Ballhaus Ost is looking for a Skibidi Social Media Simp from May 1, 2025. The scope of the position is 5 hours per week on average.
We‘re manifesting a main character who will base our PR & communication team executing the tasks regarding our social media channels (atm mainly Instagram).

Your grind (aka tasks):

– Planning & editing our posting schedule in communication with the PR team
– Proofreading & double checking the visual materials from the graphic team & commenting corrections if needed
– Preparing the captions & text materials for our Instagram
– Organizing and scheduling collaboration posts with artists working at Ballhaus Ost
– Answering comments, tags and story replies
– Being prepared for preparing random memes from time to time if the schedule was empty or you felt like it
– Having interest in content-creation and short/long strategy development

In addition, you can participate in the general development and organization of the theater together with the rest of the team, e.g. with regard to developing our working and communication structures within the team and with artists and productions.

Your flex (aka skills and knowledge):

– Interest in contemporary theater forms, especially in the independent performing arts
– Good command of both German and English (spoken and written)
– Experience with tools like CapCut, Premiere, Canva, Photoshop, InDesign and Illustrator
– Self-organization, initiative and flexibility
– Communication and teamwork skills
– Appreciation and sensitivity in dealing with diversity

What you can expect with us:

– A creative, open and artsy working environment
– A small, passionate team committed to Ballhaus Ost and working in solidarity with each other
– An understanding of the compatibility of care work and career
– Flexible working hours and extensive options for home office / remote working
– Provision of all necessary work equipment
– A salary based on the wage agreement for the German federal state public service (TV-L) of around €620 per month

We want to reflect society’s diversity in our team and foster the co-working of people with different biographies, interests and perspectives. We therefore expressly invite people with experience of discrimination to apply.
We give preference to applications from people with severe disabilities or other restrictions if they have the same qualifications. We would be grateful for a small note in the application or at the e-mail address below.
Some parts of Ballhaus Ost can only be reached via stairs. However, we would like to find the best possible solution for the workplace according to individual needs. Please contact us so that we can discuss the possibilities together.

Please send your application including a CV, a brief letter of motivation and – if you’d like– your five most recently saved 5 TikTok or Insta posts/reels until 15.4.2025 by e- mail only to info@ballhausost.de.
Job interviews will take place until 25.4.2025.
Unfortunately, we cannot reimburse any costs incurred during the application process.

Please send your application including a CV, a brief letter of motivation and – if you’d like– your five most recently saved 5 TikTok or Insta posts/reels until 15.4.2025 by e- mail only to info@ballhausost.de.
Job interviews will take place until 25.4.2025.
Unfortunately, we cannot reimburse any costs incurred during the application process.

You can find more information about Ballhaus Ost and our program on our homepage at www.ballhausost.de.
Instagram: ballhausost

In a discourse program at the SYMPOSIUM, artistic-digital work by renowned artists such as Lundahl & Seitl and Paula Strunden will be presented in order to address current discourses and questions on art and digitality in addition to artistic-technical experiments.
 
Program:

11:00 Symposium (presentation and discussion)
14:00 Lunch break
15:30 Presentation of the VIRTUAL BLACKBOX
16:40 – meet & greet

As part of NO LIMITS – Disability & Performing Arts Festival 2024

The Geheime Dramaturgische Gesellschaft invites you to the table. Art and culture professionals from all areas are invited to find a place at the table and start a conversation over dinner.

We want to talk about inclusive art and inclusive work: How can collaborative artistic work succeed? At this table, we can exchange ideas about future projects, visions and wishes, but frustration and anger can also be shared and demands made.

The network meeting invites you to find allies, exchange ideas and, above all, network. We will provide culinary refreshments. Drinks are available at the bar.

Participation is free of charge. Please register by October 31, as places are limited. Registration under: cometogether@no-limits-festival.de

ACCESS
Accessible for people with limited mobility and visually impaired people. Low-stimulus retreat available.

Together with many artists and companions, we are celebrating a big party to say goodbye to Tina Pfurr. She was artistic director for 15 years and made the house what it is today with her heart, mind and perseverance. We would like to bid her farewell with a big party as she moves on to new shores and new challenges and wish her all the best for the future. We look forward to ampl:tude, DJ Duo Trainer&Trainer, DJ Baby and Pony, AdlerVibe, Linda Pöppel and many more.   from 19:30 Welcome and programfrom 22:00 Concerts and DJs   We would be delighted if you could join us! Admission is free. Registration is not necessary.

