 Because if somebody could make an announcement for the people in the patio to come back inside, yes No, that's that's oh yeah, yeah, yeah, yeah, no she's right. Yeah, yeah, she's there Okay Donna, yeah, okay, super. Okay, so we're going to begin If everyone could please sit down just for a little bit we're gonna introduce the artists and curators that are Part of the visual art exhibition super. Thank you Thank you so much We're very pleased with We would like to thank all of the welcoming keynote speakers and also our partners for the first day It's been really wonderful and now we have the More what we had people speaking about the arts, but now we're going to actually have the experience of some of the arts So I just I'm going to say briefly an overview of This evening's program And if you have any questions you can come speak to us afterwards So we're gonna have for about half an hour the different artists who were able to come in person who have contributed to the visual art exhibition mostly downstairs as well as up here and the Architectural spaces outside that are part of that cow And then we have dinner which is at 730 And then we will have so after the artist speak excuse me We will open the exhibition at seven dinner will be at 730 Then we at 830 to 930 we have a walking tour connected with the history of this area and the train stations and the train lines and That will meet here at 830 and then around 930 out on the patio will be the spicy quinoa Which is a film program curated by Julie Saragossa, which is with a theme food diaspora So and we'll end the event will try to close the space around 11 o'clock this evening a quick note also for tomorrow that Unfortunately, our first speaker who was coming from Spain had to cancel us minute for a family emergency and so The Syrian art and heritage in danger will the panel discussion We discussed it starting about half an hour earlier So it has a bit more time since there's three speakers and a moderator. So we'll start tomorrow a bit more around like 1030 so that I'll run from 1030 to 12 so Just so you're aware for tomorrow and I would just like to also thank our amazing last-minute volunteers Christine and Andrea I don't know where they are and all the other people who have helped pull together hanging the exhibition basically in a day or two and It looks amazing. So it all looks really good, but it was very short notice. So Their work has made this possible. I just want to say that So Anastasia and Christine and Vosala will now introduce The the artists and curators. Thank you very much. Yeah, first of all, I have to Thank you for being here because art and heritage. It's supposed to have audience and without audience It's not art Can you hear me now? Okay, without audience art and heritage is not possible and our event won't be possible without you First of all, I Would like to introduce some speakers who are not here me and Christina musela Angelics Sanse San she's Armenian Serbian photographer, but she currently living in Beirut and Her project called Muharamat It's a rabbic word and we lost in translation it's in coherent logic and Hypocrisy one is punished for for glimpse of human body and Another is a word rewarding and in the destruction of heritage in the aim of God's world world Wasala we're gonna present about our zebranian artist and how we you will see it Downstairs soon Hello, I would like like to present as a virgin artist regular Esmeral and She's a word talented artists were a professional artist in the field of carpet She worked several years as industrial carpet enterprise Enterprise as a carpet viewer has got her education at as a virgin state art college also Carried it from as a vision our state university and she is now a member of Azerbaijan artists union and Capra viewing playing a great role in as a vision life and This is an international element of the culture of Azerbaijan people is a family tradition transfer to oral and thorough practices and Induces you will see some examples of Azerbaijan rugs from Esmeral regularly Okay, hello Yeah, another artist who cannot be here today. Unfortunately is Tamam Assam He was born in Damascus, but he lives and works in Dubai And but in his work he reflects a lot about the situation in Syria He works a lot with digital media, but also with street art and yeah, actually he mixes a lot of different medias and today in the exhibition we have photographs of his works from three different series one is called the Syrian Museum in other call is one another one is called the graffiti series and Finally the bon voyage series and so these examples you can actually see how he experienced Experiments with different kinds of media. I think Anastasia will continue. I would like to present me too He's from Bangladesh. He we we study together. He's from Brandenburg Technical University and his photographic is serious cult life of Sun Darb Sender buns. I'm sorry if I'm pronouncing it not correctly He won the first prize in German Embassy photo competition and his photos was used in several brochures and publications His work represents sustainable livelihoods and for million people. It's a shelter for from nature disasters and also it's a it provided a space for work and we know that community involvement in World on world heritage sites are important and this aspect is Discussable now I Think Christine and then we introduce our presenting speakers So yeah Unfortunately one more artist who can't be here and name me name me She's from Tehran and where she also studied She studied art with a major in sculpture and doing her last project at the University in in sculpture She actually started painting. So her project was Called the decay of plants and she started her first painting project About endangered species and called the serious dreams before extinction and from this series We can see see three photographs today in the exhibition So photographs of the paintings, but we hope to show the original works in the future and at innovative