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Only a few weeks after the biggest data leak in African financial history showed the extent of corruption under Congolese ex-president Kabila, the “Congo Tribunal” is devoting itself to the responsibility of political elites and multinational companies in the Congolese mining industry in a session lasting several days from 9 to 11 December 2021 in […]


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+++ “THE KOLWEZI HEARINGS” : THE CONGO TRIBUNAL MEETS IN KOLWEZI (EASTERN CONGO) AND INDICTS COMMODITIES GIANT GLENCORE +++

Only a few weeks after the biggest data leak in African financial history showed the extent of corruption under Congolese ex-president Kabila, the “Congo Tribunal” is devoting itself to the responsibility of political elites and multinational companies in the Congolese mining industry in a session lasting several days from 9 to 11 December 2021 in Kolwezi (eastern Congo).

 

With the first “Congo Tribunal”, Milo Rau and his team traveled right to the epicentre of the Congo War. The 30-hour tribunal attracted worldwide media attention: The Guardian called the piece a “landmark” and “the most ambitious political theatre project ever staged.” “A mad project,” wrote the German weekly DIE ZEIT, adding that “where politics fails, art must step in.”

 

From 9 to 11 December 2021, the investigations of the “Congo Tribunal” – a global economic court of the civil society – will continue in the mining region of Kolwezi, where commodities giant Glencore operates two of the largest cobalt mines in the world. Over three days, the presidency and international and local jury members will investigate the responsibility of political elites and multinational companies in a series of human rights violations, cases of environmental pollution and corruption.

 

After the first interviews in Kolwezi and the preliminary hearings at the Schauspielhaus Zurich in October 2020, a few weeks before the vote on the Responsible Business Initiative in Switzerland, the final hearings of the four cases (press kit) will take place in December 2021 at the plenary hall of the provincial parliament in Manika, Kolwezi. While the hearings in Zurich mainly revolved around the question of what responsibility multinational corporations based in Switzerland assume when their activities violate human rights or pollute the environment, the hearings in Kolwezi will focus on the responsibility of the actors on the ground. At the “Kolwezi Hearings”, chaired by Sylvestre Bisimwa and the Congolese lawyer Céline Tshizena, victims, witnesses, artisanal miners, representatives and critics of mining companies, politicians, journalists and experts are questioned. They end with a final verdict by the international and local jury.

 

The “Kolwezi Hearings” are the fourth stage of the investigations of the “Congo Tribunal”, following the “Bukavu Hearings” (2015), the “Berlin Hearings” (2015) and the “Zurich Hearings” (2020). In 2015, director Milo Rau had three exemplary cases tried by an independent jury for the first time in a symbolic theatre tribunal in eastern Congo, a region that is still considered a civil war zone and where massacres are regularly committed. He thus created a model for an international civil society tribunal on the mass crimes and economic crimes committed in the Congo.

 

The seemingly impossible was achieved: Participants from all camps gathered in the theatre hall and gave their testimonies as witnesses and experts. The success of these symbolic hearings was resounding because, for the first time in two decades, a public space was created where victims of displacement, dispossession, rape and murder, massacres and looting could voice their concerns and accusations and be heard by the government and a local and international audience. Nobel Prize winner Denis Mukwege called it a project “of inestimable value to our country.”


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  A broad action alliance demands justice for migrants and holds European and German politicians legally accountable.   More than 80 prominent figures from the arts, academia and politics have signed the “Cologne Declaration for a Politics of Justice and Humanity”, which appears in the TAZ, the Kölner Stadtanzeiger and on the site of the […]


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“For a politics of justice”: IIPM, LeaveNoOneBehind and 80 celebrities from the arts, science and politics address the new Bundestag with an Open Letter

 

A broad action alliance demands justice for migrants and holds European and German politicians legally accountable.

