With “Conceptual Preface” - “Positionings / Along the migratory line” by
Kolja Spesivtsev, Dzina Zhuk, Patricio Trim, Schokofeh Kamiz, Timmi Kwaku Davis.
Concepts & project lead: “Preface”: Karina Griffith + “Positionings”: Ali*ne B*enecke.

Followed by a talk with invited guests

The story of the approximately 20,000 Mozambicans who worked in the GDR and were cheated of the wages they earned is hardly mentioned in Germany's collective cultural memory. The Homes We Carry paints a portrait of a family torn apart by the vicissitudes of world history, between Germany, Mozambique and South Africa. At its center is Sarah, an Afro-German mother who wants to enable her daughter Luana to have relationships that she lacked as a child. That is why she is traveling with her to Southern Africa, where her own father and the father of her daughter are waiting for her. Meanwhile, Sarah's father Eulidio remembers the almost forgotten history of the Mozambican GDR contract workers. (SMK)

CONCEPTUAL PREFACE– POSITIONINGS / ALONG THE MIGRATORY LINE

In the context of Karina Griffith’s seminar series at the Institute for Art in Context at UdK Berlin, our alternative formats — Questions, Ideas, and Contexts — offer space for reflection before and after film screenings. Griffith’s concept of “Potluck Pedagogies” takes an intersectional approach to gathering contexts, inspired by the potluck principle: a gathering where the food brought by guests is
shared and eaten together.
In the continuation of this project, Ali*ne B*enecke’s seminar seeks to expand this format through the practice of “positioning,” understanding film as part of a social and political act that invites part icipants to locate themselves within the societal context.