heritage. So so I just Quickly will name all the artists and can you show a hand if you are here or not? and also I will tell the Country and you can see the geography of our conference Rosanna Raymond. She's from New Zealand somewhere in UK. She's here Dennis Dennis ferries from Australia Oriental heritage without borders Yeah, it's our partner Sophie Irem one share, but I'm not sure that I didn't pronounce it right. She's from UK, Ireland and Germany. Yeah Midi Yahya from Nigeria me a dark coach Is he? Yeah? He's from Serbia and Germany and the colleague Refonk, it's a group of artists from Netherlands and Germany Are they here? Yeah Rosanna Raymond. Yeah, we are welcoming you here. So give us small speech about yourself and your work Greetings everybody Some obviously very privileged to be here. I didn't have to come that far from from England But I was quite lucky I lucked in where another conference actually helped secure my earfear over here So I've got to thank the Potsdam post-colonial justice People's I feel so so that that's been a good like him But I won't speak long because I've got a you can all hear all about it on Saturday But just ready to say um the work up here is actually just it was just actually my working journal that I put on the wall So it's but it's a real I'm really intrigued You know I encourage people to put their own comments on it like I was putting my own commentary on it And and I invited people who were actually brave enough to come visit me in my studio in the Dalam Museum Because it seems like they're not used to living things in the museums. So it was Even the visitors Sort of living thing to be like and and run off and the photos down and the the garments the Costuming down says was actually all part of an activation that I did of the space But as I said, I've very luxury so I've got a I can talk to you a lot more in depth about that in on tomorrow excellent so It's it's awesome to be invited here So thank the innovate heritage crew so so much and I hope we all enjoy much Conversation and good times with each other outside all the talks Rosanna and the welcome Dennis first from Australia. Hello The first of all it to thank everyone who's Organized this it's it's a massive amount of work to do something like this and they have to answer a massive amount of emails and Corral everyone in and all the rest of it and Wrangler everybody and so I Salute them and what a great job So my name is Denise Ferris and Amongst other things I make I make photographs and The two series that I'm showing downstairs just on screen. I haven't actually seen them set up yet, but they are One series is called Celestial Spaces and it's a body of work that I made in 2012 and I Exhibited in China in Pingya in Shaanxi province in China and that work concerns the Vacated spaces of The mining sites where Chinese laborers worked in Australia in the 1860s and So I made a I live actually in that region as it happens and So I'm showing that series Celestial Spaces and I will talk about that series tomorrow and Talk about What we're going to do as a project as a result of that series Tomorrow also in my paper so Celestial Spaces has been shown downstairs and it's been shown in its form of 14 images this time and The one thing you won't see is its scale So the work has been shown and they were one and a half 1.9 meters wide, but of course down there they're on a screen I guess I'm not sure how big they are down there So the second series that I'm showing down there used to be called walking on one day but my husband kept complaining what a lame name it was and Usually I don't take any of his advice, but this time it actually made more sense to call the whole thing kind of Absence spaces in visible lives because really that's where we're where I'm kind of out with the project So I also showed this body of work, which is many many images. I can't remember how many there are maybe a hundred and Sixty or something and they are a very very simple walk around the sites where I have photographed and the sites where the Archaeological Shared they're called that the archaeologists dug out of these living sites Not the working sites the living sites of the Chinese that I've used in my other series where they came from so they're literally that series of work on the other PowerPoint is a Is literally a walk across that land and so some of it's quite kind of unanimated and and quite jerky and it is really kind of a Yeah, I walk across an un an unknown An unknown and not understood an unrecognized Traverse of a land and a landscape and so that's what that series is That you can see downstairs So I won't I won't talk about that series except in very general terms in the paper tomorrow, but I Hope you enjoy looking at the images and of course I would welcome any feedback you have in terms of what they communicate to you and How you find this work in terms of it being uncontextualized For one of a better word fine art imagery because it has no text. It has no It it's not to illustrate anything it's put together to kind of Make a viewer really think about why someone would put that together in that way. Okay. Thank you Thank you, Dennis and now I will come Sefer from Oriental Heritage Without Borders and he will speak about Hello everyone, I'm Sefer. I'm representing Oriental Heritage Without Borders today and We are presenting urban collective memories. Urban collective memories is actually an ongoing photosan project initiated by by Oriental Heritage Without Borders association We wanted actually to demonstrate how far this Emotional connection between People and they built environment can go and how different and at the same time similar this These feelings among different urban environments are therefore we ask our contributors to Save these moments in their own cities by taking photos or recording sounds of of their own cities and and Are actually target cities to start with our New Delhi Istanbul Cairo Baruch and Tehran however, what What you're