 

More than 80 prominent figures from the arts, academia and politics have signed the “Cologne Declaration for a Politics of Justice and Humanity”, which appears in the TAZ, the Kölner Stadtanzeiger and on the site of the co-producing theatre NTGent one day before the start of the Cologne “School of Resistance”. Among the signatories are Elfriede Jelinek, Carola Rackete, Igor Levit, Andrea Ypsilanti, Robert Menasse, Sasa Stanicic, Ulrike Guérot, Sibylle Berg, Harald Welzer, Hengameh Yaghoobifarah, Rahel Jaeggi, Wolfgang Kaleck and Jean Ziegler.

 

“For years, the public was made to believe that the thousands of deaths at the EU’s external borders and the millions of humiliations of illegalised refugees were a tragic event, a kind of natural disaster. But what is happening before our eyes are not just random human rights violations, they are planned crimes structurally embedded in European policies“, the statement reads. “We call on the newly elected German parliament to return to a policy of law and humanity and put an end to the system of dehumanisation, illegalisation and exploitation of refugees.

 

“The “Cologne Declaration” initiated by IIPM, LeaveNoOneBehind, SeaWatch, the European Centre for Constitutional and Human Rights ECCHR, NTGent and medico international is the starting point of the 16th “School of Resistance” on 24 and 25 September at Schauspiel Köln, where Navid Kerman, Mithu Sanyal, Yvan Sagnet and Omer Shatz, among others, are expected to attend. “We need a discourse on the limits and erosion of the current legal system, we need politicians and experts to work together to create the foundations for a system that is truly based on the idea of human rights for all and gives us the means to claim them,” the declaration continues.

 

The “Cologne Declaration” is linked to an extensive crowdfunding campaign: #waveoflegalaction The campaign calls all European and German politicians to account who are directly or indirectly guilty of human rights violations! When injustice becomes right, resistance becomes a duty!

 

Discuss & demonstrate in Cologne or sign our petition and support the work of our lawyers here.

 

The poster of the „Cologne Declaration“ you can download here.

 


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  Academy of Fine Arts Mosul, NTGent and UNESCO establish film school in Mosul   When it was announced last weekend that a film school would be opened in Mosul with the support of NTGent and UNESCO, the reactions in the media were euphoric. “The project offers an answer to the question of what Western […]


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“Of enormous importance”: Art University of Mosul establishes film school together with NTGent/Milo Rau and UNESCO

 

Academy of Fine Arts Mosul, NTGent and UNESCO establish film school in Mosul
 
When it was announced last weekend that a film school would be opened in Mosul with the support of NTGent and UNESCO, the reactions in the media were euphoric. “The project offers an answer to the question of what Western artists can do in precarious areas,” De Standaard in a detailed critical analysis, Broadway World and Arab News quoted the head of the Mosul Art School, Suleik Salem Al-Khabbaz: “This collaboration is of enormous importance to us. It’s a chance to tell the whole world about the real reality in the city of Mosul.”
 
Since 2016 (“Empire”), director Milo Rau and his team have been working with partners from the region; after the liberation of Mosul from the Islamic State, “Orestes in Mossul”, a first piece was created together with the Art University of Mosul, followed by an intensive structural exchange. After five years of preliminary work, a film school will now be established from October 2021. “Opening a film school in Mosul may seem extraordinary,” Rau told AFP, “but it is the logical continuation of a structural exchange.” After five years of artistic cooperation in solidarity, it now comes to the founding of an institute, just as much for male as female students – the first of its kind in the region. More information about the project can be found here.
 
Start of the season in two countries: “Grief & Beauty” in Ghent, “School of Resistance” in Cologne
 
Rau and his team are starting the 2021/22 season with two events that couldn’t be more different: In “Grief & Beauty” – premiering on Wednesday 22 September at NTGent – four actors accompany a woman who seeks assisted suicide. Their personal stories about farewell and rebirth, art and love, memory and forgetting frame a radical, tender and hyper-intimate production that pushes the limits of the bearable. “As always, Milo Rau transcends his subject, inspired by the representation of death,” says Libération in its announcement – there are still remaining tickets available!
 
