Marie Glassl - Curator - Dramaturg - Translator

Marie Glassl works as a dramaturg, translator and artistic producer. After her studies in literature and philosophy in Frankfurt and Venice, she works primarily at the interface between performative arts and discourse, amongst others with the Venice Biennale, Constanza Macras/Dorkypark and artists and festivals worldwide. She translates theory and literature from Italian and English, currently texts by Forensic Architecture, Allison Grimaldi Donahue and NourbeSe M. Philip. As a dramaturg and curator, she is particularly interested in the entanglements of aesthetics and language politics as well as Italian feminist tradition. She is editor and contributor for the multilingual and interdisciplinary magazine DIAPHANES.

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Conversation with Manos Tsangaris & Malte Ubenauf - 03.09 15h

I will be in conversation with musician Manos Tsangaris and dramaturg Malte Ubenauf on Sunday 03. September at 15h at Nachhaltigkeitsbude - a joint project of Manos Tsangaris and Akademie der Künste Berlin

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Artistic direction for upcoming project “On wasted Grounds”

I am very exited to announce that I will be artistic director for the upcoming interdisciplinary project “On wasted Grounds” together with Diaphanes.

Participants include artists from all disciplines, authors, sound artists and scientist and thinkers amongst which Stephen Barber, Ines Weizman and Matthew Ghandy!! More info soon.

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Die Geste / Il Gesto - Allison Grimaldi Donahue

Übersetzung aus dem Englischen und Italienischen - Marie Glassl

Magazin Diaphanes _11

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Marie Glassl, Sophie Lewis: Surrogate Abolition. Sophie Lewis in Conversation with Marie Glassl

“If you love your family, you want family abolition for them!”

Sophie Lewis and me in conversation about Surrogates, Motherers, Speculative Fiction and why we do need to hunt down our grannies in order to exchange capitalist property for revolutionary red plenty!

German Version here! Buy that magazine ;)

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Artist talk and book presentation with Koffi Kôkô and Johannes Odenthal at Festival Bolzano Danza on 22/07/2023

In the frame of the performance by Koffi Kôkô/ Manos Tsangaris/ Johannes Odenthal - The Third Body at Fondazione Nogare

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Vorher & Nachher - Ines & Eyal Weizman

Mit neuen Vorwort der Autor:innen, 10/2023 Diaphanes

Übersetzung aus dem Englischen Marie Glassl

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Magazine Diaphanes _ 11 Surrogacies out now Redaktion: Marie Glassl, Michael Heitz, Hednrik Rohlf

Myths and visions of motherhood and fathering, brings together artistic and theoretical positions on reproduction and communication, gender and genus, addressing and conception.

DIAPHANES 11 orbits around the “ambiguities of the maternal significate” (Kittler) and speculates about the idea of humanity as an “absolute family”(Novalis).

This issue explores practices of human and non-human substitution, plays with the myths and visions of motherhood and procreation, ­gathers artistic and theoretical positions on ­reproduction and communication, gender and genus, addressing and conception.

What claims the place of the nuclear family in the face of hybrid kinships and social freezing? What could new elective kinships be in times of chatbots and pseudonymisation? Is this the time for surrogate mother tongues and extra-human ­rhetorics of surrogation?

Sophie Lewis claims a gestational ­communism and hunts our grannies. Barbara Vinken ­reflects on spiritual motherhood, Luciana Parisi on ­human automata and gendered proxies. For ­Zuzana Cela, language is a foreign body that can be ­invaginated. Werner Hamacher strolls through mother museum, which is also a brothel. ­Arantzazu Saratxaga Arregi discovers the evolutionary  disobedience of the girl and Thierry de Duve a completely different pleasure with Joseph. Rudi Nuss tells of the new love for ­pregnant men, Allison Grimaldi Donahue of bad kinship in the house of language, M. NourbeSe Philip of a foreign fear. Leda Bourgogne, Lucile Boiron, Lena Kunz and Emma Waltraud Howes occupy the place of these attributions with their images.

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On Giulia Niccolai

Inwiefern ist Sprache Signifikation der Wirklichkeit? Dient das Wort ausschließlich als graphisches Surrogat eines kognitiven Signifié und ist eine Übersetzung des einen ins andere möglich oder zeigt sich in ihrem Abstand gerade der rein willkürliche Charakter jeder Sprache? Bilden Sprachfiguren eine »Rede« außerhalb sozialer Gepflogenheiten und können so eine neuartige sprachliche Logik außerhalb des Sprachcodes evozieren?

Ausgehend von diesen Fragen seziert Giulia Niccolai in ihren »visuellen Poesien« spielerisch Sinn und Sinnlichkeit der Sprache, wobei Humpty Dumpty als fröhliche Travestie auf Lewis Carrolls Alice im Wunderland eine visuell-verbale Logik des Unsinns, einen Aufbruch der lexikalen wie lexikalischen Bedeutung des Wortes betreibt. In einer Bewegung, die die Sprachtheorie Saussures künstlerisch aufgreift, zeigt Niccolai, wie das Spiel (mit) der Sprache erst Bedeutung erschafft.

Sie befragt die Beziehung zwischen Wort und Bild, Ästhetik und Technologie, Kunst und Kommunikation; zwischen phonischem oder ikonischem Potenzial des Signifikanten. In der Visualisierung von Bedeutung und der »Suche nach dem Wort jenseits des Wortes« überträgt sich die poetische Botschaft des grafischen Zeichens –zugleich aber eröffnet die Typographie eine Konkretheit, Materialität und Körperlichkeit: das dem Wortzeichen innewohnende visuelle Potenzial.