going to see here is just a tiny part of this bigger archive and that we are showing here and symbolically we we chose one picture of three four of three cities Tehran, Baruch and Cairo and and And they're a collage of each of these these cities that you're going to Here and I'll be enjoy it Thank you, Sefer, and now we are Waiting for Sophie Eremonga And she will speak about her collage Hi, my name is Sophie. I'm younger. I was born and educated in Ireland and moved to Berlin in 2008 In September of this year. I'm Moving to London to start my MA at Goldsmith I thought I should keep this as short as possible So I wrote a short paragraph on the aspects of heritage that are pertinent to my work Which you can see here. There's three pieces The large pieces of the back and these two here so What interests me is a pan species heritage what we share with all other animals it is a the most non divisive non nationalistic non patriotic thing I can think of and and It's nostalgia is an important element of my work. I Think that it's a dangerous thing To try to return situations to an imaginary kind of golden time At the same time it is impossible to know where one is without referencing where one has been Practically speaking Practically speaking I use acrylic collage print and print to subvert traditional pop art techniques I use repeated imagery to celebrate the animal instead of the machine My work is about the junctures between inhabited and uninhabited lands I create post apocalyptic future worlds Inhabited by the animals of the Pleistocene which was a time in the past about 30,000 years ago I Well, I guess that's it. I'm done. Thank you very much Thank You Sophie now you can yeah Now it will be Moody Yahya from Nigeria and he will speak about photographic essays Hello, good evening everyone. I would like to first time the organizers of I like to thank the organizers for inviting me It's very common for Sub-Saharan Africa to be excluded from conversations on contemporary art. My name is Moody Yahya I am a filmmaker Visual artist and photographer. I would present two bodies of work One called Conran Circus and the other called for current country For current country is a body of work that attempts to rewrite history post-colonial history and The actors in post-colonial history and how they forget and remember in terms of how they evolve within the archive the other body of work Conran Circus is a construction of historical reverie fantasy based on the works of Joseph Conrad and how he looked at Africa and it tries to talk about how the power of an individual and ideology affects society and politics and The process of decolonization. I hope you'd enjoy it and I look forward to feedback. Thank you It's one she just came and She's Yigan Azadeva from Azerbaijan and her work is mythological images Yeah, yes, I have two composition in exhibition in downstairs my composition of the Painting which Yes, thank you. Okay Sorry, I have two composition in the exhibition in downstairs my composition of the painting which consists of part is Is based on the traditional prevalent textile ornament right decorative limbs show different colors Yeah, at the left border, you can see her characteristic Inka square or ornament Each square has it is one special pattern one red yellow beige gamma interspersed interspersed with black leads elegant to the left size of the composition and contracts with the cold touch of the right size and Second second composition Name the conversation of laws man and woman sitting in the characteristic poses of media media medieval Miniatur her ores Enclosed in the frame of application fragments of them of a carpeted surface with various ornaments Gradually gradually Decreases in size as they move at that Constitutes something like Like like tower Sacred meaning background for this work as the cloud so that man and woman talk in the tall become the Sacred meaning of Have a heavenly life Thank you. Thank you again. And now it's me a dark coach from Serbia in Germany and You can see him work there Hello everybody my name is me other coach. I mean I'm an architect urban planner Occasionally artists when it's necessary and I would like to present Project Kiosk K67 which you probably saw already in front of the ZKU building In terms of heritage, this is that has been discussed here widely This Kiosk is One of the main design products of the Yugoslavian design from 60s It has not be still recognized as a as a heritage object, but has been Exhibited in Museum of Contemporary in MoMA in in New York as important achievement of the socialist modernist heritage So I'll be happy to discuss this topic by opening a Small exhibition that's currently inside and just to explain the role of it It has been moved every six months from different places. It's currently parasiting here in ZKU and works mostly with a border between community community art and This time one exhibition called objective dialogue is inside so I'll be happy to Open the Kiosk for the ones who would like to sit and enjoy the design achievements of 60s. Thank you think Can you hear me now? Thank you Mia Dark and now it's lost artists who present they work The group refund Hello, my name is young. I'm a member of the refund group. We are garbage architects We prefer to do then have long discussions So I will show you how to make a chair in 60 seconds from two old car tires Before I do that, I explain you our connection to heritage is a very very emotional one as we extend the life cycle of objects and materials All over the planet what people consider as garbage and don't want to use anymore So we have emotional connection to even the garbage and space which circles around the planet the garbage in the ground the garbage in the ocean and Everything for example that chairs you sit on might be garbage So for us the thing is to change the way people think and inspire them Thank you for your short introduction and small performance. I hope you were all intrigued and and Now we open those