“Maybe the upcoming federal election is for that: to swap the politics of hypocritical sensitivity for a politics of responsibility,” says Milo Rau in his column in the Berliner Zeitung. From this Friday (24.09.), two days before the elections, the 16th edition of the “School of Resistance” will start at Schauspiel Cologne. Under the title “For a Politics of Justice!”, you can expect a dense workshop programme, three hybrid panels, a solidarity rally, a concert and a joint fundraising campaign for a just and humane refugee policy. Among the guests are the writers Navid Kermani and Mithu Sanyal, the lawyers Wolfgang Kaleck, Céline Tshizena and Omer Shatz or the activists Mattea Weihe and Yvan Sagnet. You can find the whole programme here.


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“Grief & Beauty” in Ghent: Is death representable on stage?   While the “superb cast” (New York Times) of Milo Rau’s “dark secular mass” (The Guardian) “Family” is touring Europe and the film version is coming to the cinema, Rau and his team are currently rehearsing the second part of their “Trilogy of Private Life”: […]


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“Grief & Beauty” in Ghent: Is death representable on stage?

“Grief & Beauty” in Ghent: Is death representable on stage?

 

While the “superb cast” (New York Times) of Milo Rau’s “dark secular mass” (The Guardian) “Family” is touring Europe and the film version is coming to the cinema, Rau and his team are currently rehearsing the second part of their “Trilogy of Private Life”: In “Grief & Beauty” – premiering on 22 September at NTGent – four actors accompany a woman who seeks assisted suicide. Their personal stories about farewell and rebirth, art and love, memory and forgetting frame a radical and tender production that goes to the limits of what can be portrayed.
 
“Beauty is ultimately incommunicable, and grief – as anyone who has lost someone knows – is the loneliest work,” Milo Rau explains in an interview about the play. “In the ‘Trilogy of Private Life’ we use a maximum of concreteness against transience – a kind of dramaturgy of everyday existence.” You can read the full interview and more info about the play here. Tickets for the premiere on 22 September at NTGent and subsequent performances can still be reserved here.

 

“School of Resistance” at Schauspiel Köln : For a Politics of Justice!

 

With “Grief & Beauty”, a packed opening week starts at NTGent  – with new productions by Luanda Casella and Luk Perceval, talks and film screenings, as well as the already 17th “School of Resistance” episode since its foundation in 2020. On the occasion of the german federal elections, Milo Rau and the IIPM, LeaveNoOneBehind, the School of Political Hope and numerous other partners* from all over the world are organising a dense festival on 24 and 25 September at Schauspiel Köln under the title “For a Politics of Justice!”: a broad workshop programme, three hybrid panels, a rally, a concert and a joint fundraising campaign for a just and humane refugee policy. Among the guests are the writers Navid Kermani and Mithu Sanyal, the lawyers Wolfgang Kaleck, Céline Tshizena and Omer Shatz or the activists Mattea Weihe and Yvan Sagnet. You can find the whole programme here.

 

A monograph on the work of Milo Rau/IIPM

 

Still not enough? A monograph of academic, activist and artistic voices on the work of Milo Rau and the IIPM over the last 20 years has just been published by the American Yale University. For the first time in its 50-year existence, an issue of “Theatre”  was devoted entirely to a single artistic position, edited by Lily Climenhaga and Piet Defraeye. The issue focuses on Rau’s plays, films as well as his activist work, and features academic contributions as well as Rau’s collaborators from Brazil, Europe and Africa, including the Cameroonian activist Yvan Sagnet (“The New Gospel”), the indigenous activist and actress Kay Sara (“Antigone in the Amazon”) or the actress Ursina Lardi (“Everywoman”).