Wieder Lust auf Kultur? Dann kommt zum zweiten Studi & Azubi Ticketmarkt der Berliner Theater, Opern und Konzerthäuser im Podewil am Mittwoch, 10. April 2024 von 15 – 19 Uhr.

Care work is part of life. Nevertheless, it receives little appreciation in our society. In the feminist movement, dealing with care work has always played a crucial role. Queer feminism developed the expanded concept of care work, which includes caring for sick partners, friends and parents. For some years now, the discourse has also included the aspect of self-care, which is radical in the cultural sector, as artists have always tended towards self-exploitation.

The event will be streamed live on the Pro Quote Bühne YouTube channel and will be offered both live and online in German sign language.

Gathered under the title »Rising Beasts«, the final semester works of the UdK Berlin stage design class deal with the socio-political and aesthetic urgencies of our present day and create multimedia-based spatial productions. The conceptual starting point is the figure of the beast, which makes it possible to explore contemporary issues using artistic means. Hall »Chlorine« – Geoffrey LaRue »Disturbing Glory« – Ins Meyer »Synaptic Dream« – Maria Färber 17:30 »Confessions of the Dames« – Eve Beucher (30′) 19:30 »Denying the dragon« – Hyeonsu Jung (30′) »HOLD THE LINE« – Heejin Kwon Courtyard // Foyer // Toilet // 3rd Floor Jo LandtLarissa CholewaP. Luca WunderlichPau HoltkampYaoer ZengNaima OkoemuYubeen HaMadalena WallensteinDavid SinhaElena PeresvetovaMariano SukoppYeojin NaEunkyung JangThuy Duong NguyenJosepha Lhuillier-SionPaula Katrina KrömekeMartin GonschorekSarah HrstkovaSofia Loose Martinez de Castro http://buehnenbild-udk.xyz/Instagram: @audick_udk_buehnenbildklasse

April 2024 will mark the tenth anniversary of this meeting. The meals will therefore take place online in April on nine days at the original time – just ten years later. At the end, all the meals will be served one after the other on a weekend. You’ll be given a shopping list for each meal in advance – so that you can join us at the table for potato salad, König Pilsener, coffee, cake and crank cheese.
And now we ask: “Are you staying for dinner?”

»We Come With Nothing« (35′) explores the dark side of entanglement. Inspired by the form of Olga Tokarczuk’s ‘constellation novels’ and ghost stories, it conjures a shadow-world of broken connections. What happens when a relationship ends in estrangement? What is this ‘nothing’ we are left with? What do we discover when we stare into this black hole?

»Dogs of Love« (60′) investigates the intimate connection between two people. Starting with a real-life love story, two lovers run in opposite directions through time and space, through pasts and futures populated with real and imagined stories of Queer togetherness. Footsteps echo as we dive deep into togetherness, loneliness, crisis, and intimacy. Can we ever really leave someone we have been in love with?

On their route, the Amazons proclaim the New Time in three rituals. A time when we are more than human; empathic, transformative, new beings, monsters, the alien. This ceremonial procession shows the new visibility and self-evidence with which we are all ready for transformation. We are the future and we bring you the revolution.

As part of the online durational festival »It’s about time«.

We are in front of the image as in front of time, a past time that we observe, that we look at in the present. It seems close to us but it comes from far away, a time that has passed but not yet passed…… A memory in a way.
This image vibrates with questions. It looks at us, observes us too, questioning ourposition, at what moment did we look at it, why, in what context.The image is thus a temporal braiding where the past, the present which lasts,which lasts…. as if time had not passed

When the image appears, the story is „dismantled“ in all directions, deconstructed.It is a way of rethinking the relationship with our past by giving it, through our eyes,a future, a perspective of the future. A way of deconstructing stereotypes firmly fixed in the collective memory.

This project is about deliberately examining the past as an active moment that accompanies, of a mobile and light nature…
Indeed, the idea is to think of the past as an ally that moves forward and never stops transforming itself.
An archaeological work, to desecrate the historical legends, the perennial stereotypes, firmly anchored in the collective heritage.

