KRIEGSTHEATER – modelling wars of tomorrow

With the title KRIEGSTHEATER, Skogen and the Danish performance artist and curator Cecilie Ullerup Schmidt invite for a reflection of the role of art in relation to warfare. The festival will examine the (mis)use of creative strategies in contemporary warfare and invite for a discussion of the representation of war within performance art: is the representation of war a continuation of warfare with other means? The core focus of KRIEGSTHEATER is the artist’s ethical role: do we nourish, reproduce or undermine the means of violence, when we stage, perform and reflect upon war? The programme will include performances, lectures, screenings and a small exhibition.

The festival will run between 19th – 29th of November 2013.

Cecilie Ullerup-Schmidt D/DK) & Matthias Meppelink (D)
Eva Meyer-Keller (D)
Rabih Mroué (Leb)
Eyal Weizman (Isr)
Nathalie Alvarez (Can)
Edda Manga (Col/S)

In the period 15thof November – 1st of December 2013 Cecilie Ullerup Schmidt will be in residence at Skogen and examine computed warfare and subversive strategies of hacking.

The program is supported by Statens Kulturråd, Göteborgs Stad, Västra Götalandsregionen, KID/Konstnärsnämndens internationella dansresidens, Goethe Institut Schweden.


Cecilie Ullerup Schmidt performs, curates and writes in the field between cultural critique, philosophy and performance. She studied Comparative Literature and Modern Cultural Studies in Copenhagen and Applied Theatre Studies in Giessen. Since 2011 she is teaching at the BA in Dance, Context, Choreography at the Inter-University of Dance (HZT) in Berlin.

Often Cecilie Ullerup Schmidt is occupied with power, money and time. Her artistic work is at home in galleries, theatres and discursive seminars; format and production conditions change dependent on the specific performative investigation. She is collaborating with the performance artists Ana Berkenhoff, Matthias Meppelink, Ida-Elisabeth Larsen and Boris Nikitin and the collectives Monster Truck and deufert+plischke. With Lucie Tuma she holds the artist duo named Chuck Morris.



19 NOV, kl 19.00
Artist presentation of Cecilie Ullerup Schmidt followed by a gaming evening hosted by Arne Kjell Vikhagen. Venue: Skogen, Göteborg.

22 & 23 NOV
Cecilie Ullerup Schmidt: Schützen #1: READY, AIM. Venue: Weld, Stockholm

26 NOV, kl 19.00
Eva Meyer-Keller: Death is Certain + artist presentation. Venue: Skogen, Göteborg.

27 NOV
Seminar: ” Creativity and Authorship in Warfare”. Venue: Göteborgs Konsthall

13:00 – 13.30: Welcome by Skogen & Framing Statement by Cecilie Ullerup Schmidt
13:30 – 14:15: Lecture by Natalie Alvarez – Performance and its genealogies of War
14:15 – 14:45: Coffee
14:45 – 15:15: Von Menschen gemacht? by Eva Meyer-Keller.
15:30 – 16:45: Lecture by Eyal Weizman – A New Theory of Holes
16:45 – 17:15: Questions on first half moderated by Edda Manga
17.15 – 18:00: Vegetarian buffet
18:00 – 19.00: Rabih Mroué: “Pixelated Revolution”
19:30 – 21:30: Conversation with Eyal Weizman, Natalie Alvarez, Rabih Mroué, Cecilie Ullerup Schmidt, Eva Meyer-Keller, moderated by Edda Manga

28 NOV, kl 19.00
Cecilie Ullerup Schmidt: Schützen. Venue: Skogen, Göteborg.

29 NOV, kl 19.00
Cecilie Ullerup Schmidt: Schützen. Followed by good bye party. Venue: Skogen, Göteborg.


FOTO: Per Nilsson

Arne Kjell Vikhagen will discuss the aspect of progression in computer games and how it links to the binary relationship between life and death. Conflict and tension are central aspect of play as well as the metaphor of war, perhaps most often mediated through the stereotypical first person shooter games. How are artists that work with Game Art addressing this issue? Is there such a thing as peaceful Game Art? Is there a subversive force in the rigid rule-structures of games?

Arne Kjell Vikhagen is a PhD student in Digital Representation and The Valand Academy, Gothenburg University. His PhD project and art practice in general concerns the relationship between art and play. His first Game Art exhibition was in 2003, and he has been working with Game Art since then.  He is also a teacher and the Director of Studies at fine art, Valand Academy.



26 NOV, kl 19.00


Cherries have tender skin, meat and a kind of bone inside them. Their juice is red like blood. When you treat them like humans sometimes treat other humans, then they become human themselves or at least animate objects, which invite you to identify yourself with them.
Inspired by fairy tales, where sometimes objects come to life and so become a projection screen for your own experiences and fantasies. In the performance Death is Certain Eva Meyer-Keller has installed sweet cherries as her protagonists. The stalks are removed from the fruit, but they are not washed or stoned. Instead they are being killed. She takes care of this business manually, in a way which turns the everyday into something brutal.
The viewer is reminded of deaths from films, but also the reality of executions, how they really happen: associations from individual and collective experience in the face of sweet death at the kitchen table.