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  Two Milo Rau Retrospectives // “Queer Utopia” at School of Resistance   ‘Polemic LGBTQ+ spectacle comes to Poland,’ wrote Vogue last week about this year’s Malta Festival Poznań, which is dedicated to Milo Rau’s artistic work. In addition to many other plays and films by Rau, the festival programme includes Rau’s play La Reprise, […]


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Two Milo Rau retrospectives // Seasonal Presentation 21-22 // Angélica Liddell stages “Histoire(s) du Théâtre III”

 

Two Milo Rau Retrospectives // “Queer Utopia” at School of Resistance

 

Polemic LGBTQ+ spectacle comes to Poland,’ wrote Vogue last week about this year’s Malta Festival Poznań, which is dedicated to Milo Rau’s artistic work. In addition to many other plays and films by Rau, the festival programme includes Rau’s play La Reprise, the work that opened the ‘Histoire(s) du Théâtre’ series three years ago and that is based on a homophobic act of murder. On the occasion of the Rau retrospective in Poland, the 15th edition of School of Resistance’ dedicated to queer activism will also take place this Friday, guests are drag performer and activist Maciej Gosniowski and philosopher Helen Hester (“Xenofeminism”).

 
With that, the Malta Festival picks up where the Croatian film festival ZagrebDox left off just last week, with its own comprehensive retrospective of Rau’s film works. Thus, with two back-to-back retrospectives, summer 2021 is launched – the first season to materialise in 14 months, since the first wave of the coronavirus. You can view all of the tour locations of the plays, films and actions of Milo Rau and the artists associated with NTGent here. We look forward to your visit!

 

Season Presentation 21-22 // Castings for Rau’s new film “Massacre” started

 

What autumn holds in store for NTGent and IIPM, you will find out on 24 September at 8 p.m., live in Gent – or online at this link on the occasion of the hybrid season presentation. Artistic director Milo Rau takes you on a virtual trip through the programme for the months of September to December, which will showcase no fewer than five new productions and ten guest productions. Meet Angélica Liddell, Alain Platel, Luanda Casella, Miet Warlop, Lara Staal or Luk Perceval and learn more about their productions for the post-Covid season of NTGent.

 
But the start of the action comes even before summer gets into full swing. While initial casting sessions for Milo Rau’s new feature film Massacre are set to begin in a week, rehearsals have already started for his current play Grief and Beauty. Both projects celebrate theater and film as collective action: “Art consists in bringing bodies into a living, utopian practice context. You only grow and change in relation to and together with others,” says the director in an interview about his team’s working practice after Corona.

 

Angélica Liddell creates Chapter 3 of „Histoire(s) du Théâtre“ // “The New Gospel” at Festival d’Avignon & in the US

 

As was the case two years ago, however, the actual start of the season will take place at the Festival d’Avignon. Following in the footsteps of Congolese choreographer Faustin Linyekula in 2019, the radical Spanish performer Angélica Liddell has accepted Milo Rau’s invitation to write a chapter of the series Histoire(s) du Théâtre’ this year. In Liebestod. Histoire(s) du Théâtre III, Liddell lends the sacred origins of her theatre a voice and a body – and calls for a revolt against the theatre mainstream.

 

In two special performances in Avignon, Rau himself will present his film The New Gospel, which had its world premiere in Venice and won the Swiss Film Award, together with the activist Papa Latyr Faye (as Saint Peter). Liddell and Rau will also welcome you to an encounter in Au Coeur d’Avignon on 9 July at 11 a.m. Interested? Please reserve your seats at avignon@ntgent.be.
 
And a very special event will complete the summer kick-off on 9 and 10 July, as over 15 American theatres, universities and activist networks in New York, Los Angeles, Detroit, Utica, Dallas, San Antonio, Austin, Oakland and Boston join forces to present a two-day special US screening of Milo Rau’s film The New Gospel. The accompanying panel discussions on the subject ‘How artists seize power’ will include, among other participants, Toshi Reagon, Alec Duffy, Yvan Sagnet and Milo Rau himself. You will find all of the information on this event here.