Talking about discrimination, prejudice or racism means talking about time, but also about images: caricatures, objects, political or propaganda posters, advertising or leaflets, photographs or paintings… Many media have conveyed the representation of the „Other“ as a being stigmatised in his or her difference, be it ethnic, religious,cultural or sexual. They are part of a visual culture that has contributed for centuries to shaping truncated relationships, marked by psychological violence and even extermination.

Nowadays, even the art world seems to have convinced itself that it is not concerned with discrimination, and forgets that public museum collections are full of looted works. Worse, invisibilisation has a mirror effect: the overexposure, almost marketing, of a handful of artists considered „non-white“. A new politically correct exoticism has slowly been established. If one tries to address the issue, most of the time languages are tied up in theatres and art centres refer to the programming they dedicate to „diversity“.

Understanding what is not apparent

A few years ago, the Austrian artist Christian Eisenberger gave me an undated photograph that once belonged to the collections of the Museum für Völkerkunde in Vienna. This black and white image of black women doing their hair, with their breasts exposed, was not taken by just any photographer, but by Heinrich Harrer. Harrer, the mountaineer, the explorer, the hero, whose myth was brutally shattered one day in the spring of 1997, when a young Austrian journalist, Gerald Lehner,came to present him with the contents of a file that had been lying dormant for more than fifty years in the archives of the Third Reich kept in Washington. A pinkfile. „Harrer, Heinrich, born on 6 July 1912. SS, Section 38, Number 73896.“Harrer denied it, got carried away, until the reporter laid an SS application on the table. „Is this your handwriting?“ „Yes.“ We do not know where the photograph was taken. We can only speculate. Most probably during one of his many expeditions, such as the one during which he made the first ascent of the Carstensz pyramid in Western New Guinea, the highest point in Oceania, in 1962… Beyond appearances, what is at stake in this picture is the relationship between Nature and Culture. What probably moves Harrer here are these „wild“, naked, „pure“, „innocent“ beauties, indulging in an aesthetic ritual intended to make them even more beautiful, while in Europe the crises follow one another…

Hair is at the centre of the photograph. Far from the barbarity of the shearing of prisoners, camp inmates, women accused of „horizontal collaboration“ during the Second World War, here the hair is intended to reveal intimacy, seduction and, beyond that, an underlying sexuality.

The question of the off-screen obviously runs through this photograph. What about the off-screen when it comes to memory and transmission? Wouldn’t it be to the field what holes are to memory, gaps to history, unspoken words to speech?

Trying to understand what is not apparent, what is not there, in front of us, what is not presented and tangible, seems to me to be essential before we can imagine being able to project ourselves into the future.

We often hear that, in any case, „history is doomed to repeat itself“? This idea of repetition cancels out any possibility that history, historical events, will bring something new. History would be the continual repetition of the same, as in an eternal restart. One has the impression that history, since it does not bring anything new, somehow escapes man, who undergoes it but does not make it. It is as if history is autonomous and man is not an actor. If we affirm that history repeats itself, we obliterate in a way, we omit the question of freedom in history: man would not be „free“ to act and transform the world since everything would systematically return to the same thing. Yet is man not, by essence and because of his quality as an agent, free, unpredictable, at least partially? Is history not also the result of human actions?

History, rather than being a simple repetition, would then be in part a source of novelty, of surprise, of the unexpected.

Thinking about history?

„Only the present is, the before and after are not; but the concrete present is the result of the past and is full of the future. The true Present is, therefore, eternity“, said Heidegger in Being and Time (1927).

In front of each image, as in front of Heinrich Harrer’s photo, we must know how to reverse our position and ask ourselves how this image looks at us… How it thinks about us, how it touches us. The inversion of the positions between the viewer and the object being viewed allows us to enlarge the field of vision of history.

Fighting against invisibility, naming in order to make it exist, seem to me to be the indispensable conditions for appropriating our thoughts and our existence. Naming our present differently, characterising it differently, produces new points of view from which new questions and answers, new collective subjects asking these questions and affirming these answers can appear.

In »A deep quicky sweep« the idea would be to share selected images and to decipher the different layers of this hatred of the Other in a historical, cultural and thematic perspective. To understand the construction of this discourse over time is to participate in its deconstruction…

A striking visual history.

