What is the relationship between social and mental alienation? How can one envision care and cure practices that counter the homogenizing policies of institutions and go beyond the neoliberal economy of individual well-being? The evening explores the legacies of institutional psychotherapy, a psychiatric reform and resistance movement that emerged in France in response to the fascist extermination of patients with mental and physical disabilities. Initiated at Saint-Alban psychiatric hospital by a collective of Marxist psychiatrists, activists, philosophers, and nuns from the Saint-Régis community, Jewish refugees and surrealist artists (among them Georges Canguilhem, Tristan Tzara, Jacques Matarasso, Paul Éluard, and Nusch Éluard), the movement embraced group therapies and patient-run cooperatives.

The publication of Psychotherapy and Materialism (ICI Berlin Press, 2024) edited by Marlon Miguel and Elena Vogman, offers the first English translation of two seminal texts by institutional psychotherapy co-inventors François Tosquelles, a Catalan psychiatrist and anarcho-syndicalist, and Jean Oury, founder of the La Borde clinic. Their materialist and ‘disalienationist’ approach was further developed in Frantz Fanon’s decolonial psychiatry and Félix Guattari’s schizoanalysis. It led to a radical rethinking of psychoanalysis, education, and social work promoted by figures like Gisela Pankow, Anne Querrien, and Ginette Michaud.

Joana Masó is a professor of French literature at the University of Barcelona. She is a researcher with the UNESCO Chair on Women, Development, and Cultures, and works at the intersection of literature, critical thinking, contemporary art, and curating exhibitions. She has coedited Hélène Cixous’s essays dedicated to art, Poetry in Painting: Writings on Contemporary Arts and Aesthetics (Edinburgh University Press, 2012). Since 2017, she has led the research project ‘The Forgotten Legacy of Tosquelles’ at the University of Barcelona, under the ADHUC — Research Center for Theory, Gender, Sexuality. She has published Nusch Eluard: Sous le surréalisme, les femmes (Seghers, Paris, 2024), the exhibition catalogue Francesc Tosquelles: Avant-Garde Psychiatry, Radical Politics and Art, co-edited with Carles Guerra et al for the American Folk Art Museum in New York (2024), and the forthcoming title Tosquelles: Curing the Institutions (Semiotext(e), 2025). She is currently working on different modalities of restitution of Dubuffet’s art brut through Tosquelles’ critical legacy.

Marlon Miguel is Co-Principal Investigator of the project ‘Madness, Media, Milieus: Reconfiguring the Humanities in Postwar Europe’ at the Media Faculty of Bauhaus-Universität Weimar, and a Visiting Fellow at ICI Berlin. He holds a double PhD in Fine Arts and Philosophy. His current research proposes to critically inquire into the notion of ‘disorder’ and to de-essentialize it, looking at the use of artistic media in critical psychiatric practices such as those of François Tosquelles, Frantz Fanon, Fernand Deligny, and Nise da Silveira.

Christian Scheerhorn studied philosophy and comparative literature in Paris and Berlin. He is currently completing a Master’s degree at Freie Universität Berlin with a research focus on the intersections of literature, media, and French philosophy. As a Student Research Assistant, he contributes to the project ‘Madness, Media, Milieus: Reconfiguring the Humanities in Postwar Europe’ at Bauhaus-Universität Weimar, exploring the history of institutional psychotherapy and its media and milieu practices.

Elena Vogman is a media theorist, Principal Investigator of the research project ‘Madness, Media, Milieus: Reconfiguring the Humanities in Postwar Europe’ at the Media Faculty of Bauhaus-Universität Weimar, and a Visiting Fellow at ICI Berlin. Her research focuses on critical psychiatry, and feminist and postcolonial theory with an emphasis on film and media. She has published work in October, Grey Room, and e-flux and is the author of two books: Sinnliches Denken. Eisensteins exzentrische Methode (Diaphanes, 2018) and Dance of Values: Sergei Eisenstein’s Capital Project (University of Chicago Press, 2019).