Zwischen Poesie und graphischer Collage erlaubt Humpty Dumpty in der Glossolalie, der Verwirrung der Sprachen, gerade ein Verständnis in der Sprach-Störung: ein Babel, das nicht trennt, sondern verbindet und zu einem gemeinsamen Zungen-Spiel jenseits rationaler Grenzen einlädt.

Magazin Diaphanes _11

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Interview with Emma Waltraud Howes for Magazine Diaphanes_11.

How can you differentiate between lies and truth? Empathy for all those mythologies.

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Kunstfestspiele Herrenhausen 2023

Huge pleasure to work as artistic production manager with

Justine Emard - Supraorganism

Toshiki Okada/chelfitsch - Metamorphosis of a Livingroom

Helgard Haug/Rimini Protokoll - All Right, Good Night

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I had the pleasure to interview our dancers and artistic directors Chiara de Nobili and Alexander Miller for this documentary and Making-Of of Don’t you Dare! by Miller de Nobili. Enjoy their answers!

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Meinem einzigen Behren von Yannick Haenel, 2023 Diaphanes

Übersetzt ins Deutsche von Luzia Gast, Lektorat Marie Glassl

Hier zu kaufen

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Marie Glassl on BBB - A hyper Glitch-Opera

On the first gaze the works of Emma Waltraud Howes seem incongruously out of time. One enters another world: meets mushrooms and corals, glass artichoke-hand grenades, the cross-section of which recurs in her graphic scores - cartographies that in turn provide the basis for her choreographic works. Drawings of allegorical sparrow figures are transformed into hand-painted costumes reminiscent of parachute-silk Arcimboldos during the process.

We meet them, the three figures on their score - drawn from an artichoke’s heart, it shows the constant blossoming and unblossoming, a black and white rite of spring between the openness towards the Other and a withdrawal to the internal. But the score also notates the rules of the match: It’s the social game, the theatre of Society, and what is at stake here is the question of subjectivity. Is the graphic code a playing field or a prison? Are the players the masterly subjects of the game or subjected to its rules? The scorekeepers on their side benches there to serve their game or rather to keep them in check; sarcastic guardians of a much deeper knowledge that the chorus of glass artichokes whispers into their ears, always ready to become the hand grenade of a society in its death throes.

 Battle, Narcissist, Cornucopia, cadavres exquises, waiting for a new dawn; a threesome that is neither one nor separated – the triangular conversation that runs through the history of our civilisation: the family; the ego, id and superego; the three-folded-goddess.

Inhale. A deep breath, get ready for the test: Inflation. A celebration of the attempt. Receptive Withdrawal. Engaging in a Sisyphean task: the hybris of immortality, the compulsion to repeat – but also the repetitive inhalation–exhalation of archaic trance practices and breath control. The scorekeepers keep score and everything in its place.

The performers move between soft headbanging, classical gestures of rhetoric and mannerisms of contemporary etiquette, performing the ritual of the Baroque Court Social, increasingly drunk on their own incapacity to connect, while everything starts to glitch and glitter and glide. Incrementally drunk, incrementally optimistic.

A barnacle-crowned whale measures time, a baroque soprano singer growls. A surreal world appears where social norm turns abstract and erroneous overlaps of the imaginary and the real, human and object blur in glitches, unintentional slips. Error becomes a "passage" to the construction of a utopian world. The Metronome Timekeeper keeps time in that he preserves it. Time is out of joint between history, future and speculative mythologies. Aria Monumental invites us to a glitch opera to reveal alternative ways of seeing. Glittering gold, Tilt, celebration of the weird, the eerie, the illogical. Until she has to give up, confronted with the materiality of crisis, a crumbling but forced representation. Growlingly wandering off to other courts.

A deep sigh; of relief or despair? Exhale, Deflation. Back to work. Until we glitch again, with a cocktail chalice in hand.

Text/dramaturgy for Bang Bang Baroque by Emma Waltraud Howes

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Poesie Visive - performance & lecture series on feminist Italian art

Research project on the interconnection between feminist Italian thought and visual arts in the 70s, translation of texts and works, re-actualization of their goals in performance art today.

Funded through Dis-Tanzen and Neustart Kultur.

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Don't you Dare! - Miller de Nobili, 11/2022

at Hellerau – European Centre for the Arts

Choreography: Maria Chiara de’ Nobili & Alexander Miller in collaboration with the dancers Giulia Russo, Jana Dünner, Philip Lehmann, Nam Tran Xuan, Alessandro Ottaviani, Sem Deliveyne, Yuexuan Gui Dramaturgy: Marie Glassl Light Design: Geohwan Ju Scenography: Antonia Krull Costume Design: Antonia Krull Music: Gábor Halász

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Im Theater wird nicht gepfiffen!

Miller de Nobili mit „Don’t you dare!“ im Festspielhaus Hellerau

"Aberglaube ist eine merkwürdige Sache und kann eine Achterbahnfahrt der Gefühle auslösen. Zum Genuss wird sie, wenn eine sichere Dramaturgie da hindurch hilft."

Kritik von Rico Stehfest zu Don't you Dare!

Miller de Nobili Dont you dare Hellerau

Aberglaube ist eine merkwürdige Sache und kann eine Achterbahnfahrt der Gefühle auslösen. Zum Genuss wird sie, wenn eine sichere Dramaturgie

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Bang Bang Baroque Film

by Emma Waltraud Howes - Production 2022/2023 - Premiere at Joliette Museum of Art, CA

Concept and Direction Emma Waltraud Howes Production Manager & Assistant Director Marie Glassl

Aria Monumental Kinga Ötvös Metronome Timekeeper Jao Moon Scorekeepers Joni Barnard & Annalise Van Even Battle Eli Cohen Cornucopia Chia-Ying Chiang & Sonya Levin Narcissist Przemek Kamiński

DOP Kleber Nacimento