 Elisabeth Bakambamba Tambwe describes her artistic practice as “the art of encounter”. The encounter with the Other is at the heart of her research-creation problematic. Her quest for the Other is part of her sensitive and aesthetic field of knowledge. Her work also allows her to question the way in which art addresses the Other, or even co-produces a work with another. The encounter with the Stranger is at the centre of her practice. Or should we say her practices: Performances, shows or installations play with the multiplication of points of view (Golden Baby), the transformation of spaces (Carré Noir / Congo Na Chanel), the thwarting of stereotypes (La Philosophie Banane), questioning time (Hairy Guns) and bodies (Flesh / Anomalic / Abstraction).   For Elisabeth Bakambamba Tambwe, perception is one of the means of crossing spaces without summoning borders. A rule is imposed: do not contemplate but prefer to penetrate the image, question it and thus leave time for it to look at us in order to question the past time.

A T T E N T I O N : Unfortunately the event has to be cancelled due to illness!

Fermentation is the transformation of food by microorganisms such as bacteria, molds or yeasts. These microorganisms transform sugars into other substances. They turn white cabbage into sauerkraut, carrots and radishes into pickles, apple juice into vinegar and milk into yogurt. In an – only seemingly – chaotic process, something is transformed and made edible and durable. A magical process. In a cozy evening, vorschlag:hammer and a group of interested people will pickle sauerkraut and other vegetables together in a VHS atmosphere in the Ballhaus Ost. You’ll chop cabbage and vegetables, knead the cabbage, and put it in jars. Maybe there will be some input on sauerkraut. Maybe there are some inputs on lactobacteria or yeasts. Maybe there are inputs on messy processes. In any case, there is eating and drinking together.

And then it takes time. The evening seeps into the memories. The microorganisms do what they do. After six weeks, the time has come and the participants can open their jars. And perhaps the memory of the time spent together will be awakened: What has stuck? Which flavors resonate? Which phrases have taken on a new flavor? What now has a sour aftertaste?

No previous experience required, but welcome.

The Direction djs. To the entire festival program

46’, dt./engl. with dt./engl. ST 

Through the careful yet distanced observation of his autistic brother, visual artist and director Tobias Yves Zintel tells of the intrusion of the radically different and the non-semanticizable into the protective space of the family. Together with the psychiatrist and author Przemek Zybowski, he analyzes the spectrum that opens up between the poles of “healthy” and “sick”. In the biographical detail, the relationship of a “sick” brother to his family, the social figure of the autist becomes visible as an allegory for the proclamation of the unspeakable in the current public discourse.

To the entire Festival-program

40’, no spoken Language

The Movie is Layton Lachman and Samuel Hertz‘s contribution to rhythms, textures and ways of being-with, together. Even as apocalypses bloom around us, they dance non-stop and launch into a doom-metal concert, howling the approach to the end of the world — a collective grieving and celebration in the face of oncoming doom. They invite us to see, feel, and hear the slow changes of an ending world, and yet propose a non-fatalistic way of attending to each other with care, imagining alternatives to the end-of-days scenario.

To the entire Festival-program

37’, dt. with engl. ST

DE, 2021

The Film tells of a disease surrounded by the aura of mystery: epilepsy. Sacred, prophetic, sinful, unruly, possessed by demons. A primal human fear, materialized in a disease that threatens peace. It is this uncontrollable that our society seeks again and again to cope with by pushing it away or even disqualifying it as a way of life. In Fallsucht, Lara Scherpinski examines her body as an archive of family and cultural history, as a reservoir of myths and social debates about normality and otherness. She searches for the aesthetic representability of an inner state that oscillates between ecstasy and pain, between visibility and invisibility, and banishes her to a social isolation.

To the entire Festival-program

The theater collective Henrike Iglesias from Berlin creates and directs a theater performance about feminist and queer pornography and sexualities. Behind the scenes they face the challenges of collective work and the liberation of their own sexualities.

To the entire Festival-Program

100’ dt./ engl./ bulg. with engl. ST 

DE, 2021

An adult daughter searches for her deceased father, searches for stories – and the patriarchy in herself. She stages a dream-like journey with theater, music and film, during which strange and humorous, blurry and distressing moments ask for father traces in the daughter’s existence. In this game of forgetting, holding on and letting go, she encounters questions: about her own female socialized self, about origin, social class, ideas of achievement, beauty, love, sexuality and emotional education. What belongs to her, what to her father, what to both, what to time? And is she really alone?