Originally applied to preserve a materialist worldview that extends beyond physics and chemistry, the notion of levels of organization is one of the most recognizable ideas in biology. Although sometimes (erroneously) used interchangeably, the relationship between ‘levels’ and ‘scale’ presents an exciting (and relatively unexplored) area in theoretical biology and the history and philosophy of science. Here, Brooks will address this lacuna by clarifying how the two notions can inform and enhance one another. To this effect, he links up the idea of levels of organization with the insight that putative levels (e.g., cells, tissue, and ecosystems) exhibit distributed clustering that extends across scale ranges rather than particular part-whole demarcations. This ‘local maxima’ approach suggests that levels should be seen as a spectrum, where attributing discrete identity (as a particular type of, e.g., cell, tissue, ecosystem) is distributed across distinct and moderately localized or regional resolutions in time and space.

Daniel S. Brooks is a professor for theoretical philosophy at the University of Wuppertal. His research interests span the history and philosophy of the life sciences (particularly developmental biology, ecology, and neuroscience), concept usage in science, naturalized epistemology, methodology in philosophy of science, and existentialism. He has held multiple research fellowships, including at the Konrad Lorenz Institute, Ruhr-University Bochum, and the University of Minnesota. His current project focuses on a systematic investigation and analysis of the concept of levels of organization in contemporary and historical biological thought. His edited volume on levels, titled Levels of Organization in the Biological Sciences and co-edited with James DiFrisco and William C. Wimsatt, appeared in 2021 at MIT Press. More info can be found at www.danielsbrooks.com.

In English

Moderated by Christoph Holzhey

Scales are used to quantify properties such as length and temperature, or also to measure popularity and affect. But as Alice discovers in Wonderland, a change of scale can also have dramatic qualitative consequences. It disrupts customary ways of perceiving, acting, and being — to the point of feeling as ‘queer’ to her as a caterpillar’s metamorphoses. Helped by the arguably inextricable intertwinement of different meanings and aspects of scale, Alice’s experiences continue to provide apt metaphors for the disorienting importance and effects of scale and scaling at a time of hyperglobalization and the so-called anthropocene.

Scale is indeed a highly ambiguous notion, even when one only considers the meanings deriving from the Latin or Italian scala, ladder. It simultaneously denotes the whole ladder, one of its steps, and the relation between two steps: The scale of a cartographic map is the ratio between a distance on the map and a distance on the ground, but any particular length also defines a scale, and the range of scales from the subatomic to the planetary scale is part of the spatial scale. Paradoxically recursive, scale combines and helps mediate quantity and quality, as well as subjective perception, objective material properties, and contingent construction.

If different disciplines, discourses, and dispositives each have their privileged scales to which they tend to reduce others, what may be gained by thinking them together, acknowledging both the relative autonomy of particular scales — each with their own affordances, limitations, rules, even laws and ontologies — and their interdependence — each affecting and being affected by other scales? What is the critical purchase of developing multiscalar architectures or patchworks of scale-specific, mutually inconsistent and irreducible descriptions, theories, and models? How might the tensions be made productive where they overlap or come into contact? The ICI’s Lecture Series ‘Scale’ will address such questions by reflecting upon the critical role of scale within and across a wide range of different fields.

In Africa, a combination of cultural and religious practices, repressive laws instituted during the colonial period, and homophobic nationalisms have ensured that individuals who identify as queer experience their difference in private spaces and at the margins of societies. African people who identify as queer navigate different forms of social silence and this has an important impact on how they toggle between invisibility and visibility and ultimately how they experience embodiment and relationality. Given such a situation, Gibson Ncube explores queer lived experiences in Africa through the lens of the body in films. The body in films is a powerful model for understanding the complexities of identity, desire, and gender within diverse African communities. By examining how queer individuals navigate their physical selves in relation to societal norms, it is possible to gain insight into the intersectionality of gender, sexuality, and cultural contexts. Drawing mainly on the work Ncube did in the book Queer Bodies in African Films (2022), he contends that the filmed body as a model serves as a canvas upon which societal expectations and personal expressions of gender and sexual identities collide. By zooming in on the body, Ncube is interested in how the filmed queer body is invested with multiple and often intersecting discourses and narratives. It is inscribed with more than just desire, eroticism, and sexuality. It is as a disruptive figure whose materiality calls for a rethinking not just of how gender and sexual identities are performed and staged but also how they are constructed and embodied. Thus, considering the body as a model allows for a rich understanding of the multifaceted tapestry of queer lived experiences in Africa.

