About Events

The ICI Berlin is an independent, non-profit research centre. To accompany its ongoing research, it organizes public events on a wide range of topics and in different formats including lectures, performances, conferences, art events, and readings. It welcomes diverse audiences living in or passing through Berlin.

The ICI Core Project draws input from and is reflected in an accompanying lecture series. Other conferences and symposia represent collaborative initiatives of fellows and staff. Many more events are the product of cooperations with partner institutions and other research projects.

Indications for Visitors

All events are open to the public and are usually free of charge. For semi-public workshops prior registration might be requested. Reservations are not possible, the ICI Berlin asks for your understanding that doors will close if the room gets overcrowded. The Institute’s facilities are wheelchair-friendly but their navigation might require some assistance; please contact Event Management ahead of your visit.

ICI events are frequently recorded and made available within the ICI Edition later on; the audience’s consent is presumed; individual recordings are not allowed. Video documentation not available on the ICI website might be part of ICI Library holdings and can be found through its catalogue.

Lecture Series

Parallel to its ongoing research colloquium, the ICI Berlin organizes public events on a wide range of topics. Its core project draws input from and is reflected in an accompanying lecture series.

Lecture Series 2021-22

The ICI lecture series Reduction explores the critical potentials of notions and practices of ‘reduction’, within and across different fields and approaches. One of the most devastating charges levelled against theories, analyses, and descriptions is that of being reductive or of amounting to a full-blown reductionism. Conceptual frameworks are scolded for being impoverished and descriptions for being too sparse or flat. And conversely, to call something ‘irreducible’ seems to confer an immediate and indisputable dignity to it. And yet the history of science and knowledge cannot be told without acknowledging the importance of reductionist programmes; reductive paradigms have periodically revitalized the arts. What lies at the root of such different attitudes towards ‘reduction’? Can one embrace forms of reduction that are not in the service of production, allowing for the possibility of a ‘less’ that would no longer have to amount to ‘more’?