To the entire Festival-program

73’, dt./pol. with dt./pol. ST

DE/PL, 2021

Six life stories of women in Poland and Germany that turned out differently than hoped: »Arbeiterinnen« tells the story of the experience of social decline related to the loss of work across three generations. For over a year werkgruppe2 conducted interviews with women from working-class families in the industrial regions of Lower Silesia and the Ruhr. The film is a touching and intimate portrait of women in Poland and Germany who are among the socially excluded and poses the urgent question of mutual solidarity.

To the entire Festival-program

50’, no Language/engl.

Using synthetic moss, zebra patterns, green screens and magic tricks, choreographer and performer Léonard Engel relentlessly attempts to leave his own body behind in a series of short films. Taking his cue from YouTube tutorials, animal documentaries or meditation videos, he twists, chops, multiplies limbs and images, oscillating between hidden creature, hunting figure and morphing monster. An alienation through visual tricks doomed to fail, exposing a body that reminds us of its material existence and its own mortality.

To the entire Festival-program

8’, dt./engl./malayalam/kannada/sanskrit/telugu with engl. ST 

CH, 2021

In »Keshava/Tharayil« Anjali and Sumitra Keshava and Ralph and Norwin Tharayil face each other as Indian-Swiss sibling couples. In the context of a fictitious dance lesson, the authors attempt to learn forms of the classical Indian dance art Bharatanatyam from the two dancers. By moving, twisting and bending their bodies, a critical dance conversation gradually emerges in which the Keshavas and the Tharayils explore questions of identity, belonging and cultural (re)presentation.

To the entire Festival-program

68’, dt. 

DE, 2021

Based on Petrarch’s account of his 14th-century mountain ascent, which has been called the “birth of alpinism,” as well as on the work of Brigitte Reimann, who decisively shaped the genre of arrival literature that had grown up in the GDR, Film invites us to examine the idea of climax, of caesura, of reorientation and new orientation. The unequal pair of writers inscribe themselves in a mountain story between Provençal nature and socialist everyday production, between beginning and end, arrival and farewell.

To the entire Festival-program

49’, engl./fr./port. with engl. ST

Six Black dancers with diverse biographical and dance backgrounds develop new ways of thinking, being and acting. They determine images and ideas they have of themselves and how they want to be seen by others. The film illuminates the world of thought and the process behind a dance performance by Grupo Oito: “Cleanse/Nu” is a political statement, a performative self-empowerment and cleansing. The title of the film, Orí, is Yoruba and means head – the head as the key to one’s own emancipation and as a connection to the spiritual world.

To the entire festival program

14’, dt.

DE, 2021

Actress Lola Mercedes Wittstamm is playing director Zeno Gries in front of the camera and presents the work that is in progress in that same moment. Through the roles of actress – director, whose power relationship constantly changes, the thematic focal points such as representation and identity, original versus adaptation become apparent. But since Lola‘s task as an actress is to be Zeno Gries, it also remains unclear whether she is not actually the director of this film.

To the entire festival program

As part of the online durational festival »It’s about time«. Club Real übernimmt die Zeitmessung von »It’s about time«. In welcher Einheit messen wir ein unendlich durational Performancefestival? Die Zeitlichkeit des digitalen Festivals bringen die Künstler:innen mit planetaren Arbeitszeiten der Industriegesellschaft zusammen: die Ewigkeitsaufgaben, die der Kohleabbau dem Ruhrgebiet aufgetragen hat, stehen der Flüchtigkeit des Theaters gegenüber und das Erdzeitalter wird mit dem Stundenlohn verrechnet. Club Real entwickelt seit 2000 partizipative, ortsspezifische Projekte. Installationen, Eins-zu-Eins-Begegnungen, politische Rollenspiele und partizipative Stadtentwicklungsprojekte laden die Besucher:innen dazu ein, alternative Realitätsentwürfe mitzugestalten.