 


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“Performance is our own form of protest” (Nora Amin) School of Resistance this Thursday, 20 May, 18:00 (CET)   In this 14th episode of the online debate series ‘School of Resistance’, American philosopher Susan Buck-Morss, Egyptian artist Nora Amin, and the women of the Chilean colectivo LASTESIS discuss the similarities and differences between uprisings around […]


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JOIN THE REVOLUTION

“Performance is our own form of protest” (Nora Amin)
School of Resistance this Thursday, 20 May, 18:00 (CET)

 

In this 14th episode of the online debate series ‘School of Resistance’, American philosopher Susan Buck-Morss, Egyptian artist Nora Amin, and the women of the Chilean colectivo LASTESIS discuss the similarities and differences between uprisings around the world.
 
The so-called Arab Spring a decade ago, the Chilean revolt of autumn 2019, the Black Lives Matter protests of summer 2020 : worldwide, people are claiming the streets and expressing their protest. But can these insurrections be compared? Where do these revolutionary situations meet and where do they differ? What can each movement learn from the other? And what can be the role of performance practices and art?
 
For the next School of Resistance, IIPM and NTGent bring together three of the most interesting positions in the actual feminist revolutionary discourse: the theoretician Susan Buck-Morss, the artist-activist Nora Amin and colectivo LASTESIS to discuss the possibilities and contradictions of revolutions of the present. How can we use artistic tools to create a common, global language of progress and change?
 
Join the livestream this Thursday 18:00 (CET) here

 

 

Why theatre? Why film?
An online project, a lecture performance by Édouard Louis & a new movie line

 

Why theatre? We have not only dedicated a Golden Book, but a whole online project to this question, bringing together already more than 120 answers from artists all over the world as podcasts, texts, paintings, talks and films. Also in their upcoming joint work, the lecture performance “The Interrogation”, the French writer Édouard Louis and the director Milo Rau explore this question, discussing the power, the beauty and violence of theatre in a direct yet playful way : “Truth is a revenge, because we live in a world of lies”, as Louis said in an interview with the British Guardian. The lecture performance will be accessible live and streamed simultaneously from 27 May on.
 
Why film? How can art be more than a reproduction of the world? During the lockdown, NTGent and IIPM (co)produced six films, each giving its own answer – in works by Lara Staal, Milo Rau, Luk Perceval, Daniel Demoustier, Oscar Van Rompay and Peter Seynaeve. In a programmatic conversation about the production of his film “The New Gospel” with the magazine Béton Bleu, Milo Rau says: “We began to link the distribution channels of our film to those of goods, in this case tomatoes. And then, all of a sudden, it’s no longer about a film and about image politics, it’s no longer just about fair production conditions, but about a whole alternative system.”

 

All films can be streamed online here or through your national distributors.

 


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Worldwide release of ‘THE NEW GOSPEL’ (Milo Rau) April 1 to 4, 2021: worldwide release (online) of ‘The New Gospel’, tickets (8 euros) at www.ntgent.be, subtitles in Dutch, French, Italian and English.   After the premiere at Venice Film Festival, the successful release in Germany, the upcoming release in Switzerland on the 1st of April, […]


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“The Future of Cinema”: Special international Release of “The New Gospel” 1-4 April

Worldwide release of ‘THE NEW GOSPEL’ (Milo Rau)

April 1 to 4, 2021: worldwide release (online) of ‘The New Gospel’, tickets (8 euros) at www.ntgent.be, subtitles in Dutch, French, Italian and English.

 

After the premiere at Venice Film Festival, the successful release in Germany, the upcoming release in Switzerland on the 1st of April, numerous nominations like the Swiss Film award for Documentary of the Year, IIPM is proud to announce the worldwide release of THE NEW GOSPEL.

 

TICKETS HERE

 

What would Jesus preach in the 21st century? Who would his apostles be? With ‘The New Gospel’, Milo Rau and his team return to the origins of the gospel.

