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Naked performers take to Swiss city’s streets

Visitors to Biel/Bienne may be in for a surprise on August 21st-22nd as the Swiss city hosts the world’s first naked performance festival in the city’s streets.

Naked performers take to Swiss city’s streets
The festival will stage performances in public places around the city. Photo: W Winkler

The Body and Freedom festival, organized by Biel artist Thomas Zollinger, will see around 20 artists from all over the world stage naked performances in nine areas in Biel’s pedestrian zone, amid shoppers and passers-by.

Zollinger, who has staged one-off naked performances in Biel and other European cities for the past six years, told The Local that he wanted to break the taboo of the naked body in public.

“Every city today is interested in having festivals in public spaces – sculpture or performance or theatre – but in all work you see there, the naked body is like taboo.

“I want to make it normal to use the naked body in the public space for artistic reasons,” he said.

Zollinger, who is well known in the city after a 25-year career as an artist, admitted that the project is controversial and could be divisive.

“It’s a theme that affects everybody. Some like it, some have problems with it,” he told The Local.

“My experience is that most of passers-by find it ok, they are liberal and tolerant.”

“There are a lot of conservative people [in Switzerland],” he added, “but when you talk with Swiss people they are tolerant and they show openness.”

Local authorities, too, have been tolerant, allowing Zollinger to stage his festival and even part-funding the event – a change from his previous experiences staging naked art, such as a performance in Zagreb, which was interrupted by police.

“I had to fight for permission [in previous] years, but this year there’s really a good cooperation and I feel the support of the city,” he said.

Their main stipulation was that performances be limited to the city’s pedestrian streets, away from traffic.

“Authorities were afraid that there would be accidents and so on if drivers looked at the naked bodies!” he told The Local.

Naked Slow Walk

(Zollinger stages Naked Slow Walk in Zagreb. Photo: Tomislav Cuveljak)

Zollinger says he had no problem finding artists to take part in the festival.

“It’s like artists were waiting for an opportunity to perform naked in a public space.”

Among them, New York artist Miru Kim will sleep naked in a bed, a group of naked dancers will stage a Japanese dance, and Swiss artist Kaspar Bucher will invite members of the public to sit with him in a two-person naked sauna.

Zollinger is also calling for public participants to take part in a piece called Naked Audience, in which a group of naked people will stand on the pavement, looking at passers-by.

Many people have already signed up to participate, he told The Local.

“Most of them are men,” he said.

“Among the artists themselves there are half men, half women. In the case of women you have to motivate them [to participate]. But men volunteer themselves.”

British artist Glynis Ackermann, a long-time Swiss resident and frequent collaborator of Zollinger’s, will perform a piece called ‘Embracing Edges’, which aims to “soften the edges” of Biel’s architecture with the naked form, she told The Local.

“I think it’s very important to be able to see the naked body as a beautiful work of art, with what each one of us was born with,” she said.

Advance public information in the city will let people know about the festival “so they can avoid seeing a body if they want to,” she said.

“Biel is pretty used to this kind of thing because Thomas Zollinger has done quite a lot of naked projects here in Biel. And we have never had a bad experience whatsoever.”

“I think that if you have a certain level of presence then people are absolutely not going to think it’s going to be something weird or be afraid of approaching.

 “As far as children go, they love it. They don’t even think anything about it, it’s nothing special at all, it’s only if their parents make a fuss that they begin to start studying what could be wrong.”

Watch a previous naked performance staged by Zollinger here (warning: contains nudity).

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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