Videos

TABLE OF NEGOTIATION – Va-Bene Elikem Fiatsi & John Herman

25th August 2019
Collaborative Performance by
Va-Bene Elikem Fiatsi [crazinisT artisT] (Kumasi, Ghana)
John Herman (Cologne, Germany)
Documentation by Julia Gyemant
Cut & Editing: John Herman
Hosted by CHALE WOTE STREET ART FESTIVAL
Represented by Perforcraze International Artist residency (pIAR)

Va-Bene Elikem Fiatsi [crazinisT artisT] and John Herman’s collaboration explores the notion of imperfections, ‘sick-cursed bodies’ and bodies labeled as disable and taboos in relation to those patriarchal structures that seek to validate our being. The duo inserts their bodies in the vitruvian geometries as symbols of disruption, failure, contamination and incomplete beings struggling to survive, reaching seemingly structures that controls their narratives and those that idealised our collective sense of belonging and becoming. Both artists seemed enveloped in shame, rejections and inferiority while negotiating for their own placement within such elements and spaces that do not necessarily make provisions for their existence. crazinisT and John Herman investigate how imperfect bodies emerge in relation to idealised “man” to which our [being] is geometrically placed and defined by the [lacks] the refineries that reproduce masculinity, femininity, queerness and “weirdness” and potency.


BURNING WHITE TRASH MAN

By John Herman
22th August 2019, Ussher Fort, Accra-Ghana
Documented by Julia Gyemant and Va-Bene Elikem Fiatsi
Empowered by Perforcraze International Artist Residency (pIAR)

Ussher Fort is a colonial fort in Accra, Ghana. It was built by the Dutch in 1649. The fort previously served as a prison, until 1993. Dr. Kwame Nkrumah, Ghana’s first president and a fore figure in the struggle for independence, was imprisoned there during the colonial era.
Every year the fort opens the door to the annual Chale Wote Street Art Festival for exhibitions, installations and performances regards to the healing power of art.
“BURNING WHITE TRASH MAN” is an art intervention piece based on John Herman’s experience as an inmate (POW) in prison, where he got tortured and raped for 33 days because of his political-military activities alongside different revolutionary freedom movements in Africa, Europe and the Middle East. The performance explores the multiple ties between personal and collective trauma, perpetrators and victims, and the struggle with one’s own demons and the ghosts of the past.


ɔsaNTI – MEETING KUMASI

Art Performance by John Herman

9th August 2019 – Kumasi Ghana

Kumasi is the former capital of the Ashanti Empire, which persisted from the late 17th century until the middle of the 20th century and since 1957 has been part of a state union with Ghana under the name Ashanti Region.
John Herman tookes his first stay in Kumasi as an opportunity to interactively explore the public space there – a historical construct of social, economic and political processes – and its visual structure with a body-focussed performance. The personal attempt to understand urban space and its people inevitably leads to an examination of past and modern slavery, the consequences of colonialism and globalisation. The performance artist is not free in his actions but, like everyone, carries heavy responsibility for the direct and indirect consequences of historical construction. The performance ɔsaNTI (Because of War) symbolizes the very individual path of everyone to their personal Golgotha and the desire for salvation. | “ADEAKYEABIA ENUBUEKE (ANOTHER DAY HAS COME) by perforcraZe International Artist Residency – (pIAR), Kumasi/Ghana 


f a k e NEW(s) 2.0 or the Suicide of Western Culture

Art Performance by Hasan Hüseyin Deveci & John Herman

TIME FOR OUTRAGE FESTIVAL 2019, 04 th July 2019, Venue: K101 Bunker, Cologne-Germany

The term “fake news” has gained popularity since the election of U.S. President Donald Trump and Russia’s presumed meddling in the campaign. According to the German government, “troll armies” and “fake news” on social media are a threat to democracy. They are perceived as an external threat — an enemy from cyberspace.

It is often forgotten that opinion campaigns have always been part of the repertoire of political, economic and military conflicts. Social media are just another field, in which the dynamics of political suggestion and autosuggestion are particularly effective.

The art performance “fakeNEW(s) 2.0” may reflect this phenomenon in its name, but actually seeks to illuminate the actions of individuals in this context and encourage self-reflection on the desire to engage in gossip, slander and prejudice.