 
The protagonist is the Cameroonian activist Yvan Sagnet, the first black Jesus in European film history. He himself works on a tomato farm in 2011 when he decides to revolt against the exploitation of rural workers in southern Italy. For the film, he revisits the largest refugee camp near Matera, the city in southern Italy where Pier Paolo Pasolini and Mel Gibson previously filmed the life of Jesus. Sagnet finds his apostles there, and together with them sets up the “Rivolta della Dignità”, the Revolt of Dignity.

 
Numerous refugees, activists and citizens of Matera, the 2019 European Capital of Culture, collaborated on “The New Gospel,” as did Marcello Fonte (European Film Award for Best Actor 2018), Enrique Irazoqui (Jesus in Pasolini’s “Il Vangelo secondo Matteo”), and Maia Morgenstern (Mary in Mel Gibson’s “The Passion of Christ”). Narrated by and with the songs of Vinicio Capossela.
 
“What makes me most happy about this film is that it has had a real effect,” says director Milo Rau. “As a result of our rebellion, around Matera the first houses have been founded where protagonists who were homeless now live in dignity. And all with the support of the Catholic Church!”

 

The Revolt of Dignity created an international ongoing political campaign and network supporting the initiatives involved in the film via a fundraising and marketing campaign promoting fair-trade products and a sustainable relationship to local activists.

One of these projects is the House of Dignity, which aims to enable autonomous working and living structures for around 30 migrant workers in Southern Italy, partially sponsored by GEA/Waldviertler. The products from the partner associations can be bought in supermarkets all over Europe now, another effect of the campaign. You can support the projects via: https://nocap.oeko-und-fair.de/ 
 
Join us for a special event on 4th of April at 22:00, CET, in a collaboration with the Segal Theatre Center, New York: an international panel discussion the US release of Rau’s film The New Gospel. With Milo Rau, Yvan Sagnet, moderated by Lily Climenhaga and Frank Hentschker.

 

Release in Switzerland “The New Gospel” – 1st of April – and last chance to see the film in Germany

 

“The New Gospel” will be released on 1 April in Switzerland. If the epidemiological situation allows, the film will be shown in Swiss cinemas; in any case, there will be a parallel digital cinema release on the official movie website. The Swiss cinemas will share in the streaming revenues. In Germany, the film will be available for streaming until 17th of April
https://dasneueevangelium-film.ch/
https://dasneueevangelium.de/


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School of Resistance @Akademie der Künste Berlin Livestreams from 24 to 28 Feb 2021   In search of strategies of resistance, Milo Rau, the IIPM and the NTGent founded a globally networked “School of Resistance” as a livestream debate series in May 2020. As a symbolic institution of the future, it has now come to […]


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“Uprising of the masses” – Retrospective at the Academy of the Arts & radical Mozart staging at the Geneva Grand Théâtre

School of Resistance @Akademie der Künste Berlin
Livestreams from 24 to 28 Feb 2021

 

In search of strategies of resistance, Milo Rau, the IIPM and the NTGent founded a globally networked “School of Resistance” as a livestream debate series in May 2020. As a symbolic institution of the future, it has now come to the Akademie der Künste, Berlin and, drawing on previous projects, examines aesthetic practices of resistance. Activists and artists discuss art as a transformative, reality-creating practice.

 

Six cinematic works by Milo Rau form the starting point for this investigation: The Last Days of the Ceausescus (2009/10), The Moscow Trials (2014), The General Assembly (2017), The Congo Tribunal (2017), Orestes in Mosul (2020) and The New Gospel (2020).

 

“There is no beauty without the dialectic of dispute,” Milo Rau said today in a major interview at the launch of the Berlin edition of the School of Resistance. What does engaged art achieve? How sustainable, how democratic, how revolutionary is it? Are the projects of the IIPM too extreme or not radical enough? What do they achieve locally and what globally? Do art and activism even go together? Participants debate with non-participants – what you always wanted to ask the actors and activists of IIPM from Iraq, southern Italy, Congo, Russia, Romania, Germany and many other countries. Join the discussion!

 

The link to the livestreams is available here.