As part of the online durational festival »It’s about time«. Adbusting gegen die Diskrimierung HIV-infizierter Menschen: In vier zehnstündigen Livestreams nimmt die Künstler:innengruppe GRUPO D3 CHOK3 uns mit zu ihren spektakulären Aktionen in Mexiko Stadt. Mit Propagandatechniken verändern sie die Inhalte von Werbeplakaten in ihrem Sinne und bringen ihre Botschaften in den öffentlichen Raum – und ins Netz. Akt 4: 01. Dezember 2021 Akt 3: 31. Oktober 2021 Akt 2: 3. Oktober 2021 Akt 1: 11. September 2021

As part of the online durational festival »It’s about time«. Sie ist wieder da! Zum Jahresabschluss findet Felizitas Stilleke zurück zu ihrer Auseinandersetzung rund um das Themenfeld Nicht-/Noch-nicht-/nicht-mehr-/Vielleicht-/Mutterschaft und ihrem freundschaftlichen Spiel mit der Auflösung binärer Normen und Rollenfragen dazu. Auf Einladung des Festivals »It’s about time« nimmt Felizitas sich selbige und vertieft ihr Ausloten performativer Räume für ein thematisches Fass ohne Boden. Denn so schnell ließen sich die Fragen rund um Mutterschaften nicht überschreiben, geschweige denn abschließen! Verstärkung naht! Eigens für das Festival reist ihre Freundin, genannt Smu, aus Bangalore an. Endlich verbringen sie Zeit IRL und teilen im Anschluss oder auch immer mal wieder mittendrin ihre Begegnung, die vor nunmehr 1,5 Jahren als wöchentlicher Zoomaustausch über Nicht-Mutterschaft eine Form und mit den Sister Misfortune Tarotkarten schließlich eine Stimme fand. Nach einer neuen Podcastsession, live aus dem Ballhaus Ost, lädt Smu als optimale Einstimmung für die nahenden Festtage und das kommende Jahr zu persönlichen 1:1 Tarotkartenlegungen der Sister Misfortune ins Ballhaus ein. Welche Göttin weist dir den Weg aus und in ein Leben ohne Mutterschaftsfragen und welche hört deine Ängste diesbezüglich? In (d)einer halbstündigen Session wird sie spürbar, die Sisterhood, die Felizitas und Smu verbindet. Daher bildet die Kraft dieser feministischen Storytelling-Praxis in Form des Tarots ihr großes Finale: als Video-Tutorials zum Selbermachen!   Link zum Podcast  

As part of the online durational festival »It’s about time«. Der Begriff Tufting (englisch to tuft – mit Büscheln verzieren) oder deutsch Tuften bezeichnet eine Technik zur Herstellung dreidimensionaler textiler Flächen. Es ist das weltweit am häufigsten eingesetzte Verfahren zur Herstellung von Teppichböden.Teppiche sind nicht nur warm an den Füßen, sie erzählen Geschichten, stecken Territorien ab, sind die Gärten des Wohnzimmers und mit manchen kann man sogar fliegen! In den Ländern des Nahen und Mittleren Ostens waren sie lange Zeit der wichtigste Besitz einer Familie. Es gibt Orientteppiche, die nicht größer als ein Papiertaschentuch sind und als Gastgeschenk mitgebracht werden, und Teppiche, die 1000 Quadratmeter groß sind und Paläste schmücken. Der größte, im Iran handgeknüpfte Teppich der Welt ist fast 6000 Quadratmeter groß und besteht aus 45 Tonnen Wolle und Baumwolle.Ein Teppich markiert einen Raum, trennt ihn von seiner Umgebung. Der Teppich macht das, was er umrahmt, zu etwas Einzigartigem und Exklusivem. Teppiche verkörpern mächtige Symbole in verschiedenen Kulturen und waren nicht nur in 1001 Nacht mit Magie verbunden. Barbara Lenartz wird für It’s about time einen (möglichst) unendlich langen Teppich tuften. Vom 25. bis 29. Januar kann der Tuftingprozess jeden Tag von 11 bis 18 Uhr im Stream live mitverfolgt werden.Am 30. Januar um 17.00 Uhr MEZ werden dann die entstandenen Pieces of Rug im Rahmen einer Online-Live-Auktion versteigert. Auf dem Instagram Channel instagram.com/endlessrug/ werden die Pieces tagesaktuell kuratiert und präsentiert. Schriftliche Gebote können dort bis zum 30.01.22 14:00 MEZ eingereicht werden und gelten dann als Startgebot.Der Erlös der Auktion geht zu 100% an die Berliner Kältehilfe.

Zu It’s About Time – Durational Online Festival