In this performance, visual artist Hasan Hüseyin Deveci and performance artist John Herman worked with materials including newspaper, paint, canvas and glue. The performance ended after 1 hour.


DIN A 13 TANZCOMPANY

techNOlimits

SITE-SPECIFIC PROJECT

www.din-a13.de

The shimmering transparent world of digital possibilities seduces our senses and takes us into glittering distance and dazzling dimensions. Our data are rapidly developing their own logical systems, which have long been beyond our imagination. Space and time expand into infinity and evaporate into illusions – elicit from us a pleasant inner smile and promise the fulfilment of all our desires and longings.

Microchips and implants are entering our organism in order to optimize the parameters for our health. Highly developed chip-controlled leg or myoelectric arm prostheses open up the as yet unimagined possibilities of “technical bodies”. The vision of a “normal ideal” is created – our small everyday cosmos mutates into a world with unlimited possibilities. A fiction becomes reality: the technologically improved human being – hybrid being – the creation of parahuman beings according to ideal norm.

Performers: John Herman, Damiaan Veens, Ashraf Albesh, Charlotte Virgile, Shiori Harms, Philine Herrlein | Artistic Director: Gerda König | Choreography: Gerda König, Gitta Roser | Dramatic Composition: Ilona Pászthy | Music: Frank Schulte // Scenery: miegL | Costume: Thomas Wien-Pegelow | Artistic Lightining Design: Gerd Weidig // Production Manager: Anastasia Olfert // Producer: Rolf Emmerich // Company Managment: Anika Bendel

 


T H E  A R T I S T  I S  A N  I N S T R U M E N T

WAR ON CANVAS

By Hasan Hüseyin Deveci & John Herman
24th May 2018, Cologne

***

Camera: Hayri Erdogan, Baris
Photo Documentary: Matthias Drobeck
Cut & Editing: John Herman
Assistants: Mete Tuncer, Rivan

***

http://www.hhdeveci.de
http://www.john-herman-art.online

***

About:

What connects artists and warriors? What do war and art have in common? How can inherently destructive processes be transformed into prosperity and construction through creative expression?
In a collaborative art performance, Hasan Hüseyin Deveci and John Herman intend to explore these questions and others in order to challenge the established boundaries between performance art and fine art. In this provocative piece, the studio artist (Hasan Hüseyin Deveci) and the performance artist (John Herman) search for a common ground between these creative practices, and in effect they bring to light the contractionary relationship between permanence and ephemerality in art.
The body of a war veteran becomes an instrument of art as John Herman gives himself to the hands of Hasan Hüseyin Deveci. Hasan Hüseyin Deveci then implements this body into his art work, creating new structures and expressing new potentials with this organic material. In the process, the two transform the soldier’s body—a tool of destruction and power—using an emergent constructive context. This interaction between organic material, movement, and colour intends to open a new space, where normally hidden processes of transformation are made visible, inspiring individual reflection on the complexity of processes of transition themselves.
The artists worked with materials like ripped canvas stripes, canvas, paper, card, acrylic paint and textile. The performance ended after 1 hour.


M A K I N‘  H I S T O R Y 2.0

31th Jan 2018, Cologne
by John Herman
documented by Matthias Drobeck

The performance ‚Makin’ History 2.0’ explored the multiple social-cultural ties between the single individual and history as a concept of social construction. While hopelessly pushing, pulling and lifting wooden cubes, I attempted to make the invisible circle of individual deeds visible and question its limited impact on the ‚surreal‘ perception of history as an act of social construction and its descructive patriarchal, sexist and capitalist backgrounds. I worked with materials like wooden cubes with a weight of 35 kilos each, oil, ashes and wore only a jockstrap. The performance ended after 2 hours.


„N E I N“ – NO means NO – Solmaz Vakilpour & John Herman

Camera: Herand Müller-Scholtes

Cut & Editing: John Herman

“We must say “no” to what, in our heart, we don’t want. We must say “no” to doing things out of obligation. We must say “no” to treating ourselves. We have to learn to say „no“ to all what’s treating life. Say „no“ and the world starts to change. Don’t scare, SAY „NO“. Another world is possible. ….