Gibson Ncube lectures at Stellenbosch University (South Africa). He has held fellowships supported by the Stellenbosch Institute for Advanced Study, the National Humanities Center (USA) and Leeds University Centre for African Studies (UK). He is currently an AfOx Visiting Fellow at Oxford University. He has published widely in the fields of comparative literature, gender and queer studies as well as cultural studies. He co-convened the Queer African Studies Association (2020-2022) and was the 2021 Mary Kingsley Zochonis Distinguished Lecturer (African Studies Association, UK). He currently sits on the Editorial Boards of the following journals: Journal of Literary Studies, the Canadian Journal of African Studies, and the Nordic Journal of African Studies. He is currently the Assistant Editor of the South African Journal of African Languages and the French Book Review Editor for the Canadian Journal of African Studies.

In English. Organized by: ICI Berlin

Models Lecture Series 2023-24

Theodore Conrad was an architect and master craftsman. His miniatures of Plexiglas and aluminum modelled a post-war landscape of glass-and-steel skyscrapers, sprawling business campuses, and domestic mid-century modernism from the 1930s onward. With the help of electrified tools and cameras, a vision of a world in Kodachrome arose long before it existed. Architectural modelling — long before the digital turn — became a powerful tool for testing, constructing, rendering, and selling novel architectural ideas.

Teresa Fankhänel is an associate curator at the Eli and Edythe Broad Art Museum at Michigan State University and editor-in-chief of the Architectural Exhibition Review. Her recent exhibitions include African Mobilities (2018), The Architecture Machine (2020–21), Built Together (2021), Shouldn’t You Be Working?(2023), and Andrea Canepa: As We Dwell in the Fold (2023). Among her interests are the use of technology and media for architectural design, and the history, theory, and practice of architecture exhibitions. She was a curatorial assistant for the exhibition The Architectural Model (Deutsches Architekturmuseum, 2012) and has published two books on models: The Architectural Models of Theodore Conrad (2021) and An Alphabet of Architectural Models (2021). She is co-editor of the book Are You A Model?, a collection of new research on analog and digital models, which will be published in 2023.

In English, Introduction by Claudia Peppel

Rather than take up the literary world’s on and off obsession with classifications and genre demarcations, this talk will center on the relationship between ideas, things, forms, and shapes — how writing can be a practice of, as poet A. R. Ammons once put it, looking for ‘the forms|things want to come as’. What does it mean for a thing to want to come as a form? What is the relationship between the content of an idea and its shape on the page? To examine such questions, Nelson will read from a variety of her works and think about how they relate (or don’t) to poet Robert Creeley’s famous contention, ‘form is never more than an extension of content’. Possible tributary lines of thought include: the literary nature of (some) philosophy; the question of ‘vernacular scholarship’ (a term coined by Eileen Myles), various strategies of performing the self in writing; and the value of never settling, of staying on the move.

Maggie Nelson is the author of several acclaimed books of poetry and prose, including the forthcoming collection Like Love: Essays and Conversations (2024), the national bestseller On Freedom: Four Songs of Care and Constraint (2021), the National Book Critics Circle Award winner The Argonauts (2015), The Art of Cruelty: A Reckoning (2011), Bluets (2009; named by Bookforum as one of the top 10 best books of the past 20 years), The Red Parts (2007), Women, the New York School, and Other True Abstractions (2007), and Jane: A Murder (2005). In 2016 she received a MacArthur ‘genius’ Fellowship. She currently teaches at the University of Southern California and lives in Los Angeles, CA.

In English, with Maggie Nelson, Introductions by Claudia Peppel, Mark Anthony Cayanan