 

“The uprising of the masses has finally reached the opera” – Rau stages Mozart

 

A shake-up went through the press last Friday when Milo Rau staged his first opera at Geneva’s Grand Théâtre, Mozart’s last work “La Clemenza di Tito.” “Milo Rau’s first opera staging at the Grand Théâtre de Genève rips your heart out”, summed up The Stage and awarded 5 stars. “Opera as it cannot be better sung and played…. The uprising of the masses has finally reached opera in Geneva,” wrote the Süddeutsche Zeitung. The NZZ: “The scandal director stages Mozart’s last opera “La clemenza di Tito” at the Grand Théâtre de Genève intellectually stimulating and political.” The Tribune de Genève even experienced a “deeply renewing and moving approach” and Toutelaculture, like many critics, saw “an ensemble enthralled by the radicality of the staging.”

 

However, there was also extreme rejection of this first, radical incursion by Milo Rau and his team into the lyric genre – as always with Rau’s productions. As enthusiastic as the FAZ, for example, was about the “magnificent, fervently glowing Anna Goryatsova as Sextus or the almost visionary preaching Bernard Richter as Titus,” it condemned the staging approach, which (for many other reviewers as well) was “too extreme” and made Mozart’s music “irrelevant.” “No clemency for thist last Mozart opera”, Le Monde summed up and ForumOpera even experienced “shock treatment” of “black and paradoxical beauty”.

 

See for yourself – a recording of the livestream of the opera can be found here.


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The new year starts with many pleasant announcements. Our film on the life of Jesus, “The New Gospel”, has been nominated for the Swiss Film Award, and the play “Family” has been chosen as one of the highlights of the past year in critics’ rankings in Holland, France and Italy, among others. Among the many […]


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Art & Activism: IIPM‘s & NTGent‘s ‘School of Resistance’ occupies the Akademie der Künste, Berlin

The new year starts with many pleasant announcements. Our film on the life of Jesus, “The New Gospel”, has been nominated for the Swiss Film Award, and the play “Family” has been chosen as one of the highlights of the past year in critics’ rankings in Holland, France and Italy, among others. Among the many lists released at the end of last year, two stand out especially: In a large survey conducted among fifty French-speaking critics and curators, Milo Rau/IIPM was voted second among the “most important theater artists of the 21st century”, and on the Sceneweb platform, IIPM’s hit production “La Reprise” even reached first place in an evaluation of the rankings of the past ten years. “It is probably not an inappropriate superlative to call Milo Rau the most innovative director in Europe,” wrote the Austrian press agency APA on the occasion of the online launch of “The New Gospel” in Austria in December.

 

For over a year, the Akademie der Künste in Berlin planned a major retrospective of the work of the Swiss author and director Milo Rau and IIPM’s nearly 15 years of work between and across art and activism. Due to the coronavirus pandemic, the exhibition will take place online: the global network “School of Resistance,” founded by the IIPM and the NTGent in May 2020, will come to the Akademie der Künste from February 24 to 28, 2021 as a series of films and discussions. The starting point will be the cinematic work of Milo Rau/IIPM: screenings of  films often accessible for the first time outside of cinemas will include: The Last Days of the Ceausescus (2009/10), The Moscow Trials (2014), The General Assembly (2017), The Congo Tribunal (2017), Orestes in Mosul (2020), and The New Gospel (2020).

 

In a series curated by Kasia Wojcik and Martin Valdés-Stauber and produced by Elisa Calosi, we will broadcast live from the Akademie der Künste for five days, taking a critical look back at past projects and composing an archive of artistic strategies of resistance in more than 15 debate formats with companions such as Susana AbdulMajid, Mohammad Al Attar, Inke Arns, Luca Casarini, Matthias Lilienthal, Florian Malzacher, Lorenzo Marsili, Surer Mohammed, Maia Morgenstern, Wajdi Mouawad, Rabih Mroué, Michail Ryklin, Miriam Saage-Maaß, Sylvia Sasse, Yvan Sagnet, Georg Seeßlen, Lara Staal, Kathrin Röggla, Juliane Rebentisch, Klaus Theweleit, Celine Tshizena, Andrei Ujică, Andres Veiel, Eyal Weizman, Harald Welzer, and Dorothee Wenner. 

