The intendant of the Ruhrtriennale, Stefanie Carp, is controversial. Before the Start of the arts festival of your Person is more in focus than the program. This Carp is the burn currently under the nails.
The dramaturg Stefanie Carp has competed in this year as the successor of Johan Simons, the artistic Director of the Ruhrtriennale. The Ruhr triennial is one of the major art festivals in Europe and is distinguished by the fact that the large industrial buildings of the mining region are used as performance venues. However, already in the run-up to the opening at 9. August is overshadowed by the Festival of anti-Semitism debate. Carp had been invited by the Scottish Band “Young Fathers”. It is accused of supporting the against Israel Boycott movement, BDS (“Boycott, Divestment, Sanctions”). Then they invited the Band and later, after discussions again. In the case of politicians and the Jewish state associations in North Rhine-Westphalia, which was met with massive criticism. Stefanie Carp would like to. to this subject again in a panel discussion “freedom of the arts” on may 18 August Express in the framework of the Ruhrtriennale. Deutsche Welle has explained, which is the guiding principle that runs through the program.
DW: Mrs Carp, you have overwritten the program of the Ruhrtriennale with a “between time”. What does this term?
Stefanie Carp: It is the small period of time that remains for us still to turn to a couple of set screws, as we all want to live as an international community of people at all. I Feel that it is economically, ecologically and social just before twelve. There is social exclusion problems and there is great readiness for violence in some places.
This in-between time is also a Chance. In the art, an in-between time is a time that you can imagine. So we would have had to make a design of another life, to make a change in the direction of civilization, and the Whole self in the Hand, that is the idea.
What social issue do you see for this “in between time” in the foreground?
I would say that the people fleeing are a sign. You escape from economic Hardship and Wars, and want to have their rightful share. The Europeans from the rich countries of Europe to share learning. You need to give something to the countries, which they have done wrong to and by which we relate today to our prosperity.
It is noticeable that you have a lot of invited non-European artists. This is the reason?
Yes, I find that the post came from the colonial issue in Germany. And, if you selected every three years, a new intendant of the Ruhr triennial, then you can expect that this Director is doing something New, and this topic I want to add to that, the Ruhr Triennale.
The project “Third Space” in front of the Jahrhunderthalle in Bochum
What was important to you when selecting the artists?
I’ve made seven years in the drama programme of the Vienna festival weeks, which is a very international Festival. There are artists like Mariano Pensotti, I noticed in the course of my work. He is the author, film Director and theatre-maker, and tells wonderful stories. Mariano Pensotti has a beautiful view on people. In him I have believed – and that is the second thought in this Triennale – that he can play a big hall. You can see in the Ruhr area industrial halls and must consider what artists can deal with these spaces.
In front of the Jahrhunderthalle in Bochum, a site of the Central game, have been established, large parts of the aircraft. A tangible example of how you can implement it as an artist, your idea of “in between time”?
I asked the artist of the Berlin group of the “space laboratory” if you have an idea for a festival center on that forecourt, and you have “Third Space” in my thoughts. The plane parts can be used as a metaphor of this changing society is variously interpreted. A plane that just crashed or something that is just built, stand of the various parts. It also has something Improvised and will look different every year. It parts will come or otherwise. It is not like all good art, clearly.
But the idea that the artist had with this plane, also has to do with the glass stem of-the-century hall, which looks a bit like a departure lounge from the 70s.
The Ruhr area is characterised by mining and has a high proportion of the population with a migration background. Her predecessor, Johan Simons has been trying to also spot the different cultures and social classes to engage with relevant organisations to work together. How does it look for you?
In order to reach new audiences, we have done various, for example, contact to the Bochum magazine Escaped”, New in Germany. I also present the programme of the Ruhrtriennale, on request, in a small group and we have organized a “Speed-Talking”, in the case of the fleeing people and people from the Region come together.
Dortmund North city: A Problem area with high crime and unemployment
Also with the project of Schorsch Kamerun in the Dortmunder North city, we also hope to new audiences. It’s a city project with the local residents, for a new Club is founded, the “Club coal exit”. We are curious whether there really is a new audience coming, or whether it is the Ruhrtriennale is an audience that is curious. I think this audience is so beautiful and remarkable that people are curious.
Three years of the Ruhrtriennale in front of you, there is the approach of a trilogy on the theme of “between time”?
“Between time” will remain every Time the topic in different forms. It will likely go next year even stronger to processes of democracies and 2020 a focus on the work and change of work.
What are your wishes for the time after the “between time” in terms of the Ruhrtriennale?
I would hope an international human society, of exchange, of social justice – what would prevent violence and wars and access to education for all.
For the audience of the Ruhr Triennale, I hope that people will make new and stimulating experiences and to talk to each other. The art can problematize and contribute to more openness. Through art, we can be attentive, that we have in our life, other desires and needs than we are led to believe about the consumer world. Art can bring out sides of us to the Sound we know.
The Interview was conducted by Gaby Reucher