Production: Eva Meyer-Keller
With friendly support by: Vooruit Gent, Stuk Leuven
Thanks to: Alexandra Bachzetsis, Juan Dominguez, Mette Edwardsen, Cuqui Jerez, Martin Nachbar, Rico Repotente

Eva Meyer-Keller is working at the interface of performing and visual arts and has presented her work in the context of festivals, art galleries and theatres throughout Europe, America, Asia and Australia. Before she graduated from the School for New Dance Development (SNDO) in Amsterdam she studied photography and visual art in Berlin (HdK) and London (Central St. Martins and Kings College). She lives and works in Berlin, Germany. Eva Meyer-Keller’s work is versatile: she shows her performances internationally develops projects with other artists, performs for other choreographers and realizes video works. In addition to her own work she was involved in projects of Baktruppen, Jérôme Bel and Christine de Smedt / Les Ballets C de la B.


– A non-academic lecture


27 NOV, kl 18.00 (Göteborgs Konsthall – biljettalternativ här)


“Syrians are filming their own death”, that is how the Pixelated Revolution begins, aiming to study the various tips and directions on mobile phone documentation, as shared via the medium of Facebook and other virtual communication tools during the first year’s events of the Syrian revolution.
It begins from the point of how Syrians are recording their images “now and here” and reflects on the relationship of this act of photographic documentation with death, and how we perceive these video “now but there”…

Rabih Mroué, born 1967, lives and works in Beirut. Mroué is an actor, director, playwright, visual artist, and a contributing editor for The Drama Review (TDR) and the quarterly Kalamon. He is also a co-founder and a board member of the Beirut Art Center (BAC), Beirut. His complex and diverse practice, spanning different disciplines and formats in between theater, performance, and visual arts, has established Mroué as a key figure in a new generation of artistic voices in Lebanon. Employing both fiction and in-depth analysis as tools for engaging with his immediate reality, Mroué explores the responsibilities of the artist in communicating with an audience in given political and cultural contexts. His works deal with issues that have been swept under the rug in the current political climate of Lebanon, connected to the enduring marks left by the Lebanese Civil War as well as more recent political events.

He is a fellow at The International Research Center: “Interweaving Performance Cultures”/Freie Universität- Berlin, 2013/2014. His works include: Riding on a cloud (2013), 33 tours et quelques seconds (2012), The Pixelated revolution (2012), Photo-Romance (2009), The Inhabitants of images (2008), How Nancy Wished That Everything Was an April Fool’s Joke(2007); Make Me Stop Smoking (2006); Looking for a Missing Employee (2005); Look into the Light… (2004); Who’s Afraid of Representation? (2003), Biokhraphia (2002); Three Posters (2000) and others…

Language: English
Duration: around 60 min.
Translated to English by Ziad Nawfal

Co-produced by: Berlin Documentary Forum – HKW/ Berlin, dOCUMENTA 13, Kassel, The 2010 Spalding gray Award (Performing Space 122 in New York, The Andy Warhol museum in Pittsburg, On the Boards in Seattle and the Walker art Center in Minneapolis).

Rabih Mroué would like to thank: Lina Saneh, Tony Chakar, Sarmad Louis, Hito Steyerl, Elia Suleiman, Khalil joreige and Joana Hadjithomas, Walid Raad, Bilal Khbeiz, Yousef  Tohme, Paul Khodr, Christine Tohme, Manal Khader, Ziad Nawfal, Bernard Khoury, Stefan Tarnowski, Raseel hadjian and Jowe harfouche.
Also thanks to Ashkal Alwan, Beirut Art Center and Kalamon, Beirut.


A performance trilogy on bodies shaped by weapons


28 – 29 NOV, kl 19.00


Every morning before they start working, the US Nevada Control Station’s drone pilots meet for a yoga session. And before they return to their normal lives 
in the evenings, half an hour of collective meditation helps them let go of the ›battle mind‹ that they need for war. These are strategies designed to protect those involved in modern warfare — mentally if not physically — from overload. In READY, AIM, the first part of Cecilie Ullerup Schmidt’s long-term study Schützen, the Danish performance artist examines athletic and strategic aspects of physical preparation for use of weapons and combat. The second part of 
the trilogy, FIRE, focuses on the act of shooting and the delegation of killing. Choreographed by Ullerup Schmidt, teenagers aim at the audience, innocently flying small toy helicopters. Is institutionalized killing a private or public event? The last part, RELEASE, is based on interviews that Ullerup Schmidt carried out in summer 2012 with former soldiers from the Israeli army. Phantom memories are evoked of a life with a weapon as a kind of prosthesis.