 

In a live three-episode podcast, French author Édouard Louis, political philosopher Geoffroy de Lagasnerie and Milo Rau will write a new book together –  information on all formats, content and participants can be found here (press kit), the livestreams of all events here (AdK) or on the pages of our partners.

 

If you can’t wait until the end of February: already from the 12th to the 14th of February, the online conference “The Reconstruction of the World” will take place, organized by our longtime partner medico international in cooperation with the IIPM and many other partners – all information about the conference about the possibility of cosmopolitan solidarity here.

 

On February 19, just a few days later, Milo Rau and his artistic team will present their first opera: a radical re-reading of Mozart’s last opera “La Clemenza di Tito”, which will premiere online here and subsequently be shown among others at the Wiener Festwochen and at the Opera Ballet Vlaanderen.

 

THE  FILM AND DISCUSSION SERIES SCHOOL OF RESISTANCE IS A PROJECT OF IIPM, NTGENT AND AKADEMIE DER KÜNSTE, BERLIN IN COLLABORATION WITH MEDICO INTERNATIONAL, MERVE VERLAG, EUROPEAN ALTERNATIVES, ECCHR, SWISS ARTS COUNCIL PRO HELVETIA, ALLIANZ KULTURSTIFTUNG AND HOWLROUND THEATRE COMMONS FUNDED BY DIE KULTURSTIFTUNG DES BUNDES AND DIE BUNDESZENTRALE FÜR POLITISCHE BILDUNG CURATED BY MARTIN VALDÉS-STAUBER AND KASIA WOJCIK STAGE DESIGN: ANTON LUKAS TECHNICAL DIRECTOR: JENS BAUDISCH PRODUCTION: ELISA CALOSI, MASCHA EUCHNER-MARTINEZ, EVA-KAREN TITTMANN PRESS AND PUBLIC RELATIONS: YVEN AUGUSTIN, TOM DE CLERCQ DESIGN: NINA WOLTERS, THOMAS SCHOOFS THE MONTHLY DISCOURSE SERIES “SCHOOL OF RESISTANCE” IS CURATED BY: ELINE BANKEN AND KASIA WOJCIK


“Milo Rau’s most tender, accessible and optimistic work to date… a cinema of the future”, (Georg Seeßlen in epd Film), “a cinematic and humane masterpiece” (Jean Ziegler), “a milestone” (Amnesty International) is Milo Rau’s film “The New Gospel”: Now the modern passion play is starting on 17 December not only in German but also in […]


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THE NEW GOSPEL launches despite closed cinemas in Germany and Austria

“Milo Rau’s most tender, accessible and optimistic work to date… a cinema of the future”, (Georg Seeßlen in epd Film), “a cinematic and humane masterpiece” (Jean Ziegler), “a milestone” (Amnesty International) is Milo Rau’s film “The New Gospel”: Now the modern passion play is starting on 17 December not only in German but also in Austrian cinemas.

 

In order to make a contribution to the cultural and film landscape, the film distributor Port au Prince Pictures has decided to launch the film in Germany and Austria during the lockdown: as a digital cinema exploitation, a revolutionary new distribution strategy through which the cinemas will participate concretely and directly in the streaming revenues.

 

And this is how it works: at www.dasneueevangelium.de the viewer purchases his online cinema ticket and at the same time selects a cinema that he would like to share in the proceeds. This cinema then receives 30% of the price of a digital ticket. “The New Gospel” can be streamed 24 hours a day after payment and subsequent activation of the ticket ID.

 

In addition, a Q&A with director Milo Rau and the leading actor and political activist Yvan Sagnet is available as bonus material. We would also like to draw your attention to following Christmas campaign: Combine “The New Gospel” with ethically produced food!

 

Further information, actions and tickets can be found on the film’s homepage.