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Ding Dong Dom, Holzmarkt 25, Berlin 10243 Friday Mai 2nd - Friday Mai 30th. Open daily from 11 a.m. (closing time depending on day schedule)

HUB Rules
[based on the CCI Manifesto (produced during MPA-B2013 at Archive Kabinett) written out in full by the participants under the general acknowledgement that "there are no rules"].
The Hub hosts a wide range of artistic activities presented by the Co-labourers based on the concept of hospitality. The space is staffed and equipped to be able to take advantage of the unpredictable and exhilarating intersection of artists, witnesses, Co-labourers and attendees. The single space venue called Ding Dong Dom, designed by Showcase Beat Le Mot with the architects Kbberling/Kaltwasser houses this experimental set up for contemporary performance art that materialises the first draft for a future house of performance art // Haus der Performancekunst in Berlin. This "becomming" institution is conceived as a new type of gathering space, one that provides its participants with an intimate and informal environment conducive to empowerment, learning and publicness. The HUB is a structure that is open to visitors. The invitations to the visitors that may come to the HUB is made on the same grounds as the invitations made to the initial group of co-labourers. The HUB does not invite audience as an event, all invitations are personal and the emphasis of their purpose is on collaboration and mutual influence rather then on presentation and display. There can be n o centralised mechanism of invitation, the responsibilities of hospitality and engagement are individual and not institutional. Being a visitor at the HUB can be a gradual process of "sticking around". The individual invitation establishes a non-hierarchical mode of hospitality to every new visitor. Any visitor can become a tourist, a frequent visitor, a collaborator, a critic, a co-labourer himself, even if his/her choice of involvement is that of a spectator. (Gast-nehmen) Each day the program will be drawn up over breakfast such as workshops; a durational writing performance (editing this set of rules); central guest of the week; daily presentation of recordings (with Gin&Tonic and biscuits); performative podcasts with guests, attendees and contributors; lectures; a series of debates (performance dialogues and reading group sessions); public talks and try-outs with artists and curators about what they will do and/or have done during MPA-B2014. A place to watch videos, library presentations, etc... . . The opening day of the HUB on May 2nd will feature a small exhibition, mapping all the various performance events happening around the city during MPA-B2014. The Mapping will be made visual through the use of small objects that forcast the actual performaces and connect the dispersed venues throughout the city. The event will be repeated on the closing day of the HUB on May 30th with the remainders, transformations and relics.

1. Perform "Performance is a tool that uses me." The HUB is a work of art a variation on the form of the performative. It is a spatial strategy that asks the participants to occupy the space together for one month and build structures suitable to their work and collective requirements in that shared space. 2. Engage with performance art, personally. Be precise and question the participants with reference to their own background. [The how determines the what and answers the why] 2.1. Promote openness I have no thoughts but in the presence of other thoughts. Following a politics of hospitality and openness doesnt delineate roles or modes of participation but allows for a gradation/continuum of involvement and influence for any participant. 2.1.2. Feed the artists. Be a caregifter. Food is an absolut necessity. Working with food gives you great satisfaction and above all, it helps to compose yourself. 2.2 . Foster responsibility. Provide an institutional setting that facilitates future people deciding their own conditions. 2.3 . Take care of yourself. The question of what makes something our own needs to be opened up and diversified into an understanding of possession, ownership, property and belonging; not just in legal or historical terms but rather in terms of affect.

2.4 . Be aware of the community and invest in its development. This is the politics inherent in claiming one's own space, inviting or excluding the outside, the formation of groups and production of locality and culture, constantly questioning the structures inherent in the concept of the HUB itself. 3. Trust the process and the artists. Performance in this sense is not manifest; it is disseminated in the moment it occurs. 5. Create a space that allows for vulnerability. Finding a spatial manifestation and localisation for their work the participants enter a growing and evolving network of objects, ideas, events and encounters in the shared space. 6. Generate discourse. Make difference. We do not define performance as a medium or art form but rather focus on people who have chosen performance art as a way of doing things, a cultural phenomenon. 7 Tansform Every artist creates his predecessors Process, marked by a reflective shift from analytical observation to performative inquiry.