The word ›Schützen‹ in German has an etymological double meaning. On one hand, it means someone who shoots, yet on the other, it means to shield, protect or prevent. Using the act of ›protection‹ and its gendered connotations as a starting point, in her first solo work Cecilie Ullerup Schmidt questions the effect on the body of handling a weapon.




Choreography, Performance – Cecilie Ullerup Schmidt

Music, Lights – Matthias Meppelink

With Dorit Tzoref-Ashkenazi, Roni Katz and others.

Artistic support – Milena Kipfmüller

Assistent – Naama Ityel

Drawings – Marie-Louise Andersson

Co-produced by Sophiensaele, Berliner Festspiele / Foreign Affairs und Tanztage Berlin

Supported by The Danish Arts Foundation, Danish Arts Council, Berliner Senat



What is the relationship between art, philosophy and warfare? Are artists and thinkers the co-producers of military strategies of tomorrow? Can criticality be protected and shaped against misuse? The one-day-seminar on “Creativity and Authorship in Warfare” at Kunsthalle Göteborg invites for thought on the employment of creative strategies and critical philosophy in contemporary warfare and presents performances dealing with the invention of catastrophes and documentation of violence.


13:00 – 13.30: Welcome by Skogen & Framing Statement by Cecilie Ullerup Schmidt
13:30 – 14:15: Lecture by Natalie Alvarez  – “Performance and Its Genealogies of War”
14:15 – 14:45: Coffee
14:45 – 15:15: Eva Meyer-Keller: “Von Menschen gemacht?”
15:30 – 16:45: Lecture by Eyal Weizman – “A New Theory of Holes”
16:45 – 17:15: Questions on first half moderated by Edda Manga
17.15 – 18:00: Vegetarian buffet
18:00 – 19.00: Rabih Mroué: “Pixelated Revolution”
19:30 – 21:30: Conversation moderated by Edda Manga

BOKA BILJETT: Hela programmet, kl 13.00 – 22.00 + fika och vegetarisk buffé. 200 kr
BOKA BILJETT: Kvällens program, kl 18.00 – 22.00. Ej Bufé. 150 kr
BOKA BILJETT: Dagens program, kl. 13.00 – 17.15 + fika. 50 kr

The seminar is curated by Cecilie Ullerup Schmidt and Skogen. It is presented in collaboration with Göteborgs Konsthall and Glänta with support from Västra Götalandsregionen and Goethe-Institut Schweden.

Note that this seminar will be located at Göteborgs Konsthall.



Det tyske ord Schützen har jeg importeret på grund af dets dobbeltbetydning. At beskytte som verbum. Flere mennesker der skyder som navneord.



Moren spørger hvad det egentlig handler om. Det handler om krig og kroppe, så langt er hun med. Det handler også om hvor meget tid vi bruger på krig, det har hun læst. Det handler om at bruge tid på at skildre en krig, der tager tid. Det handler om at distribuere tid på en fornuftig og sikker måde. Med egne ord: en struktureret periode til forberedelsen; få øjeblikke, der egentlig gælder; og lang, lang tid, resten af et liv, til at komme sig over de få øjeblikke, se tilbage ønske at glemme forsøge at erindre leve med det komme videre være på den anden side få tilbagefald og så fremdeles.



Et traume er, når en for voldsom hændelse sker for pludseligt og forløsningen ikke kan ske. Et traume er tab af _ _ _ _ _ _ _. Et traume umyndiggør. Det er uretfærdigt og meget normalt.


Titrering #1

Jeg har været til terapeut. SE-terapeut. Somatic Experience. Vi prøver kroppen af. Pendulering. Pendulering mellem før og efter, på vej mod da. Pendulering fra overbolle til underbolle og mens vi nærmer os kødet. Flytte bevidsthed fra hoved til fødder, fra højre skulder til venstre skulder. Afledning.



Dyr ryster chokket ud og kan flygte, løbe væk, spise græs.


Titrering #2

Fysik med fremdrift: vi flytter ud i skoven og skridter af til vi får børn. Herefter begynder det næste kapitel.



Alt er lagret.

Her kommer resten.



Vi er hjemme. Det er sikkert. Der er sikkert. Sikkert og vist. Jeg åbner min computer og lader kreativitet flyde ud over tastaturet. Der er langt fra min tippen til de koder, der kan åbne døre.

Koder kan brække ind, lukke ned, lække noget, slukke alt, slippe fri. Åbner du op og det lækker, bures du inde. Flipper du ud og det fungerer, køber de ind. Køber de ind, køber de dig. Sælger du kunst, er du en kunstner. Sælger du ud, er du forræder. Forræder du sælgere, er du kriminel.

Jeg lukker alle ind.