares a musical and political relationship as well as a friendship with Thekla Molnar.
Thekla Molnar (*1994) has been interested in various musical and sound-artistic forms of expression since a young age. After a few semesters at the Hochschule der Künste in Bremen, studying recorder as a major, she turned to other approaches: questions about conflict lines in feminist and queer movements, relation of genders in sound and the interplay between technical progress and patriarchy. In her artistic works, she draws on a broad repertoire of means of expression. In addition to software-based audio instruments, she also works with analogue instruments in live performances as well as the intensive examination of the human voice. The focus is on understanding sound in its functionality and designing it as an active counterpart to the visual. In addition to participating in theatre productions at the Hamburg Theatre Academy, a stay at the Zurich University of the Arts in the BA Art and Media has influenced her work.
Since 2010, Nina Ozan (*1991) has acquired expertise in the field of sound technique through various projects, events, several seminars at HAW Hamburg (sound technique) and her current training as an event technician at Kampnagel in Hamburg. She advises and takes care of the sound-technical aspects of artistic projects, especially for artists from the FLINTA * community who deal with the topic of empowerment. She completed her Master of Fine Arts in 2016 with her final thesis "Normal Nord", novella and spatial installation, at the HfbK in Hamburg. Since then she continues to pursue artistic processes that are currently considered long-term private research, so far without the goal of publication. Nina was born in France, has lived in Hamburg since 2013 and is queer and white.