 


Bond[H2o]

crazinisT artisT [Vabene Elikem Fiatsi] & John Herman
CHALE WOTE Street Art Festival 2017
‘WATA MATA’
19th August 2017,
James Fort Prison,
Accra, Ghana
(Camera: Alissa Jordan; Photo credit: Regina Sebald)

***

This performance explores human vulnerability, death, life struggles, failures, the-will-to-survive and the aesthetics to human BONDS…
While searching hopelessly in the mud and bones for everything but nothing, we attempt to reexamine the human sense of incompleteness and otherness. We both struggle our way out onto the street after several hours of failures in the prison- mud, walking, falling, crawling and dragging ourselves to a distance of 700m where the performance ended lasting for about 3 hours sustaining bruises and cuts all over our bodies.

 


Bond[H2o] – CHALE WOTE Street Art Festival 2017

Bond[H2o]
crazinisT artisT [Vabene Elikem Fiatsi] & John Herman
CHALE WOTE Street Art Festival 2017
‘WATA MATA’
19th August 2017,
James Fort Prison,
Accra, Ghana
(Camera: Alissa Jordan; Photo credit: Regina Sebald)

***

This performance explores human vulnerability, death, life struggles, failures, the-will-to-survive and the aesthetics to human BONDS…
While searching hopelessly in the mud and bones for everything but nothing, we attempt to reexamine the human sense of incompleteness and otherness. We both struggle our way out onto the street after several hours of failures in the prison- mud, walking, falling, crawling and dragging ourselves to a distance of 700m where the performance ended lasting for about 3 hours sustaining bruises and cuts all over our bodies.

***

About

The human mammalian does not exist alone; a number of factors, circumstances, and constructs solidify our identity as human beings betwixt one another; society, tribes, family, relatives, customs and traditions, political economy, political powers, social constructs, gender roles, cultural and social beliefs, religions and climatic conditions. Variations in such practices, experiences, and conditions contribute to the huge diversity so evident in humanity, becoming a vivid [biomatrix] that is connected, contradictory, and ever-transforming. Yet in spite of this vast diversity in human life, there is a common string that ties together humans, mamalians, and other beings— [Water]. Ever since their beginnings, human mammals have sought freedom and justice, and yet since their beginning these passionate desires have collided with the invisible boundaries of society. In colliding with them, however, we make these once-hidden boundaries visible and we can act on them and overcome them.
“crazinisT artist”, Va-Bene Elikem Fiatsi (Kumasi, Ghana) and John Herman (Cologne, Germany) will put up a durational performance and living installation during the 7th edition of Chale Wote Art Festival, Wata Mata.
Our collaborative performance questions the borders, migrations, wars and deaths, the utopian spaces and lives, as well as the cultural repressions and class privileges that structure internal mobilities in other ways. It is an investigative commentary into how water — a veritable common denominator of our shared existence—binds social ecologies together in ways that nurture peacable interchange as well as provide deadly routes for unmaking lives through invasions, illegal mining, or pollution in economically less privileged communities.

 


Bond[H2o] – Pre-Performance – CHALE WOTE Street Art Festival 2017

„You are water. I’m water. We’re all water in different containers. That’s why it’s so easy to meet. Someday we’ll evaporate together.“ – Yoko Ono

Bond[H2o] 
crazinisT artisT [Vabene Elikem Fiatsi] & John Herman
Pre_Performance
CHALE WOTE Street Art Festival 2017
‘WATA MATA’
James Fort Prison, 
Accra, Ghana
(Camera: Alissa Jordan, Edit: John Herman)

 


WAR & PEACE – Solmaz Vakilpour and John Herman

A Performance Art Collaboration between Solmaz Vakilpour and John Herman by WARLESS DAY

War Child meets Ex-Soldier and War Veteran – A Story about Guilt and Forgiveness | Camera by Herand Müller-Scholtes | Cut & Editing by John Herman | „No problem is solved on the logical level in which it exists. When, on a meta level, we comprehend war or violence as one form of communication, the imagination transcends destructive interaction and empowers an integrative level of constructive dialogue intent on achieving reconciliation and concluding with honorable peace. Another World is possible.“

Comments are closed.